According to Samuel Johnson's great eighteenth-century Dictionary, satire is a censorious poem, properly distinguished by the generality of its reflections but all too often confused with a lesser form, lampoon, distinguished by the particularity of its reflections. Libel is an actionable defamation, but the term was often used synonymously with lampoon. Slander is libel with a casual or callous disregard for truth. In the Restoration and early eighteenth century, satire, libel, lampoon, and slander were inextricably mixed, whether the specific forms they took were poetic, dramatic, narrative, or expository. But when commentators wished to separate good vilification from bad the distinction was one of style. “Loose-writ” libels were never as effective as “shining satire,” according to John Dry den and the Earl of Mulgrave in their joint effort, “An Essay Upon Satire” (1679). Perhaps “shining” does not take us very far conceptually in distinguishing satire from libel, lampoon, or slander as an embodiment of the literary spirit of opposition, but Dryden and Mulgrave have in mind the way effective satire always combines abuse with wit and imagination.