As Dryden was probably more apprehensive of Shadwell, who, though a worse poet than Settle, has excelled even Dryden in the lower walks of comedy, he has treated him with sterner severity. His person, his morals, his manners and his politics, all that had escaped or been but slightly touched upon in "Mac-Flecknoe," are bitterly reviewed in the character of Og; and there probably never existed another poet, who, at the distance of a month, which intervened between the publication of the two poems, could resume an exhausted theme with an energy which gave it all the charms of novelty. Shadwell did not remain silent beneath the lash; but his clamorous exclamations only tended to make his castigation more ludicrous.[30] The Second Part of "Absalom and Achitophel" was followed by the "_Religio Laici_," a poem which Dryden published in the same month of November 1682. Its tendency, although of a political nature, is so different from that of the satires, that it will be most properly considered when we can place it in contrast to the "Hind and Panther." It was addressed to Henry Dickinson, a young gentleman, who had just published a translation of Simon's "Critical History of the New Testament." As the publication of the two Parts of "Absalom and Achitophel," "The Medal," and "Mac-Flecknoe," all of a similar tone, and rapidly succeeding each other, gave to Dryden, hitherto chiefly known as a dramatist, the formidable character of an inimitable satirist, we may here pause to consider their effect upon English poetry. The witty Bishop Hall had first introduced into our literature that species of poetry; which, though its legitimate use be to check vice and expose folly, is so often applied by spleen or by faction to destroy domestic happiness, by assailing private character. Hall possessed a good ear for harmony; and, living in the reign of Elizabeth, might have studied it in Spenser, Fairfax, and other models. But from system, rather than ignorance or inability, he chose to be "hard of conceit, and harsh of style," in order that his poetry might correspond with the sharp, sour, and crabbed nature of his theme.[31] Donne, his successor, was still more rugged in his versification, as well as more obscure in his conceptions and allusions. The satires of Cleveland (as we have indeed formerly noticed) are, if possible, still harsher and more strained in expression than those of Donne. Butler can hardly be quoted as an example of the sort of satire we are treating of. "Hudibras" is a burlesque tale, in which the measure is intentionally and studiously rendered as ludicrous as the characters and incidents. Oldham, who flourished in Dryden's time, and enjoyed his friendship, wrote his satires in the crabbed tone of Cleveland and Donne. Dryden, in the copy of verses dedicated to his memory, alludes to this deficiency, and seems to admit the subject as an apology:--