him also Pope dedicated his translation of the _Iliad_.[14] Bolingbroke,
furthermore, was the friend and patron of Pope, while the witty St.
John, in turn, was bound by ties of friendship to Mallet, who passed on
the succession to Goldsmith, Sheridan, Ellis, Canning, Moore, and
Byron. Thereafter satire begins to fall upon evil days, and the
tradition cannot be so clearly traced.

But satire, during this "succession", did not remain absolutely the
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