The Methodist — Story, Setting & Ideas

The Allegorical Frame and Its Limits

The opening excerpt presents a complete narrative episode: Satan's descent, his pact with Magus, and the physical transformation of the sorcerer's eyes. This self-contained scene functions as a prologue, alerting readers that the poem will operate through personification and moral allegory rather than realistic character study. However, the excerpt does not reveal how this frame connects to the rest of the poem. Readers should note that the allegory may not be sustained throughout; the introduction by Raymond Bentman suggests that Lloyd participates in a 'short-lived revolt against the tyranny of Augustan satire,' which might imply a shift in tone or method later. The devil's speech—'Riches are mine —I will repay / For ev'ry Soul you lead astray'—establishes a clear economic motive for hypocrisy, a theme that may recur.

Satirical Targets: Methodism and Its Critics

The poem's satirical targets are twofold: Methodism itself and the broader culture of religious enthusiasm. The description of Magus's sermons as 'a Map of Hell' filled with 'Gulphs of Brimstone' and 'Eternal Torments' parodies the fire-and-brimstone preaching associated with early Methodist revivalists. Yet the satire also extends to the credulity of followers: 'Virgins he will seduce astray, / Only to shew the shortest Way / To Heaven.' The line 'Preaching his Hearers from their Senses' suggests that Methodism is a form of irrational manipulation. Notably, the poem does not engage with Methodist theology in detail; instead, it focuses on outward behaviors—emotional excess, sexual innuendo, and disruption of domestic peace. Readers should consider whether the poem critiques specific historical figures or remains a general attack.

Stylistic Choices: Couplets, Colloquialism, and Comic Effect

Lloyd's verse is notable for its colloquial energy. The couplets are often end-stopped, but he uses irregular rhythms and exclamations ('strange to tell!') to create a conversational, almost racy tone. The devil's speech includes phrases like 'Bless'd his good Luck, and grinn'd aghast,' which blend high and low diction. The description of Magus's eyes—'Twinkled with signs of Joy, one flies / Upward, and t'other down, like Scales'—is visually comic, reminiscent of Restoration stage satire. The poem also employs catalogues ('Each Meeting , Dungeon , Court , and Jail') and hyperbolic lists ('A thousand scorching Words beside') to build momentum. These techniques suggest that Lloyd is less interested in sustained argument than in energetic mockery. Readers should watch for shifts in pace and whether the comic tone persists throughout.

The Role of the Introduction by Raymond Bentman

The Project Gutenberg edition includes a substantial introduction by Raymond Bentman, which provides historical context and critical assessment. Bentman notes that Lloyd's works are 'now little-known' and that The Methodist is 'usually included in surveys of anti-Methodist literature.' He argues that the poem 'participates in a short-lived revolt against the tyranny of Augustan satire' and shows 'evidence of a talent that might have created a new style for formal verse satire.' This framing encourages readers to view the poem not merely as a period piece but as an experiment in satirical form. However, the introduction's claims should be tested against the poem itself. Readers may wish to compare Lloyd's couplets with those of Pope or Churchill to assess Bentman's argument about stylistic innovation.

As you read The Methodist, pay attention to how the allegorical frame introduced in the opening interacts with the satirical vignettes that follow. The poem's brevity—under 15,000 words—makes it possible to read in a single sitting, allowing you to track the development of its central metaphor. Consider whether Lloyd maintains the devil's pact as a structuring device or allows it to fade into the background. The introduction by Raymond Bentman offers a useful critical lens, but the poem's value lies in its specific, often surprising verbal play.

Reading the notes on Evan Lloyd’s satirical poem, I remembered sitting with my grandfather’s old leather Bible, tracing the margins where he’d penciled quiet doubts. That same hush came over me with The Song of Hugh Glass — A Reader’s Guide, where survival isn’t heroic but simply a slow, patient listening. Both books felt less like stories and more like weather I had to sit through.