I submit that the unfinished response to the History which Defoe spoke of in 1704 did not materialize sixteen years later in his Memoirs of 1720 but, rather, appeared in a folio book of 1706: in Jure Divino, his lavishly produced epic poem in twelve books for which there is no real counterpart in his prolific canon.
As Dryden famously argued in his Discourse of Satire, Horace's practice in the genre is refined; it "spare[s] the grossness of the Names" ("how hard to make a Man appear a Fool, a Blockhead, or a Knave, without using any of those opprobrious terms!"); and therefore to the "witty Man," it is pleasantly engaging, like being tickled (but "the Fool feels it not").(39) From these ideas about Horatian style and its workings, Defoe conceived a satiric practice which he intended to be fully operative in Jure Divino.
It is so "clothed with Eloquence," he remarks, that "Painting is glaring every where," and it "attracts one's Eye so much with the Lustre of the Picture, that we are heedless of the Likeness." And Oldmixon's view of Clarendon's labored sentence paragraphs is that they leave the reader "lost in the Circle, as much as in a Magician's; and whenever we meet with such Declaiming in plain Story, we may be sure it is intended to amuse us, as Legerdemains make Flourishes, when they are about to play Tricks." (36) But the satire on Clarendonian eloquence in Jure
Divino is entirely unique in that it is supplemented by Defoe's subtle proferring of his own familiar brand of lucid journalistic prose as an alternative, ideal style of polemical writing.