So far as matters of detail are concerned, _English Bards_ is not always in the manner of the _Dunciad_ and the other satires of Pope. It has been observed of Dryden, and occasionally of Pope, that at its best their satire, however much it may be aimed at particular persons, tends to become universal in its application, just as had been the case with the finest work of the Latin satirists. Horace’s Bore, for instance, was doubtless once a definite Roman citizen; Dryden’s Buckingham has a place in history: but the satire on them is pointed and effective when applied to their counterparts in the twentieth century. The same is true of Pope’s Atticus, who is described in language which is both specific and general, fitted both to Addison and to a definite type of humanity. The faculty of thus creating types was not part of Byron’s art. For one thing, he seldom, except in some of his earliest satires, employs type names, and he carefully prints in full, without asterisks or blank spaces, the names of those whom he attacks. His accusations are too precise to admit of transference to others, and his epithets, even when they are unsatisfactory, cannot be dissevered from the one to whom they apply. The satire on Wordsworth, illustrated as it is by quotations and by references to that author’s poetry, is appropriate to him alone, and would have soon been forgotten had it not been for the eminence of the victim. It is otherwise with Pope’s description of Sporus, which is often applied to others, even when it is forgotten that the original Sporus was Lord Hervey. In many respects Byron had more in common with Gifford than with Pope. It is Gifford to whom, in _English Bards_, he refers so often as a master; it is he whom he mentions in 1811 as his “Magnus Apollo”[117]; and it was of the _Baviad_ and the _Mæviad_ that he was thinking when he conceived his plan of hunting down the “clamorous brood of Folly.”