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This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online atwww.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.
Title: Poetical Ingenuities and EccentricitiesEditor: William T. DobsonRelease date: July 1, 2012 [eBook #40124]Most recently updated: October 23, 2024Language: EnglishCredits: Produced by Bryan Ness and the Online DistributedProofreading Team at http://www.pgdp.net (This file wasproduced from images generously made available by TheInternet Archive/American Libraries.)
Title: Poetical Ingenuities and Eccentricities
Editor: William T. Dobson
Editor: William T. Dobson
Release date: July 1, 2012 [eBook #40124]Most recently updated: October 23, 2024
Language: English
Credits: Produced by Bryan Ness and the Online DistributedProofreading Team at http://www.pgdp.net (This file wasproduced from images generously made available by TheInternet Archive/American Libraries.)
*** START OF THE PROJECT GUTENBERG EBOOK POETICAL INGENUITIES AND ECCENTRICITIES ***
Post 8vo, cloth limp, 2s. 6d. per volume.THE MAYFAIR LIBRARY.THE NEW REPUBLIC. ByW. H. Mallock.THE NEW PAUL AND VIRGINIA. ByW. H. Mallock.THE TRUE HISTORY OF JOSHUA DAVIDSON. ByE. Lynn Linton.OLD STORIES RE-TOLD. ByWalter Thornbury.PUNIANA. By the Hon.Hugh Rowley.MORE PUNIANA. By the Hon.Hugh Rowley.THOREAU: HIS LIFE AND AIMS. ByH. A. Page.BY STREAM AND SEA. ByWilliam Senior.JEUX D’ESPRIT. Collected and Edited byHenry S. Leigh.GASTRONOMY AS A FINE ART. ByBrillat-Savarin.THE MUSES OF MAYFAIR. Edited byH. Cholmondeley Pennel.PUCK ON PEGASUS. ByH. Cholmondeley Pennel.ORIGINAL PLAYS byW. S. Gilbert.First Series.Containing—The Wicked World, Pygmalion and Galatea, Charity, The Princess, The Palace of Truth, Trial by Jury.ORIGINAL PLAYS byW. S. Gilbert.Second Series.Containing—Broken Hearts, Engaged, Sweethearts, Dan’l Druce, Gretchen, Tom Cobb, The Sorcerer, H.M.S. Pinafore, The Pirates of Penzance.CAROLS OF COCKAYNE. ByHenry S. Leigh.LITERARY FRIVOLITIES, FANCIES, FOLLIES, AND FROLICS. ByW. T. Dobson.PENCIL AND PALETTE. ByRobert Kempt.THE BOOK OF CLERICAL ANECDOTES. ByJacob Larwood.THE SPEECHES OF CHARLES DICKENS.THE CUPBOARD PAPERS. ByFin-Bec.QUIPS AND QUIDDITIES. Selected byW. Davenport Adams.MELANCHOLY ANATOMISED: a Popular Abridgment of “Burton’s Anatomy of Melancholy.”THE AGONY COLUMN OF “THE TIMES,”FROM 1800 TO 1870. Edited byAlice Clay.PASTIMES AND PLAYERS. ByRobert MacGregor.CURIOSITIES OF CRITICISM. ByHenry J. Jennings.THE PHILOSOPHY OF HANDWRITING. ByDon Felix de Salamanca.LATTER-DAY LYRICS. Edited byW. Davenport Adams.BALZAC’S COMÉDIE HUMAINE AND ITS AUTHOR. With Translations byH. H. Walker.LEAVES FROM A NATURALIST’S NOTE-BOOK. ByAndrew Wilson, F.R.S.E.THE AUTOCRAT OF THE BREAKFAST-TABLE. ByOliver Wendell Holmes. Illustrated byJ. G. Thomson.⁂Other Volumes are in preparation.CHATTO AND WINDUS, PICCADILLY, W.
Post 8vo, cloth limp, 2s. 6d. per volume.
THE MAYFAIR LIBRARY.
THE NEW REPUBLIC. ByW. H. Mallock.
THE NEW PAUL AND VIRGINIA. ByW. H. Mallock.
