due.” Good silver, however, was very scarce, and was at a premium of forty per cent; so after a year’s wrangling he had to put up with the fate of all who then sold labour for money. “The Notes and Queries,” continues Dryden, perhaps as a gibe at Jacob’s parsimony, “shall be short; because you shall get the more by saving paper.” Again he attacks him, this time half playfully:--“Upon trial I find all of your trade are sharpers, and you not more than others; therefore I have not wholly left you.” Tonson all along wished to dedicate the work to King William, but Dryden, a staunch Tory, would not yield a tittle of his political principles, so the bookseller consoled himself by slyly ordering all the pictures of Æneas in the engravings to be drawn with William’s characteristic hooked nose; a manœuvre that gave rise to the following:-- “Old Jacob, by deep judgments swayed, To please the wise beholders, Has placed old Nassau’s hook-nosed head On young Æneas’ shoulders. “To make the parallel hold tack, Methinks there’s little lacking; One took his father pick-a-back, And t’other sent his packing.” In December, 1699, Dryden finished his last work, the “Fables,” for which “ten thousand verses” he was paid the sum of two hundred and fifty guineas, with fifty more to be added at the beginning of the second impression. In this volume was included his Ode to St. Cecilia, which had first been performed at the Music Feast kept in Stationers’ Hall, on the 22nd of November, 1697. In 1700 the poet died, but Tonson was by this time in affluent circumstances.