The entire Augustan age's poetry was dominated by Alexander Pope. Since Pope began publishing when very young and continued to the end of his life, his poetry is a reference point in any discussion of the 1710s, 1720s, 1730s, or even 1740s. Furthermore, Pope's abilities were recognized early in his career, so contemporaries acknowledged his superiority, for the most part. Indeed, seldom has a poet been as publicly acknowledged as a leader for as long as was Pope, and, unlike the case with figures such as John Dryden or William Wordsworth, a second generation did not emerge to eclipse his position. From a technical point of view, few poets have ever approached Alexander Pope's perfection at the iambic pentameter closed couplet ("heroic verse"), and his lines were repeated often enough to lend quite a few clichés and proverbs to modern English usage. However, if Pope had few rivals, he had many enemies. His technical perfection did not shelter him from political, philosophical, or religious opponents, and Pope himself was quarrelsome in print. His very technical superiority led Pope to injudicious improvements in his editing and translation of other authors. However, Pope and his enemies (often called "the Dunces" because of Pope's successful satirizing of them in The Dunciad of 1727 and 1738) fought over central matters of the proper subject matter for poetry and the proper pose of the poetic voice, and the excesses and missteps, as much as the achievements, of both sides demonstrated the stakes of the battle.
    The Pope/Philips debate occurred in 1709 when Alexander Pope published his Pastorals. Pope's Pastorals were of the four seasons. When they appeared, Thomas Tickell, a member of the "Little Senate" of Addison's (see above) at Button's Coffee-shop, wrote an evaluation in Guardian that praised Ambrose Philips's pastorals above Pope's. Pope replied by writing in Guardian with a mock praise of Philips's Patorals that heaped scorn on them. Pope quoted Philips's worst lines, mocked his execution, and delighted in pointing out his empty lines. Philips responded by putting a staff in the floor of Button's with which to beat Pope, should he appear. In 1717, Pope explained his theory of the pastoral in the Discourse on Pastoral Poetry. He argued that any depictions of shepherds and their mistresses in the pastoral must not be updated shepherds, that they must be icons of the Golden Age: “we are not to describe our shepherds as shepherds at this day really are, but as they may be conceived then to have been, when the best of men followed the employment" (Gordon). Philips's Pastorals were not particularly awful poems, but they did reflect his desire to "update" the pastoral.

In 1724, Philips would update poetry again by writing a series of odes dedicated to "all ages and characters, from Walpole, the steerer of the realm, to Miss Pulteney in the nursery." To do so, he shortened his line length to 3.5', or almost half a normal iambic pentameter line. Henry Carey was one of the best at satirizing these poems, and his Namby Pamby became a hugely successful obliteration of Philips and Philips's endeavor. What is notable about Philips against Pope, however, is not so much the particular poems and their answers as the fact that both poets were adapting the pastoral and the ode, both altering it. Pope's insistence upon a Golden Age pastoral no less than Philips's desire to update it meant making a political statement. While it is easy to see in Ambrose Philips an effort at modernist triumph, it is no less the case that Pope's artificially restricted pastoral was a statement of what the ideal (based on an older Feudal arrangement) should be.

Portrait of John Gay from Samuel Johnson's Lives of the English Poets, the 1779 edition. Gay's gentle satire was a contrast with the harsher Pope and Swift.

The Scribbleran Club wrote poetry as well as prose, and the club included among its number John Gay, who was not only a friend and collaborator of Pope's, but also one of the major voices of the era. John Gay, like Pope, adapted the pastoral. Gay, working at Pope's suggestion, wrote a parody of the updated pastoral in The Shepherd's Week. He also imitated the satires of Juvenalwith his Trivia. In 1728, his The Beggar's Opera was an enormous success, running for an unheard-of eighty performances. All of these works have in common a gesture of compassion. InTrivia, Gay writes as if commisserating with those who live in London and are menaced by falling masonry and bedpan slops, and The Shepherd's Week features great detail of the follies of everyday life and eccentric character. Even The Beggar's Opera, which is a clear satire of Robert Walpole, portrays its characters with compassion. The villains have pathetic songs in their own right and are acting out of exigency rather than boundless evil. Gay's tone is almost the opposite of Jonathan Swift's. Swift famously said that he hated mankind but loved individual humans, and Gay's poetry shows a love of mankind and a gentle mocking of overly serious or pretentious individuals.

Old style poetic parody involved imitation of the style of an author for the purposes of providing amusement, but not for the purpose of ridicule. The person imitated was not satirized. Ambrose Philips's idea was of adapting and updating the pastoral to represent a contemporary lyric (i.e. to make it a form for housing the personal love complaints of modern shepherds), where individual personalities would be expressed, and this desire to move from the universal, typical, and idealized shepherd to the real, actual, and individual shepherd was the heart of the debate. Prior to Ambrose Philips, John Philips, whose The Splendid Shilling of 1701 was an imitation of John Milton's blank verse for a discussion of the miseries of poverty, was championed by Addison's Kit-Kats. The Splendid Shilling, like Pope's poetry and the other poetry by the "Tory Wits," is a statement of the social man. The shilling, the poverty, and the complaint are all posited in terms of the man in London, the man in society and conviviality, and not the man as a particular individual or with idiosyncrasies. It was a poem wholly consonant with the poetry of the Scribblerians. After Ambrose Philips, though, poets would begin to speak of peculiarities and actualities, rather than ideals. It is a debate and a poetic tension that would remain all the way to Samuel Johnson's discussion of the "streaks of the tulip" in the last part of the century (Rasselas).