THE TRUE HISTORY OF JOSHUA DAVIDSON. ByE. Lynn Linton.
OLD STORIES RE-TOLD. ByWalter Thornbury.
PUNIANA. By the Hon.Hugh Rowley.
MORE PUNIANA. By the Hon.Hugh Rowley.
THOREAU: HIS LIFE AND AIMS. ByH. A. Page.
BY STREAM AND SEA. ByWilliam Senior.
JEUX D’ESPRIT. Collected and Edited byHenry S. Leigh.
GASTRONOMY AS A FINE ART. ByBrillat-Savarin.
THE MUSES OF MAYFAIR. Edited byH. Cholmondeley Pennel.
PUCK ON PEGASUS. ByH. Cholmondeley Pennel.
ORIGINAL PLAYS byW. S. Gilbert.First Series.Containing—The Wicked World, Pygmalion and Galatea, Charity, The Princess, The Palace of Truth, Trial by Jury.
ORIGINAL PLAYS byW. S. Gilbert.Second Series.Containing—Broken Hearts, Engaged, Sweethearts, Dan’l Druce, Gretchen, Tom Cobb, The Sorcerer, H.M.S. Pinafore, The Pirates of Penzance.
CAROLS OF COCKAYNE. ByHenry S. Leigh.
LITERARY FRIVOLITIES, FANCIES, FOLLIES, AND FROLICS. ByW. T. Dobson.
PENCIL AND PALETTE. ByRobert Kempt.
THE BOOK OF CLERICAL ANECDOTES. ByJacob Larwood.
THE SPEECHES OF CHARLES DICKENS.
THE CUPBOARD PAPERS. ByFin-Bec.
QUIPS AND QUIDDITIES. Selected byW. Davenport Adams.
MELANCHOLY ANATOMISED: a Popular Abridgment of “Burton’s Anatomy of Melancholy.”
THE AGONY COLUMN OF “THE TIMES,”FROM 1800 TO 1870. Edited byAlice Clay.
PASTIMES AND PLAYERS. ByRobert MacGregor.
CURIOSITIES OF CRITICISM. ByHenry J. Jennings.
THE PHILOSOPHY OF HANDWRITING. ByDon Felix de Salamanca.
LATTER-DAY LYRICS. Edited byW. Davenport Adams.
BALZAC’S COMÉDIE HUMAINE AND ITS AUTHOR. With Translations byH. H. Walker.
LEAVES FROM A NATURALIST’S NOTE-BOOK. ByAndrew Wilson, F.R.S.E.
THE AUTOCRAT OF THE BREAKFAST-TABLE. ByOliver Wendell Holmes. Illustrated byJ. G. Thomson.
⁂Other Volumes are in preparation.
CHATTO AND WINDUS, PICCADILLY, W.
POETICAL INGENUITIES
AND
ECCENTRICITIES
SELECTED AND EDITED BYWILLIAM T. DOBSONAUTHOR OF “LITERARY FRIVOLITIES,” ETC.
LondonCHATTO AND WINDUS, PICCADILLY1882[All rights reserved]
Thefavourable reception of “Literary Frivolities” by the Press has led to the preparation of this work as a Sequel, in which the only sin so far charged against the “Frivolities”—that of omission—will be found fully atoned for.
Those curious in regard to the historical and literary accounts of several of the various phases of composition exemplified in this work, will find these fully enough noticed in “Literary Frivolities,” in which none of the examples were strictly original, and had been gathered from many outlying corners of the world of literature. In the present work, however, will be found a number of pieces which have not hitherto been “glorified in type,” and these have been furnished by various literary gentlemen, among whom may be named ProfessorE. H. Palmer and J. Appleton Morgan, LL.D., of New York. Assistance in “things both new and old” has also been given by Charles G. Leland, Esq. (Hans Breitmann), W. Bence Jones, Esq., J. F. Huntingdon, Esq. (Cambridge, U.S.); whilst particular thanks are due to Mr. Lewis Carroll for a kindly and courteous permission to quote from his works.
With regard to a few of the extracts, the difficulty of finding their authors has been a bar to requesting permission to use them; but in every case endeavour has been made to acknowledge the source whence they are derived.
