se_! thy Breath recall----
Turn not _Religion_'s Milk to Gall!
Let not thy _Zeal_ within thee nurse
A _holy Rage_! or _pious Curse_!
Far other is the _heav'nly Plan_,
Which the _Redeemer_ gave to Man (pp. 52-53).

The satirist, as Robert C. Elliott points out, has always, in art,
satirized himself.[6] But there is here as throughout this satire, some
attempt to develop a style which will express the belief that the world
will always be disorderly and that the disorder stems from man's "Zeal
within." This condition of the world can be expressed satirically by a
personal, informal satire which recognizes and dramatizes just how
universal the corruption is and how commonplace its manifestations have
become.

The informal, disorderly syntax, the colloquial diction, the chatty tone,
the run-on lines, the conscious roughness of meter and rhyme, may have
derived from Churchill, but they become here more relevant than in any
of Churchill's satires. They combine with the intemperate tone and the
satirist's concluding confession, his self-identification with the object
of satire, to create a sense of an unheroic satirist, one who does not
represent a highly commendable satiric alternative. Satire must now turn
its vision from the heroic, the apocalyptic, the broadly philosophical,
even from the depraved, and become exceedingly ordinary. It must
recognize that there is little hope in going back to lofty Augustan
ideals. For such subjects, it uses the impulsive tone of an
over-emotional satirist who is as flawed as the subject he satirizes
and still represents the best of a disordered world.

Lloyd had attempted an autobiographical satire in _The Curate_. He failed
to create an important satire for a number of reasons, one of which was
that he tried to present himself as a high ideal, a belief that he
apparently held so weakly that the satire became merely petulant. Lloyd
corrected this error in _The Methodist_ and now seems, however briefly,
to have opened the way to a truly prophetic style of satire.

After _The Methodist_ Lloyd wrote _Conversation_, a satire that not only
failed to fulfill the promise of _The Methodist_ but is more conservative
in theme and style than any of his earlier satires.

After that work he produced little. He published an expanded version of
_The Power of the Pen_ and a dull ode printed in _The Annual Register_.
When William Kenrick, in _Love in the Suds_, implied that Garrick