The Cambridge History of English and American Literature in 18 Volumes (1907–21).
Volume VIII. The Age of Dryden.
§ 9. Rochester as a Satirist: The Satire against Mankind
His masterpiece, without doubt, is A Satire against Mankind. Imitated from Boileau, it bears in every line the impress of Rochester’s mind. The energy of its thought and style separates it sharply from its original, and, if you compare the two works, you may find a clue to the difference between French and English. The one is marked by order, moderation, and good sense. The other moves impetuous like a torrent, and sweeps out of its way the prejudices of all time. In cynical, closely argued contempt of man this satire is unmatched; in expression, it surpasses the most vivid of Rochester’s works. The denunciation of reason,
Like many of his contemporaries, Rochester followed Horace in making verse a vehicle of criticism. His “Allusion to the Tenth Satire of the First Book” may be said to contain his literary preferences. With candour and sound judgment, he characterises the most eminent of his contemporaries. He declines to be “blindly partial” to Dryden, defends Jonson and Shakespeare against detraction, ridicules the “tedious scenes” of Crowne, whom he had used as the instrument of his jealousy, and detects a sheer original in Etherege, who returned the compliment by painting him as Dorimant. He finds the right epithets for “hasty Shadwell” and “slow Wycherley,” chooses Buckhurst for pointed satire, and extols the “gentle prevailing art” of Sir Charles Sedley. For the uncritical populace, he expresses his frank contempt. “I loathe the rabble,” says he, “’t is enough for me”
It is Rochester’s added distinction that, almost alone in his age, he wrote lyrics touched with feeling, even with passion. Though, at times, he makes sport of his own inconstancy, though, like the rest, he rimes “kisses” with “blisses” and “heart” with “smart,” he could yet write