Anti-Achitophel

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Title: Anti-Achitophel (1682)
Three Verse Replies to Absalom and Achitophel by John Dryden
Author: Elkanah Settle et al.
Editor: Harold Whitmore Jones
Release Date: June 6, 2006 [EBook #18517]
Language: English
Character set encoding: ISO-8859-1
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ANTI-ACHITOPHEL (1682) ***
Produced by Louise Hope, David Starner, Suzanne Lybarger
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[Transcriber's Note:
Typographical errors are listed separately at the
end of the Editor's Introduction and each poem.]
_Anti-Achitophel_
(1682)
THREE VERSE REPLIES TO
_Absalom and Achitophel_ by JOHN DRYDEN

_Absalom Senior_ by Elkanah Settle
_Poetical Reflections_ by
Anonymous
_Azaria and Hushai_ by Samuel Pordage
Facsimile Reproductions
Edited with an Introduction
b y
HAROLD WHITMORE JONES

Gainesville, Florida
Scholars' Facsimiles & Reprints
1961
SCHOLARS' FACSIMILES & REPRINTS
118 N.W. 26th Street

Gainesville, Florida
Harry R. Warfel, General Editor
Reproduced from Copies in
BRITISH MUSEUM
UNIVERSITY
OF FLORIDA LIBRARY
L. C. Catalog Card Number: 60-6430
Manufactured in the U.S.A.
Letterpress by J. N. Anzel, Inc.

Photolithography by Edwards Brothers
Binding by Universal-Dixie
Bindery

INTRODUCTION
English verse allegory, humorous or serious, political or moral, has
deep roots; a reprint such as the present is clearly no place for a
discussion of the subject at large:[1] it need only be recalled here that to
the age that produced _The Pilgrim's Progress_ the art form was not
new. Throughout his life Dryden had his enemies, Prior and Montague
in their satire of _The Hind and the Panther_, for example. The general
circumstances under which Dryden wrote _Absalom and Achitophel_,
familiar enough and easily accessible, are therefore recalled only
briefly below. Information is likewise readily available on his use of
Biblical allegory.[2]

[Footnote 1: Cf. E. D. Leyburn, _Satiric Allegory, Mirror of Man_
(New Haven, 1956).]
[Footnote 2: e.g., _Absalom's Conspiracy_, a tract tracing how the
Bible story came to be used for allegorical purposes. See _The Harleian
Miscellany_ (1811), VIII, 478-479; and R. F. Jones, "The Originality of
'Absalom and Achitophel,'" _Modern Language Notes_, XLVI (April,
1931) 211-218.]
We are here concerned with three representative replies to _Absalom
and Achitophel_: their form, their authors, and details of their
publication. Settle's poem was reprinted with one slight alteration a
year after its first appearance; the _Reflections_ has since been
reprinted in part, Pordage's poem not at all. _Absalom Senior_ has been
chosen because, of the many verse pieces directed against Dryden's
poem, it is of the greatest intrinsic merit and shows the reverse side of
the medal, as it were, to that piece; the second is given, not for any
literary merit it may possess--indeed, from its first appearance it has
been dismissed as of small worth--but rather as a poem representative
of much of the versifying that followed hard on the Popish Plot and as
one that has inspired great speculation as to its author; the third, in
addition to throwing light on the others, is a typical specimen of the
lesser work produced in the Absalom dispute.
The author and precise publication date of the _Reflections_ remain
unidentified. Ascription of the poem to Buckingham rests ultimately on
the authority of Wood's _Athenae Oxonienses_ and on Wood alone,
and we do not know on what evidence he thought it to be
Buckingham's; we do know, however, that Wood was often mistaken
over such matters. Sir Walter Scott in his collected edition of Dryden
(1808; IX, 272-5) also accepted Buckingham as the author, but cited no
authority; he printed extracts, yet the shortcomings of his edition,
whatever its convenience, are well known. The poem has not appeared
in any subsequent edition of Dryden's poems, the latest being the four
volume set (Oxford, 1958); the volume of the California Dryden[A]
relevant to _Absalom_ is still awaited. Internal evidence is even more
scanty. Only one passage of the _Reflections_ (sig. D2) may bear on

the matter. Perhaps the "Three-fold Might" (p. 7, line 11) refers, not to
the poet's "tripartite design" (p. 7, line 10) or to the Triple
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