CONTENTS.
POETICAL INGENUITIESANDECCENTRICITIES.
Parody is the name generally given to a humorous or burlesque imitation of a serious poem or song, of which it so far preserves the style and words of the original as that the latter may be easily recognised; it also may be said to consist in the application of high-sounding poetry to familiar objects, should be confined within narrow limits, and only adapted to light and momentary occasions. Though by no means the highest kind of literary composition, and generally used to ridicule the poets, still many might think their reputation increased rather than diminished by the involuntary applause of imitators and parodists, and have no objection that theirworks afford the public double amusement—first in the original, and afterwards in the travesty, though the parodist may not always be intellectually up to the level of his prototype. Parodies are best, however, when short and striking—when they produce mirth by the happy imitation of some popular passage, or when they mix instruction with amusement, by showing up some latent absurdity or developing the disguises of bad taste.
The invention of this humoristic style of composition has been attributed to the Greeks, from whose language the name itself is derived (para, beside;ode, a song); the first to use it being supposed to be Hegemon of Thasos, who flourished during the Peloponnesian War; by others the credit of the invention is given to Hipponax, who in his picture of a glutton, parodies Homer’s description of the feats of Achilles in fighting with his hero in eating. This work begins as follows:
The Battle of the Frogs and Mice (The “Batrachomyomachia”), also a happy specimen of the parody is said to be a travesty of Homer’s“Iliad,” and numerous examples will be found in the comedies of Aristophanes. Among the Romans this form of literary composition made its appearance at the period of the Decline, and all the power of Nero could not prevent Persius from parodying his verses. The French among modern nations have been much given to it, whilst in the English language there are many examples, one of the earliest being the parodying of Milton by John Philips, one of the most artificial poets of his age (1676-1708). He was an avowed imitator of Milton, and certainly evinced considerable talent in his peculiar line. Philips wrote in blank verse a poem on the victory of Blenheim, and another on Cider, the latter in imitation of the Georgics. His best work, however, is that from which there follows a quotation, a parody on “Paradise Lost,” considered by Steele to be the best burlesque poem extant.
The Splendid Shilling.
Perhaps the best English examples of the true parody—the above being more of an imitation—are to be found in the “Rejected Addresses” of the brothers James and Horace Smith. This work owed its origin to the reopening of Drury Lane Theatre in 1812, after its destruction by fire. The managers, in the true spirit of tradesmen, issued an advertisement calling for Addresses, one of which should be spoken on the opening night. Forty-three were sent in for competition. Overwhelmed by the amount of talent thus placed at their disposal, the managers summarily rejected the whole, and placed themselves under the care of Lord Byron, whose composition, after all, was thought by some to be, if not unworthy, at least ill-suited for the occasion. Mr. Ward, the secretary of the Theatre, having casually started the idea of publishing a series of “Rejected Addresses,” composed by the most popular authors of the day, the brothers Smith eagerly adopted the suggestion, and in six weeks the volume was published, and received by the public with enthusiastic delight. They were principally humorous imitations ofeminent authors, and Lord Jeffrey said of them in theEdinburgh Review: “I take them indeed to be the very best imitations (and often of difficult originals) that ever were made; and, considering their great extent and variety, to indicate a talent to which I do not know where to look for a parallel. Some few of them descend to the level of parodies; but by far the greater part are of a much higher description.” The one which follows is in imitation of Crabbe, and was written by James Smith, and Jeffrey thought it “the best piece in the collection. It is an exquisite and masterly imitation, not only of the peculiar style, but of the taste, temper, and manner of description of that most original author.” Crabbe himself said regarding it, that it “was admirably done.”
The Theatre.
From the same work is taken this parody on a beautiful passage in Southey’s “Kehama:”
The brothers Smith reproduced Byron in the familiar “Childe Harold” stanza, both in style and thought:
Moore, also, was imitated in the same way, as in these verses:
From the parody on Sir Walter Scott, it is difficult to select, being all good; calling from Scott himself the remark, “I must have done this myself, though I forget on what occasion.”
