The love of conceit and point, that inveterate though decaying disease of the literature of the time, has not failed to infect the _Annus Mirabilis_. That monstrous verse, in which the extinction of the fire is described, cannot be too often quoted, both to expose the meanness of the image, and the confusion of the metaphor; for it will be noticed, that the extinguisher, so unhappily conceived, is not even employed in its own mean office. The flames of London are first a tallow candle; and secondly hawks, which, while pouncing on their quarry, are hooded with an extinguisher: An hollow crystal pyramid he takes, In firmamental waters dipt above; Of it a broad extinguisher he makes, And hoods the flames that to their quarry drove. Passages also occur, in which, from the author's zealous desire to be technically minute, the style becomes low and vulgar. There is no doubt, that, as Dryden has observed, the proper terms of art may be not only justly, but with the highest advantage, employed in poetry; but such technical phrases require to be selected with great judgment: they must bear relation to some striking and important object, or they are mean and trivial; and they must be at once generally intelligible, and more expressive in themselves than ordinary language, or they are unnecessarily obscure and pedantic. Dryden has failed in both these points, in his account of the repairs of the fleet.[84] Stanza 148, in particular, combines the faults of meanness and unnecessary obscurity, from the affected use of the dialect of the dock-yard: Some the galled ropes with dawby marline bind, Or searcloth masts with strong tarpawling coats: To try new shrouds one mounts into the wind, And one below their ease or stiffness notes. Other examples might be produced of the faults of this remarkable poem; but it is time to say, that they are much overbalanced by its beauties. If Dryden is sometimes obscure, from the extravagance of his imagination, or the far-fetched labour of his similes, and if his desire to use appropriate language has occasionally led him into low and affected minuteness, this poem exhibits a far greater number of instances of happy and judicious illustration, beautiful description, and sublime morality. The comparison of the secret rise of the fire of London to the obscure birth of an usurper, is doubly striking, when we consider how closely the passage may be understood to bear reference to the recent domination of the Protector.[85] I will not load these preliminary observations, by inserting the whole of the striking passage, on the different manner in which the night, after the battle of the first of June, was passed on board the English and Dutch fleets; but certainly the 71st stanza will not lose, by being an hundred times quoted: