[30] His father's coat of arms is described in Clark, I, 237. But for a conservative attitude toward use of the address, see Edward Chamberlayne, Angliae Notitia: or the Present State of England, the First Part, the Fifteenth Edition (London, 1684), p. 344.

[31] Wood, III, 367.

[32] Clifford makes the same charge of plagiarism in equally virulent language: "And next I will detect your Thefts, letting the World know how great a Plagery you are ..." (Notes upon Mr. Dryden's Poems [London, 1687], P. 3).

[33] Maximillian E. Novak, "Introduction," Settle, Dryden, Shadwell, Crowne, Duffet, The Empress of Morocco and Its Critics, The Augustan Reprint Society Special Series (Los Angeles, 1968), pp. i-xix. Novak also discusses Dryden's quarrels with Howard and the Rota.

[34] Account, p. 140, gives new information, or gossip, about Dryden's pre-Restoration activities.

[35] Loftis, pp. ix-xiii.

[36] This is a focus of Clifford's charges as well: "There is one of your Virtues which I cannot forbear to animadvert upon, which is your excess of Modesty; When you tell us in your Postscript to Granada, That Shakespeare is below the Dullest Writer of Ours, or any precedent Age" (p. 10).

[37] Although Shakespeare's "Learning was not extraordinary," Langbaine "esteem[s] his Plays beyond any that have ever been published in our Language" (Account, pp. 453-454). In both Momus and the Account Langbaine employed the 1685 folio edition of Shakespeare's works which was printed for Herringman and others and dedicated to the Earls of Pembroke and Montgomery (Wing 2915, 2916, 2917). He catalogues the seven plays added in this edition to those of the earlier collected editions, but contrary to its genre designation in the First Folio and in this edition, Langbaine refers to Merchant of Venice as a tragi-comedy and, in Momus, lists two parts of "John King of England." In the Account he changes the designation of Winter's Tale from comedy to tragi-comedy, and in both catalogues appends "Birth of Merlin," altering his description of its genre from pastoral to tragi-comedy.

[38] Wood, III, 449.

[39] See, for example, a review in the Moderator, no. 3 (23 June 1692); quoted in Wood, III, 367.