A Tale of Drury Lane.
BY W. S.
Canning and Frere, the two chief writers in the “Anti-Jacobin,” had great merit as writers of parody. There is hardly a better one to be found than the following on Southey’s verses regarding Henry Martin the Regicide, the fun of which is readily apparent even to those who do not know the original:
Inscription
(For the door of the cell in Newgate where Mrs. Brownrigg,the Prentice-cide, was confined previous to her execution).
The following felicitous parody on Wolfe’s “Lines on the Burial of Sir John Moore” is taken from Thomas Hood:
Mr. Barham has also left us a parody on the same lines:
In the examples which follow, the selection has been made on the principle of giving only those of which the prototypes are well known and will be easily recognised, and here is another of Hood’s, written on a popular ballad:
Here is another upon an old favourite song:
The Bandit’s Fate.
Goldsmith’s “When lovely woman stoops to folly,” has been thus parodied by Shirley Brooks:
Examples like these are numerous, and may be found in the “Bon Gaultier Ballads” of Theodore Martin and Professor Aytoun; “The Ingoldsby Legends” of Barham; and the works of Lewis Carroll.
One of the “Bon Gaultier” travesties was on Macaulay, and was called “The Laureate’s Journey;” of which these two verses are part:
It is necessary, however, to confine our quotations within reasonable limits, and a few from the modern writers must suffice. The next is by Henry S. Leigh, one of the best living writers of burlesque verse.
Only Seven.[2]
(A PASTORAL STORY, AFTER WORDSWORTH.)
Mr. Swinburne’s alliterative style lays him particularly open to the skilful parodist, and he has been well imitated by Mr. Mortimer Collins, who, perhaps, is as well known as novelist as poet. The following example is entitled
“If.”
The next instance, by the same author, is another good imitation of Mr. Swinburne’s style. It is a recipe for
Salad.
The “Shootover Papers,” by members of the Oxford University, contains this parody, written upon the “Procuratores,” a kind of university police:
In the same book a certain school of poets has been hit at in the following lines:
The “Diversions of the Echo Club,” by Bayard Taylor, contains many parodies, principally upon American poets, and gives this admirable rendering of Edgar A. Poe’s style:
The Promissory Note.
Bret Harte also has given a good imitation of Poe’s style in “The Willows,” from which there follows an extract:
Mr. Calverley is perhaps one of the best of the later parodists, and he hits off Tennyson, Mrs. Browning, Coventry Patmore, and others most inimitably. We give a couple of verses from one, a parody of his upon a well-known lyric of Tennyson’s, and few we think after perusing it would be able to read “The Brook” without its murmur being associated with the wandering tinker:
Mr. Tennyson’s “Home they brought her warriordead,” has likewise been differently travestied by various writers. One of these by Mr. Sawyer is given here:
The Recognition.
“The May-Queen” has also suffered in some verses called “The Biter Bit,” of which these are the last four lines:
Mr. Calverley has imitated well also the old ballad style, as in this one, of which we give the opening verses:
The following imitation of the old ballad form is by Mr. Lewis Carroll, who has written many capital versions of different poems:
Ye Carpette Knyghte.
In “Alice in Wonderland,”[4]by the same gentleman, there is this new version of an old nursery ditty:
Mr. Carroll’s adaptation of “You are old, Father William,” is one of the best of its class, and here are two verses:
Mr. H. Cholmondeley-Pennell in “Puck on Pegasus” gives some good examples, such as that on the “Hiawatha” of Longfellow, the “Song of In-the-Water,” and also that on Southey’s “How the Waters come down at Lodore,” the parody being called “How the Daughters come down at Dunoon,” of which these are the concluding lines:
“Twas ever thus,” the well-known lines of Moore, has also been travestied by Mr. H. C. Pennell:
Moore’s lines have evidently been tempting to the parodists, for Mr. Calverley and Mr. H. S. Leigh have also written versions: Mr. Leigh’s begins thus—
Shakespeare’s soliloquy in Hamlet has been frequently selected as a subject for parody; the first we give being the work of Mr. F. C. Burnand in “Happy Thoughts”:
Cremation.