Enough has been said to hint that Byron’s qualities as a satirist in verse are often best to be explained by a reference to the methods and influence of those who went before him. So far as his connection with English satire is concerned, Byron was indebted in part to a widespread and somewhat conventional satiric tradition established by Pope and in part also to the special characteristics of certain individual satirists like Gifford. Unfortunately the field of English satire has been investigated carefully only to the close of the Elizabethan era; it is, therefore, imperative to present, as a working basis, a brief outline of the course of satiric verse during the century or more prior to Byron’s own age. Such a summary being of value here chiefly as affording material for comparison, detailed treatment need be given only to the more conspicuous figures, particularly to those to whom it is possible Byron was under obligation. The years between the accession of Charles II and the death of Pope saw a remarkable advance in the quantity and quality of published satiric work, in both prose and verse. For this development several causes may be assigned. As the romantic enthusiasm of the Renaissance died away or exhausted itself in fantastic extravagance and license, the new age, in reaction, became gradually more reasonable and practical. Its general tendencies were academic, introspective, and critical: literature began to analyze itself and to frame laws for its own guidance; society found amusement in laughing at its own follies and frivolities; moralists were occupied in censuring misbehaviour and in codifying maxims for the government of conduct. This critical spirit, whenever it became destructive, naturally sought expression in satire. Party feeling, too, grew violent in dealing with the complex problems raised by the bloodless revolution of 1689 and its aftermath; moreover, most of the prominent writers of the day, gathered as they were in London, allied themselves with either Whigs or Tories and engaged vigorously in the factional warfare. In the urban and gregarious life of the age of Anne, the thinkers who sharpened their wits against one another in clubs and coffee-houses esteemed logic and good sense higher than romantic fancy. Their talk and writing dealt mainly with practical affairs, with particular features of political and social life. It is not at all surprising that this critical and practical period should have found its most satisfactory expression in satire--a literary type which is well fitted to treat of definite and concrete questions.