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 developing their considerable facilities with satiric technique toward the creation of new styles. Anstey's _New Bath Guide_ has a combination of epistolary fiction, realism, use of naive observers, changing points of view, sweeping view of the social scene, great range of subjects, rolicking verse forms, and tone of detached amusement which suggests a satirist who, while still largely derivative, had the talent to create new techniques. Churchill and Robert Lloyd are explicit in their wish to break from Augustan style. Churchill argues that it was "a sin 'gainst Pleasure, to design / A plan, to methodize each thought, each line / Highly to finish." He claims to write "When the mad fit comes on" and praises poetry written "Wild without art, and yet with pleasure wild" (_Gotham_ [1764], II, 167-169, 172, 212). His satire--with its deliberate, irreverant, "Byronic" run-on lines, fanciful digressions, playful indifference to formal structure, impulsively involuted syntax, long, wandering sentences--seems to move, as does Robert Lloyd's satire (at a somewhat slower pace), toward a genuinely new style. In being chatty, fluid, iconoclastic, spontaneous-sounding, self-revealing, his satire might eventually prove capable of dealing with the problems that the Augustan satirists had predicted but did not have to deal with so directly. But both Churchill and Robert Lloyd died before they could develop their styles to the point that they had a new, timely statement to make. Anstey failed to develop beyond the _New Bath Guide_, and his influence proved to be more important on the novel than on verse satire.