John Dryden and His Satire MacFlecknoe

Joseph Supardjana

Abstrak
John Dryden adalah seorang penyair Inggris yang hidup dalam Periode Agustus
(1650-1700). Dalam beberapa puisinya Dryden menulis kritik yang berupa satir
(satire) terhadap situasi sosial, politik dan kesu-sastraan yang dia alami dalam
kehidupannya. MacFlecknoe adalah sebuah satir yang merupakan kritik terhadap
seorang penyair lawan Dryden. Penyair tersebut bernama Shadwell yang
dinyatakan sebagai pewaris kesusastraan yang tidak bermutu. Warisan tersebut
diberikan oleh Flecknoe, penyair lain yang tidak bermutu pula. Artikel berikut
merupakan analisa tentang satir tersebut dengan melihat konsistensi Dryden di
dalam mengungkapkan kritiknya yang tajam terhadap Shadwell serta Flecknoe.

Kata kunci: John Dryden, Flecknoe, Shadwell, MacFlecknoe, satir, heroic couplet,
mock humor.

Introduction
John Dryden, an English poet who was born at Northamptonshire in August 9, 1631
was known as the founder of English literary criticism and the formulator of a new
style of poetic expression which is called heroic couplet (Wheatly, 1972: 5). Satire
was his new style of poetic forms. Harmsworth (1972) defines that satire is a literary
work intended to arouse ridicule, contempt or disgust at abuses and follies of a man
and his institutions. It aims at the correction of malpractices by inspiring both
indignation and laughter with a mixture of criticism and wit. One of the famous
satiric poems of Dryden is MacFlecknoe. This poem treats its subject, Thomas
Shadwell, with irony and ridicule.
As an English poet, John Dryden is classified as classic writer. At a glance,
Dryden’s poems, when compared to romantic verses, found lacking that love of
nature. His verses are commonly simple. He loved to apply intellectual approach.
Brower (1959) comments him that the whole account of poetic composition
indicates clearly that Dryden sought for intellectual strength and rational precision in
form. This indication is found as well in MacFlecknoe. In this poem the impression
of Dryden as a bold satirist is found. About the poem (MacFlecknoe) Oliver Gold
Smith in his article The Beauties of English Poetry (1967), as it is quoted by
Wheatly writes:
The severenity of this satire, and the excellence of its versification give it a
distinguished rank in this species of composition. At present, an ordinary reader
would scarcely suppose that Shadwell, who is here meant by MacFlecknoe, was
worth being chastised, and that Dryden, descending to such game, was like an
John Dryden and His Satire MacFlecknoe (Joseph Supardjana) 126
 eagle stooping to catch flies. The truth however is, Shadwell at one time held
divided reputation with this great poet. Every age produces its fashionable
dances, who, by following the transcient topic or humor of the day, supply
talkative ignorance with materials for conversation. (Wheatly, 1967: 161).
Realizing the importance of MacFlecknoe as Dryden’s satire, this article is
intended to describe the poet’s satiric style. The analysis on the poem is basically
focalized on the poem’s content. Meanwhile historical and political situation of the
Augustan period back the analysis up significantly.

Historical and political background

Earl of Shaftesbury used the terror attending the Popish Plot (the period of 1678-
1680) to secure his political ends. (Wheatly. 1972). This period was known as the
quarrel between Charles and James for the kingship. Shaftesbury tried to bring
James to trial with the accusation for religious non-conformity. Even he brought
armed followers to the Parliament at Oxford. For his actions which were against the
crown, he was sent to the Tower, accused of high treason.
Meanwhile the Whig grand jury rejected the charge and Shaftesbury was
released. Upon this release Shaftesbury’s followers struck a medal in his honour.
John Dryden, then, criticized Shaftesbury in his satirical poem entitled The Medal.
This latest poem provoked Dryden’s opponent, Thomas Shadwell to write The
Medal of John Bayes as the answer for the satire.
Thomas Shadwell was formerly Dryden’s close friend. Their enmity was
much caused by literary dispute. It was believed that Mac Flecknoe was an answer
toward Shadwell’s The Medal of John Bayes.
Richard Flecknoe (1600 -1678) was Shadwell Patron in poetry. Flecknoe was
a verse writer who got many criticisms because of his poetical weaknesses.
Andrew Marwell called Richard Flecknoe an English priest at Rome, while Dryden
named him a Prince of Dullness. Richard Flecknoe as a prince of dullness had to
prepare the way for his son, MacFleknoe, who was believed by Dryden to be a “true
son of unrelieved darkness and stupidity” (Wheatly,1971). Understanding this
historical and political situation will provide clearer way of understanding the content
of MacFlecknoe.

