By the period we are examining, the terms “Juvenalian” and “Horatian” had come to mean more than the works by those Roman poets alone would signify. Juvenalian satire, akin to a tragic mode, is meant to induce fear and is uncompromisingly harsh and moralistic. Horatian satire, more attuned to the comic, aims at laughter or amusement, its poetic speaker being presented as mild, amicable, almost conciliatory. Critics in recent decades have argued convincingly that in the late eighteenth century satirists became more polarized in their methods, Howard Weinbrot going so far as to speak of a “dissociation of satiric sensibility” that occurred after Pope's successful fusion of Juvenalian and Horatian writing. W. B. Carnochan identifies the two extremes of later eighteenth-century satire as ‘[t]he pseudo-Juvenalian styles of [William] Gifford and [Charles] Churchill’ and “the more hypothetical satire-as-melodrama” exemplified by William Combe's The Justification (1777), on the one hand, and “amiable and pseudo-Horatian” writing like Christopher Anstey's New Bath Guide (1766), on the other.