PARODIES

OF THE WORKS OF

ENGLISH and AMERICAN AUTHORS,

COLLECTED AND ANNOTATED BY

WALTER HAMILTON,

Fellow of the Royal Geographical and Royal Historical Societies;
Author of “A History of National Anthems and Patriotic Songs,” “A Memoir of George Cruikshank”
“The Poets Laureate of England,” “The Æsthetic Movement in England,” etc.

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“We maintain that, far from converting virtue into a paradox, and degrading truth by ridicule, Parody will only strike at what is chimerical and false; it is not a piece of buffoonery so much as a critical exposition. What do we parody but the absurdities of writers, who frequently make their heroes act against nature, common-sense, and truth? After all, it is the public, not we, who are the authors of these Parodies.”

D’Israeli’s Curiosities of Literature.

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VOLUME III.

CONTAINING PARODIES OF

LORD BYRON. SCOTCH SONGS.

SIR WALTER SCOTT. ROBERT SOUTHEY.

CHARLES KINGSLEY. THOMAS CAMPBELL.

THE POETRY OF THE ANTI-JACOBIN.

Miss C. FANSHAWE. THOMAS MOORE.

A. C. SWINBURNE. ROBERT BURNS.

Mrs. FELICIA HEMANS. OLIVER GOLDSMITH.

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REEVES & TURNER, 196, STRAND, LONDON, W.C.
1886.

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BROWN & DAVENPORT, 40, SUN STREET, FINSBURY, LONDON, E.C.

i

INDEX.

The authors of the original poems are arranged in alphabetical order; the titles of the original poems are printed in small capitals, followed by the Parodies, the authors of which are named, in italics, wherever possible.

