same. She changed her garb with her epoch. Thus the robust bludgeoning
of Dryden and Shadwell, of Defoe, Steele, D'Urfey, and Tom Brown, gave
place to the sardonic ridicule of Swift, the polished raillery of
Arbuthnot, and the double-distilled essence of acidulous sarcasm
present in the _Satires_ of Pope. There is as marked a difference
between the Drydenic and the Swiftian types of satire, between that of
Cleiveland and that of Pope, as between the diverse schools known as
the "Horatian" and the "Juvenalian". The cause of this, over and above
the effect produced by prolonged study of these two classical models,
was the overwhelming influence exercised on his age by the great French
critic and satirist, Boileau. Difficult indeed it is for us at the
present day to understand the European homage paid to Boileau. As
Hannay says, "He was a dignified classic figure supposed to be the
model of fine taste",[15] His word was law in the realm of criticism,
and for many years he was known, not alone in France, but throughout a
large portion of Europe, as "The Lawgiver of Parnassus". Prof. Dowden,
referring to his critical authority, remarks:--

"The genius of Boileau was in a high degree intellectual, animated
by ideas. As a moralist he is not searching or profound; he saw too
little of the inner world of the heart, and knew too imperfectly
its agitations. When, however, he deals with literature--and a just
judgment in letters may almost be called an element in morals--all
his penetration and power become apparent. To clear the ground for
the new school of nature, truth, and reason was Boileau's first
task. It was a task which called for courage and skill ... he
struck at the follies and affectations of the world of letters, and
he struck with force. It was a needful duty, and one most
effectively performed.... Boileau's influence as a critic of
literature can hardly be overrated; it has much in common with the
influence of Pope on English literature, beneficial as regards his
own time, somewhat restrictive and even tyrannical upon later
generations."[16]

Owing to the predominance of French literary modes in England, this was
the man whose influence, until nearly the close of last century, was
paramount in England even when it was most bitterly disclaimed.
Boileau's _Satires_ were published during 1660-70, and he himself died
in 1711; but, though dead, he still ruled