The Analysis on the Content of MacFlecknoe

In its opening lines of MacFlecknoe introduce Flecknoe who is comparable to
emperor Augustus who has power in the realms of nonsense. The faculty of the
poet in creating satire is on his giving value on any element that he considers
valueless. Dryden praises Richard Flecknoe for his ignorance in poetic world. In
JIBS (Jurnal Ilmu Bahasa dan Sastra) Vol. 1/ Nomor 2/ Juli - Desember 2001 127
this condition he decides to settle the question of succession. While looking for a
successor he has decided on Shadwell who must reign. The reason is, it is
Shadwell who can imitate the bad poetry Richard Flecknoe had written. This idea is
in line with the following lines of MacFlecnoe.
’tis resolv’d; for nature pleads that he
Should only rule, who most resembles me:
Sh…..alone my perfect image bears,
Mature in dullness from his tender years.
Sh…..alone of all my sons, is he
Who stands confirm’d n full stupidity.

In the above lines Dryden abbreviates the complete name, Shadwell, as

Sh….. The lines will be in perfect rhythm of iambic pentameter style if the name is
completed with the two syllables, Shadwell. Dryden mocks Shadwell for he had got
Flecknoe’s crown of dullness.
In further lines Flecknoe explains that Shadwell has to be his successor
because he is very weak in his poetic expression.
The rest to some faint meaning make pretence,
But Sh… never deviates into sense.
Some beams of wit on other souls may fall,
Strike through and make a lucid interval,
But Sh…’s genuine night admits no ray,
His rising fogs prevail upon the day.

Dryden goes on mocking Shadwell by widening the idea of succession.

Flecknoe recommends Shadwell to imitate bad dramatist of Elizabethan period,
Heywood and Shirley. Dryden names these two dramatists “prophet of tautology”
which means perfect imitators. Dryden writes:
Heywood and Shirley were but type of thee,
Thou last great prophet of tautology
Even I, a dunce of more renown than they
Was sent before but to prepare thy way.

In MacFlecknoe everything is regarded upside down. The same thing

happens to literary world. Shadwell, the worst poet who uses tautologies becomes
the successor to the throne of “dullness”. Compared to Heywood, Shirley and
Flecknoe, Shadwell is the worst poet who inherits the crown of dullness.
Flecknoe supports Shadwell to be his successor by a certain reason. For
him, Shadwell is comparable to ancient Greek musician in Greek mythology whose
name was Arion. It was told that in a ship some sailors threatened Arion to play
lyre. He jumped into the sea where dolphins carried him safely to shore. Flecknoe
John Dryden and His Satire MacFlecknoe (Joseph Supardjana) 128
has a great hope for Shadwell’s future as Dryden writes: here stopped the good old
sire, and wept for joy/ In silent raptures of the hopeful boy.
Dryden describes that Flecknoe has ever entered the “nursery”, a London
theatre for boys and girls to study drama. In that place, the name of Simpkin, a
representation of a bad poet, is noted as the member of the nursery. At this place,
Flecknoe designs Shadwell’s throne,
Here Flecknoe, as a place to fame well known:
Ambitiously designe’d his Sh…..’s throne.
For ancient Decker prophesi’d long since,
That in this Pile should reign a mighty prince,
Born for a scourge of wit, and flayle of sense.
The above quotation indicates that Dryden mentions one name, Decker. In
fact, he was not a famous dramatist as he was under the power of James I. To
continue mocking him Dryden mentions several of Shadwell’s adaptation of Molier’s
(a French writer) l’Avare as Psyche and the Miser.
In the same time when Flecknoe had chosen Shadwell as his successor, this
information spread out fast. Preparation for the coronation was made. Mockingly
Dryden describes, instead of carpets there are piles of the limbs of mangled poets.
Unknown authors emerge from their hidden place. Flecknoe is on the throne.
Shadwell vows to uphold the dullness so successfully maintained by Flecknoe:
So, Sh…. Swore, nor should his vow bee vain,
That he till Death true dullness would maintain,
And in his father’s right and realms defense,
Ne’er to have peace with wit, nor with sense.
Flecknoe as a king crowns Shadwell as the heir. The King holds a copy of
Love’s Kingdom, a weak tragic-comedy of Flecknoe had ever written. The play is
as weak as Shadwell’s Psyche. He asks Shadwell to inherit his “dullness”, and
people support him by crying “Amen”. In his speech Flecknoe advises Shadwell to
advance his ignorance. Dryden writes:
….. my son, advance
still in new impudence, new ignorance,
Success let others teach, learn thou from me,
Pangs without birth, and fruitless industry.
Let Virtuoso’s in five years writt:
Yet not one thought accusse thy toyl wit.
Dryden continuously mocks Shadwell who has to advance ignorance and
fruitless industry. The phrase fruitless industry is an irony for Shadwell indicating
that Shadwell is unproductive writer. It is underscored by a long time that he has
spent to write The Virtuoso. Shadwell is a slow writer. Flecknoe advises Shadwell to

