vein of flattery to those who he hopes will gratify
him by returning it in kind; finally, that extreme, anxious, and
fidgeting attention to the minute parts of what even in whole is scarce
worthy of any,--are, I fear, but too appropriate qualities of the
"_genus vatum_"

Almost all Dryden's plays, including those on which he set the highest
value, and which he had produced, with confidence, as models of their
kind, were parodied in the "Rehearsal."[9] He alone contributed more to
the farce than all the other poets together. His favourite style of
comic dialogue, which he had declared to consist rather in a quick
sharpness of dialogue than in delineations of humour,[10] is paraphrased
in the scene between Tom Thimble and Prince Prettyman; the lyrics of his
astral spirits are cruelly burlesqued in the song of the two lawful
Kings of Brentford, as they descend to repossess their throne; above
all, Almanzor, his favourite hero, is parodied in the magnanimous
Drawcansir; and, to conclude, the whole scope of heroic plays, with
their combats, feasts, processions, sudden changes of fortune,
embarrassments of chivalrous love and honour, splendid verse and
unnatural rants, are so held up to ridicule, as usually to fix the
resemblance upon some one of his own dramas. The "Wild Gallant," the
"Maiden Queen," and "Tyrannic Love," all furnish parodies as do both
parts of the "Conquest of Granada," which had been frequently acted
before the representation of the "Rehearsal," though not printed till
after. What seems more strange, the play of "Marriage a la Mode" is also
alluded to, although it was neither acted nor printed till 1673, a year
after the appearance of the "Rehearsal". But there being no parody of
any particular passage, although the plot and conduct of the piece is
certainly ridiculed, it seems probable, that, as Dryden often showed his
plays in manuscript to those whom he accounted his patrons, the plan of
"Marriage a la Mode" may have transpired in the circles which Buckingham
frequented, who may thus have made it the subject of satire by
anticipation.[11]

It is easy to conceive what Dryden must have felt, at beholding his
labours and even his person held up to public derision, on the theatre
where he had so often triumphed. But he was too prudent to show outward
signs of resentment; and in conversation allowed, that the farce had a
great many good things in it, though so severe against himself. "Yet I
cannot help say