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    The Methodist A Poem
    The Methodist A Poem
    The Methodist A Poem
    Ebook101 pages50 minutes

    The Methodist A Poem

    By Raymond Bentman and Evan Lloyd

    ()

    Read preview
    LanguageEnglish
    PublisherArchive Classics
    Release dateNov 27, 2013
    The Methodist A Poem

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      Book preview

      The Methodist A Poem - Raymond Bentman

      The Project Gutenberg eBook of The Methodist, by Evan Lloyd

      This eBook is for the use of anyone anywhere at no cost and with

      almost no restrictions whatsoever. You may copy it, give it away or

      re-use it under the terms of the Project Gutenberg License included

      with this eBook or online at www.gutenberg.org

      Title: The Methodist

      A Poem

      Author: Evan Lloyd

      Release Date: January 11, 2009 [eBook #27776]

      Language: English

      Character set encoding: ISO-8859-1

      ***START OF THE PROJECT GUTENBERG EBOOK THE METHODIST***

      E-text prepared by Chris Curnow, Joseph Cooper, Anne Storer,

      and the Project Gutenberg Online Distributed Proofreading Team

      (http://www.pgdp.net)

      Transcriber’s Note: Table of Contents added:

      Introduction

      The Methodist

      The Augustan Reprint Society

      EVAN LLOYD

      THE METHODIST.

      A POEM.

      (1766)

      Introduction by

      Raymond Bentman

      PUBLICATION NUMBER 151-152

      WILLIAM ANDREWS CLARK MEMORIAL LIBRARY

      University of California, Los Angeles

      1972

      GENERAL EDITORS

      William E. Conway, William Andrews Clark Memorial Library

      George Robert Guffey, University of California, Los Angeles

      Maximillian E. Novak, University of California, Los Angeles

      David S. Rodes, University of California, Los Angeles

      ADVISORY EDITORS

      Richard C. Boys, University of Michigan

      James L. Clifford, Columbia University

      Ralph Cohen, University of Virginia

      Vinton A. Dearing, University of California, Los Angeles

      Arthur Friedman, University of Chicago

      Louis A. Landa, Princeton University

      Earl Miner, University of California, Los Angeles

      Samuel H. Monk, University of Minnesota

      Everett T. Moore, University of California, Los Angeles

      Lawrence Clark Powell, William Andrews Clark Memorial Library

      James Sutherland, University College, London

      H. T. Swedenberg, Jr., University of California, Los Angeles

      Robert Vosper, William Andrews Clark Memorial Library

      Curt A. Zimansky, State University of Iowa

      CORRESPONDING SECRETARY

      Edna C. Davis, William Andrews Clark Memorial Library

      EDITORIAL ASSISTANT

      Jean T. Shebanek, William Andrews Clark Memorial Library

      INTRODUCTION

      Evan Lloyd’s works consist chiefly of four satires written in 1766 and 1767,[1] all of which are now little-known. What little notice he receives today results from his friendship with John Wilkes and David Garrick and from one satire, The Methodist, which is usually included in surveys of anti-Methodist literature.[2] For the most part, his obscurity is deserved. In The Methodist, however, he participates in a short-lived revolt against the tyranny of Augustan satire and shows considerable evidence of a talent that might have created a new style for formal verse satire.

      The seventeen-sixties were a difficult period for satire. The struggle between Crown and Parliament, the new industrial and agricultural methods, the workers’ demands for higher pay, the new rural and urban poor, the growth of the Empire, the deteriorating relations with the American colonies, the increasing influence of the ideas of the Enlightenment, the popularity of democratic ideas, the Wilkes controversy, the growth of Methodism, the growth of the novel, the interest in the gothic and the picturesque and in chinoiserie, sentimentality, enthusiasm—all these activities made England a highly volatile country. Some changes were truly dynamic, others just fads. But to someone living in the period, who dared to look around him, the complexity of the present and the uncertainty of the future must have seemed enormous.

      To a satirist, such complexity makes art difficult. Satire usually deals with every-day realities, to which it applies simple moral ideals. The Augustan satiric alternative—returning to older beliefs in religion, government, philosophy, art—and the stylistic expression of such beliefs—formal verse satire and epistle, mock-poem, heroic or Hudibrastic couplet, diction of polite conversation, ironic metaphysical conceits, fantastic fictional situations—become irrelevant to the satirist writing when the past seems lost. In his later works, Pope took Augustan satire about as far as it could go. The Epilogue to the Satires becomes an epilogue to all Augustan satire and the conclusion of The New Dunciad declares the death of its own tradition. There is a sense now that England and the world have reached the point of no return. The satirist of the seventeen-sixties who repeats the ideas and styles of Butler, Dryden, Swift, Gay, and Pope seems not only imitative but out-of-touch with the world around him.

      But such difficulties can provide the impetus for new forms and for original styles. And in the seventeen-sixties the writers of formal satire show signs of responding to the challenge. Christopher Anstey, Charles Churchill, Robert Lloyd, and Evan Lloyd seem, during this decade, to be

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