JIBS (Jurnal Ilmu Bahasa dan Sastra) Vol. 1/ Nomor 2/ Juli - Desember 2001 129
let dullness naturally comes to him. The quotation above is a bitter attack to
Flecknoe. As an obedient “son” Shadwell is agree with everything Flecknoe
advises him.
Flecknoe is consistent in encouraging Shadwell to be in dullness. He forbids
Shadwell to associate himself with their former great poet, Ben Johnson. Following
Ben Johnson’s footsteps will make Shadwell be a great dramatist. This specific
notion is the thing Dryden wants to attack. Beside following Johnson’s steps
Flecknoe enforces Shadwell to emulate him. This fact is found in the following lines:
Nor let false friends seduce thy mind to fame,
By arguing Johnson’s hostile name,
Let father Flecknoe fire thy mind with praise,
And uncle Ogleby thy envy raise.
Thou art my blood, where Johnson has no part,
What share have we in nature, or in art?
“Father Flecknoe” as mentioned above refers to Fleknoe either as a priest or
a “king father” of Shadwell. The “blood” relationship between Shadwell and
Flecknoe is only fictitious. According to Dryden it will be naturally better for
Shadwell just to follow Flecknoe who is weak in art than imitating Johnson’s art
greatness.

Conclusion
MacFlecknoe is a satiric poem which becomes the corner-stone of Dryden success
in his poetic career. It strengthened his position as a successful poet in his lifetime.
Both as a poem and a satire MacFlecknoe was created in good and effective
English. Dryden is consistent in his style. His consistence is seen in the application
of poetic pattern namely heroic couplet. In the whole poem the poet exploits the
weakness of his opponent, either Flecknoe ot Shadwell, in a mock and humorous
manner.
Dryden in MacFlecknoe shows his being consistence in applying his poetic
style. This style, heroic couplet, had its own position in English literary history. This
poetic style had been adapted by several poets who lived after him. Something
which is specific in MacFlecknoe is its substance that underlines the humor of
Dryden’s attack on Shadwell.
The political situation in his lifetime, especially the idea to settle the
succession of the state, made Dryden becoming bored. He did not enjoy thinking
about political justice. With his keenness he reflected his thought either about
political situation or literary condition in MacFlecknoe. This poem is a satirical

John Dryden and His Satire MacFlecknoe (Joseph Supardjana) 130

outlook on the idea of both, the succession of the state and the succession of
“literary state” between Flecknoe and Shadwell.

Notes.
1. The following is a comment of Sir Walter Scott on MacFlecknoe as it is written in The
Works of John Dryden. MacFlecknoe must be allowed to be one of the keenest satires in
the English Language. It is what Dryden has elsewhere termed Varronian satire; that is, as
he seems to use the phrase, one which the author is not contented with general sarcasm
upon the object of attack, but where he has woven his piece into a sort of imaginary story,
or scene, in which he introduces the person whom he ridicules as a principal actor. The
position in which Dryden has placed Shadwell is the most mortifying to literary vanity which
can possibly be imagined and is hardly excelled by the device of Pope in The Dunciad who
has obviously followed the steps of his predecessor (Wheatly, 1972).
2. About The Medal Samuel Johnson wrote his comments in Dryden Lives of the English
Poets as the following quotation. The Medal, written upon a narrower plan, gives less
pleasure, though it discovers equal abilities in the writer. The superstructure cannot extend
beyond the foundation; a single character of incident cannot furnish as many ideas, as a
series of events, or multiplicity of agents. This poem, therefore, since time has left to itself,
is not too much read, not perhaps generally understood; Yet it obvious with touches both of
humorous and serious satire. (Wheatly,1972).
3. The following is a comment of John Carlton Collins on The Medal.
In The Medal he hurled at Shaftesbury and his party a philippic which, for rancorous abuse,
for lofty and uncompromising scorn, for coarse, scathing, couched in diction which now
swells to the declamatory grandeur of Juvenal and now sinks to the sordid vulgarity of
Swift, has no parallel in our literature. The former attack, indeed, was mercy to this new
outburst. To find anything approaching to it in severity and skill we must go back to
Claudian’s savage onslaught on the Achotipel of the fourth century, or forward to
Akenside’s diatribe against Pulteney (Wheatly, 1972).

Bibliography
Ford, Boris. ed.1970. From Dryden to Johnson. Volume 4. The Pelican Guide to English
Literature. Harmsworth, Middlesex, England: Penguin Books Ltd.
Kinsley, James. ed. 1958. The Poems of John Dryden. Oxford: Claredon Press.
MacDonald, Hugh. 1960. John Dryden: A Bibliography of Early Editions and of Drydeniana.
New York: Oxford University Press.
Monk, Samuel Holt. 1950. John Dryden: A List of Critical Studies Published from 1895 to
1948. Minneapolis: University of Minnessota Press.
Scott, Sir Walter. 1963. Life of Dryden. Nebraska: University of Nebraska Press.
Ward, Charles E. 1961. The Life of John Dryden. Chapel Hill, N.C.: University of North
Carolina Press.
Wheatly, M.A., Harold. 1972. Notes on the Works of John Dryden. Toronto: Cole Publishing
Company Ltd.

JIBS (Jurnal Ilmu Bahasa dan Sastra) Vol. 1/ Nomor 2/ Juli - Desember 2001 131