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"High on a Throne of His Own Labours Rear'd": "Mac Flecknoe", Jeremiad and Cultural Myth

Ironically, scholars have had little to say about Mac Flecknoe, the Restoration's great nightmare vision of cultural anarchy, despite the fact that John Dryden, poet laureate, historiographer royal, and "the father of English criticism," has long stood as the central figure for the formation of a literary culture in late seventeenth-century England.' One of Dryden's most virulent satires, Mac Flecknoe defies the very critical constructions of eighteenth-century decorum and neoclassical balance and proportion which he himself championed, and as a result it is often bypassed as an anomaly by prominent studies of his career.2 At the same time, the obtrusiveness and accessibility of the poem's topical political and theatrical references have led literary historians to mine Mac Flecknoe for the scholarly equivalent of "local color," dismembering it as needed and utterly divorcing the poem's political and literary content from its poetic structure. Even the best of critics have tended to read it one topical reference at a time, and often only in passing;3 more often it is represented as the petty manifestation of personal and professional resentment or the "historically significant"