The advantages which Dryden derived from the nature of his subject he improved to the very utmost. His manner is almost perfect. The style of Horace and Boileau is fit only for light subjects. The Frenchman did indeed attempt to turn the theological reasonings of the Provincial Letters into verse, but with very indifferent success. The glitter of Pope is gold. The ardour of Persius is without brilliancy. Magnificent versification and ingenious combinations rarely harmonise with the expression of deep feeling. In Juvenal and Dryden alone we have the sparkle and the heat together. Those great satirists succeeded in communicating the fervour of their feelings to materials the most incombustible, and kindled the whole mass into a blaze, at once dazzling and destructive. We cannot, indeed, think, without regret, of the part which so eminent a writer as Dryden took in the disputes of that period. There was, no doubt, madness and wickedness on both sides. But there was liberty on the one, and despotism on the other. On this point, however, we will not dwell. At Talavera the English and French troops for a moment suspended their conflict, to drink of a stream which flowed between them. The shells were passed across from enemy to enemy without apprehension or molestation. We, in the same manner, would rather assist our political adversaries to drink with us of that fountain of intellectual pleasure, which should be the common refreshment of both parties, than disturb and pollute it with the havoc of unseasonable hostilities. Macflecnoe is inferior to Absalom and Achitophel only in the subject. In the execution it is even superior. But the greatest work of Dryden was the last, the Ode on Saint Cecilia's Day. It is the masterpiece of the second class of poetry, and ranks but just below the great models of the first. It reminds us of the Pedasus of Achilles-- os, kai thnetos eon, epeth ippois athanatoisi.