Evan Lloyd's first satire, _The Powers of the Pen_, is a clever but ordinary satire on good and bad writing. It has some historical interest as an example of the early influence of Rousseau in England, of part of the attack on Samuel Johnson for his adverse criticism of Shakespeare, of the influence of Churchill (Lloyd declared himself a disciple), and of the expression of the fashionable interest in artlessness which was influenced as much by Joseph Warton as by Rousseau. In a "quill shop" the narrator discovers magic pens which write like various authors. The one whose "Mate was purchas'd by Rousseau" can: Teach the Passions how to grow With native Vigour; unconfined By those vile Shackles, which the Mind Wears in the _School of Art_.... Yet will no _Heresies_ admit, To gratify the _Pride of Wit_ (p. 30). He advances these critical dicta elsewhere in this satire, condemning Johnson because he tries "Nature" by "_Critic-law_" (p. 21). With fashionable Rousseauistic ideas he praises: The _Muse_, who never lov'd the Town, Ne'er flaunted in brocaded Gown; Pleas'd thro' the hawthorn'd Vale to roam, Or sing her artless Strain at Home, Bred in plain Nature's simple Rules, Far from the Foppery of Schools (p. 36). Evan Lloyd, Robert Lloyd, and Churchill, starting from somewhat different philosophic principles, all arrive at similar positions. _The Curate_, his second satire, is largely autobiographical. It shows, as does _The Powers of the Pen_, some clever turns of phrases, pithy expressions, and amusing images. It also contains incisive criticism of corruption in the Church, of declining respect for Christianity, and, what seems to Lloyd almost the same thing, of a collapsing class structure. The Church wardens, "uncivil and unbred! / Unlick'd, untaught, un-all-things--but unfed!" are "but sweepers of the pews, / The _Scullions of the Church_, they dare abuse, / And rudely treat their betters" (pp. 16-17). They show a lack of proper respect both for class-structure and Christianity: _Servant to Christ!_ and what is that to me? I keep a servant too, as well as He (p. 17). But _The Curate_ frequently descends to a whine. The curate is morally above reproach while those above him are arrogant and those below him are disrespectful. The most serious problem with _The Curate_, however, is the same as the problem with all of Lloyd's satires except _The Methodist_, and the same as the problem with almost all satires between Pope and Burns or Blake. The satirist seems unwilling to probe, to find out what are the political, ethical, psychological, or aesthetic forces that cause the problems which the satirist condemns, and to recommend what can be done to change these forces. If the satirist notes any pattern at all, it is one of ineffective, unmoving abstraction and generality.