A Chapter on Parodies
By Isaac D’Israeli	1
——:o:——
The Poetry of the “Anti-Jacobin.”
A List of Parodies contained in “The Anti-Jacobin”	181
La Sainte Guillotine, Song; The Progress of Man, after Mr. R. Payne Knight; Chevy Chase; The Loves of the Triangles, after Dr. Darwin; Brissot’s Ghost, after Glover’s Ballad; Ode to Jacobinism, after Gray’s Hymn to Adversity; The Jacobin, after Southey’s Sapphics; Ode to a Jacobin, after Suckling.
The Rovers — George Canning	181
The University of Gottingen	182
A New Gottingen Ballad, Morning Herald, 1802	182
The Constitutional Association, William Hone	183
The University we’ve got in town, R. H. Barham	183
The Universal Penny Postage, 1840	184
The Humorous M.P. for Nottingham, Fun, 1867	185
The Union Oxoniensis, the Shotover Papers	185
The Oxford Installation Ode, Diogenes, 1853	186
The Universal Prayer of Paddington, Punch, 1882	186
The University at Nottingham, Punch 1882	186
The Hor-Ticultural Society (Cambridge, 1830)	280
——:o:——
Robert Burns.
Bruce’s Address to his Army —
“Scots, wha hae wi’ Wallace bled.” 1793	48
“Gulls who’ve heard what Hobhouse said”	49
“Britons who have often bled!”	49
“Folks who’ve oft at Dolby’s fed!” The Fancy	49
“Whigs! who have with Michael dined!”	49
“Whigs whom Fox and Petty led,” John Bull, 1823	49
“Scots, wha hae the duties paid,” Robert Gilfillan	50
“Cooks, who’d roast a sucking-pig,” Punch	50
“Bunn! wha hae wi’ Wallace sped,” The Man in the Moon	50
“Jews — as every one has read,” The Puppet Show, 1848	51
“Guards! who at Smolensko fled,” W. E. Aytoun	51
“Britons! at your country’s call”	51
Wing-Kee-Fum’s address to the Patriot Army, Diogenes, 1853	51
“Travellers, who’ve so oft been bled,” Diogenes	52
“Ye, whose chins have often bled,” Diogenes	52
“Serfs, wha hae wi’ Kut’soff bled!” Diogenes	52
“A’ wha hae wi’ Russell sped,” W. Lothian	52
“Scots! wha are on oatmeal fed,” They are Five,	53
“Scott, wha ha’ your Jumbo fed,” Punch, 1882,	53
“Friends, by Whig retrenchment bled,” Poetry for the Poor, 1884	53
“Men by wise example led,” Songs for Liberal Electors, 1885	53
“Scots! although in New York bred,” Funny Folks, 1877	67
“Scots, wha won’t for Wallace bleed,” Shirley Brooks, 1865	107
Address to the De’il—
Address to the G. O. M., Moonshine, 1885	106
John Anderson, my Jo	54
“Jane Barnaby, my dear Jane,” John Jones, 1831	54
“George Anderson, my Geo., George,” Punch	55
“My bonny Meg, my Jo, Meg”	55
“When Nature first began, Jean”	55
“Joe Chamberlain, my Jo, John,” Punch, 1886	55
“John Alcohol, my foe, John,” Home Tidings	107
“Joe Chamberlain, my Joe, Sir,” Punch, 1885	56-69
“John Barleycorn, my foe, John,” Charles F. Adams	69
“Joe Chamberlain, our Joe, lad,” Funny Folks, 1885	69
“Ted Henderson, my Jo, Ted,” Moonshine, 1886	108
For a’ that and a’ that	56
Quoi! Pauvre honnête, baisser la tête, Father Prout	56
“A man’s a man,” says Robert Burns	57
“Dear Freedom! sair they’ve lightlied thee” The Wreath of Freedom. 1820	57
“Success to honest usury.” Diogenes, 1853	57
“More luck to honest poverty,” Shirley Brooks	106
“Is there a lady in all the land?” Once a Week	57
“Is there a Jingo, proud and high?” Punch, 1878	58
“Is there, for princely opulence?” Fun, 1879	58
“Is there, for double U. E. G.?” Funny Folks	58
Sir Arthur Guinness and a Peerage	58
“Is there for Whig and Tory men?” John Stuart Blackie, Alma Mater, 1885	59
Political Parody in Funny Folks, March 14, 1885	67
A new song to an old tune, Sir Walter Scott, 1814	67
To Women of the Period	67
Coming through the Rye	59
“Tak cauler water I”	59
“Gin’ a nursey meet a bobby,” Judy, 1879	60
Parody in Funny Folks, 1879	66
“If a Proctor meet a body,” Lays of Modern Oxford. 1874	106
Duncan Gray	60
“Oor Tam has joined the Templars noo.” Rev. R. S. Bowie	108
“Sam Sumph cam’ here for Greek” John Stuart Blackie, Alma Mater, 1885	60
The Whigs of Auld Lang Syne, Punch, 1865	61
Sir M. Hicks Beach on Auld Acquaintance, Truth	61
“We twa hae dune a little Bill,” Punch, 1848	66
Paraphrase of Auld Lang Syne, Comic Offering	66
Should Gaelic speech be e’er forgot?	107
Green Grow the Rashes	61
Life in Malvern. Malvern Punch, 1865	61
“Hey, for Social Science, O!” Lord Neaves	61
“There’s nought but talk on every han’,” Punch	109
Holy Willie’s Prayer, Newcastle Weekly Chronicle	62
The Fishers’ Welcome, Doubleday. “We twa ha’ fished the Kale sae clear”	63
To Burns, Joseph Blacket, 1811	64
Tam o’ Shanter—
Origin of the Poem	64
