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The Augustan Reprint Society
EVAN LLOYD
THE METHODIST.
A Poem.
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
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.
Evan Lloyd, Robert Lloyd, and Churchill, starting from somewhat different philosophic principles, all arrive at similar positions.
Methodism lent itself to such satire. Methodists could be described as unfortunate aberrants from an essentially good world, typical of those bothersome fanatics and deviants at the fringe of society who keep this world from being perfect. They were also logical heirs to the satire once visited upon Dissenters but which diminished when Dissenters became more restrained in their style of worship. Many Methodists were followers of Calvin. These Methodists brought out the old antagonisms against the Calvinist doctrine of Election , directed against its severity, its apparent encouragement of pride, and its antinomian implications. The mass displays of emotion at Methodist meetings would be distasteful to many people in most periods and probably were especially so in an age in which rational behavior was particularly valued. And there were those people who believed that Methodism, in spite of Wesley's arguments to the contrary, led good members of the Church of England astray and threatened religious stability.
Yet all these causes do not explain the harshness of anti-Methodist satire. No other subject during this period received such severe condemnation. Wesley and Whitefield were accused of seducing their female converts, of fleecing all their converts of money, of making trouble solely out of envy or pride. Evan Lloyd is not so harsh nor so implacably bigoted about any other subject as he is about Methodism. He was an intimate friend of John Wilkes, the least bigoted of men. Also, there are essential differences between the Dissenters of the Restoration and the Methodists of the late eighteenth century that would seem to lessen the antagonism toward the Methodists. To the satirists of the Restoration, Dissenters were reminders of civil war, regicide, the chaos that religious division could bring. Now the only threat of religious war or major civil disturbance had come from the Jacobites, and even that threat was safely in the past. It is notable that Swift, Pope, and Gay tended to satirize Dissenters within the context of larger problems. The assault on Methodists, then, is actually not a continuation of anti-Dissenter satire but something new. Hence the whole movement of anti-Methodist satire in the sixties and seventies has an untypically violent tone which cannot be explained solely in terms of satiric trends or religious attitudes. The explanation lies, I think, partly in the social, political, and economic background.
The Methodist movement was perhaps the most dramatic symptom of the changes taking place in England. The Methodist open-air services were needed because new industrial areas had sprung up where there were no churches, and lay preachers were necessary because of population shifts but also because of the increase in population made possible by new agricultural and manufacturing methods. The practice of taking lay preachers from many social classes had obvious democratic implications. Wesley, in spite of his political conservatism, challenged a number of widely-held, complacent aphorisms, such as the belief that people are "poor only because they are idle." The mass emotionalism of the evangelical meetings were reminders that man was not so rational as certain popular ideas tried to make him. Wesley's insistence that he did no more than adhere to the true doctrine of the Church of England strongly suggested that the Church of England had strayed somewhere. And Methodism, by its very existence and popularity, posed the question of whether the Church of England, in its traditional form, was capable of dealing with problems created by social and economic changes.
Lloyd constructs his satire around the theme of general corruption, that nothing is so virtuous that it cannot be spoiled either by man's weakness or by time. The theme is common in the period and could have become banal, except that Lloyd applies it to the corruption of the Church and its manifestations in daily life, giving it an immediate, lively reference. The Methodist practice of lay preachers, for example, Lloyd treats as an instance of the collapse of the class system:
Each vulgar Trade, each sweaty Brow Is search'd.... Hence ev'ry Blockhead, Knave, and Dunce, Start into Preachers all at once .
Lloyd combines the language of theology, government, and civil order to suggest a connection between recent riots, the excesses of the Earl of Bute, the Protestant belief that religious concepts are easily understood by all social classes, democracy, the emotional displays of Methodism, and lay preachers:
Lloyd presents an essentially disorderly world in which chaos spreads almost inevitably, in which riots, corrupt ministers, arrogant fools, disrespectful lower classes, giddy middle classes, and lascivious upper classes are barely kept in check by a system of social class, government, and church. Now, with the checks withdrawn, lawyers and physicians spread their own disorder even further as they:
He combines the language of tradesmen with the language of mythology and theology to suggest, rather wittily and effectively, that disorder can be commonplace and cosmic simultaneously:
And then, after a few lines, he applies the same terms to himself:
The satirist, as Robert C. Elliott points out, has always, in art, satirized himself. 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.
Temple University
NOTES TO THE INTRODUCTION
BIBLIOGRAPHICAL NOTE
THE METHODIST.
A POEM.
BY E Lloyd
THE METHODIST.
Well had the wand'ring Spirits sped, And thro' the World their Poison spread, Made Lodgments in each tainted Breast; And each infected Heart possess'd.
He said--and quick as Thought withdrew, And to th' infernal Regions flew; Blue sulph'rous streaks the Peasants scare, Marking his passage thro' the Air--
F I N I S.
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