In the eighteenth century a preference for Juvenal as a satirist eventually replaced the normal Augustan preference for Horace. But the post-Augustan image of Juvenal was selective and sometimes inaccurate. Critics emphasized his sublimity, his occasional pathos, and his supposedly rational piety, while ignoring his obscenity, wit, and rhetorical control. There are near parallels in post-Augustan satiric practice. In William Gifford, satire becomes invective; in Charles Churchill, declamation. The new satire borders on Richardsonian and even Gothic melodrama. Or, at the other extreme, it is pseudo-Horatian and almost at the vanishing point (Christopher Anstey's New Bath Guide). The mock-heroic dwindles into burlesque (Peter Pindar's The Lousiad). The breakdown of the Augustan equilibrium means, in satire, a progressive failure of irony and especially of ironic diminution. Churchill's Dedication to Warburton is an important exception. It uses the new image of Juvenal in the service of mock-panegyric and enforces the Augustan satirist's traditional view of evil as privation.