The Political Tam o’ Shanter, Punch, 1884	65
“Here’s a Health to Them that’s Awa’	66 ii
“Here’s a health to the ladies at home,” The Mirror, 1828	66
“Willie Brew’d a Peck of Maut,” Punch, 1884	66
“Thus Willie, Rab, and Allan sang”	107
“O, never touch the drunkard’s cup”	108
The Ballad of Sir Tea-Leaf, Punch, 1851	68
My Heart’s in the Highlands	68
“My harts in the Highlands,” Punch, 1856	68
“O, whistle, and I will arrest you, my lad”	68
“Lilt your Johnnie”—A nonsense Parody, George Cruikshank’s Almanac, 1846	69
Justice to Scotland—A nonsense Parody, Shirley Brooks	70
“Greet na mair, ma sonsie lassie,” a Nonsense Parody. Judy, 1884	70
A history of the Burns Festival at the Crystal Palace, January 25, 1859	70
Prize Poem in honour of Burns, Isa Craig	70
Rival Rhymes in honour of Burns, Samuel Lover	70
Gang wi’ me to Lixmaleerie	70
Poems on Burns, William Cadenhead, 1885	71
——:o:——
Lord Byron.
The First Kiss of Love	190
The Maiden I love, P. F. T.,	190
Well! Thou art Happy	190
To Mary. Phœbe Carey’s Poems and Parodies, 1854	191
Maid of Athens, 1810	191
Anticipation in “The Monthly Mirror,” 1799. “I conjure thee to love me, Sophia”	191
Polka mou sas Agapo, Punch, 1844	191
Pay, oh! Pay us what you owe, Punch, 1847	192
Man of Mammon, e’er we part	192
People’s William! do not start, Truth, 1877	193
Maid of Athens! ere we start, Punch, 1878	193
Maid of Clapham! ere I part, Jon Duan	193
Made of Something! ere we part, Free Press Flashes, 1882	193
Made of Something! (Zoedone) Punch, 1880	194
Calf’s Heart, “Maid of all work, as a part,”	194
Madame Rachel! ere we smash, Judy, 1868	194
Unkind Missis! e’er the day, Grins and Groans	194
Maid of Ganges! thou that art, The Etonian, 1884	195
Maid of all work! we must part	195
Joe, my Joseph! ere we part, St. James’s Gazette,	195
I would I were a Careless Child.	195
The old Fogey’s Lament, Funny Folks	196
Napoleon’s Farewell	196
The Bohemian’s Farewell, Worthy a Crown? 1876	196
The spell is broken, Judy 1880	196
War Song of the Radical Philhellene, The Saturday Review, 1886	197
Enigma on the Letter H. (Ascribed to Byron.)
“’Twas whispered in Heaven”	197
“I dwells in the Herth,” Henry Mayhew	197
The Letter H. his petition, and a reply	197
The Petition of the Letter W. to Londoners, and a reply,	198
A Riddle on the letter U	278
Lord Byron’s Address, spoken at the opening of Drury Lane Theatre, October, 1812	198
Cui Bono? from the Rejected Addresses, H. and J. Smith	199
The Genuine Rejected Addresses	201
The Destruction of Sennacherib.
The Assyrian came down like the wolf on the fold	201
The Destruction of the Aldermen, Punch, 1841	201
Sir Robert came down on the Corn Laws so bold,	201
The Russian came down like a thief in the night,	202
The Blizzard came down like a thousand of brick,	202
The Belgravians came down on the Queen in her hold, Jon Duan	202
Miss Pussy jumped down, Don Diego	202
The Diplomats came like a wolf on the fold, Truth	203
The Yankee came down with long Fred on his back, Punch, 1881	203
All the papers came down (on melting the Statue of the Duke of Wellington), Truth	203
The Tories came forth in their pride, Alick Sinclair, The Weekly Dispatch, 1884	203
The Premier came down to the House as of old, C. Renz, The Weekly Dispatch. 1886	203
Great Gladstone came down his new Bill to unfold, F. B. Doveton, 1886	204
“Dan O’Connell came down,” The Spirit of the Age Newspaper, 1828	209
Belasco came down like a bruiser so bold	279
To Thomas Moore—
“My boat is on the Shore”	208
“My cab is at the door.” The National Omnibus	208
“My cab is at the door,” Punch, 1846	208
“My boat has run ashore,” Punch, 1875	208
A Farewell to Jenny Lind, Punch, 1848	210
Childe Harold’s Pilgrimage—
“Adieu, adieu! my native shore”	209
“Adieu, adieu! place once so sure,”	209
“Adoo! adoo! my fav’rite scheme,” Punch, 1846	209
There was a sound of revelry by night	209
There was a sound that ceased not (on the Railway Panic), Our Iron Roads, F. S. Williams	210
Waterloo at Astley’s Theatre, Cruikshank’s Comic Almanack, 1846	210
The Battle of the Opera, Punch 1849	210
There was a sound of orat’ry by night	210
There was a clash of Billiard balls, A. H. Smith	211
Stop; for your tread is on a Poet’s dust! (on Henry Irving as Othello), Figaro, 1876	211
London’s Inferno, Truth, 1884	212
Childe Snobson’s Pilgrimage, Punch, 1842	212
Childe Chappie’s Pilgrimage, by E. J. Milliken	212
Darkness—
“I had a dream, which was not all a dream”	204
“I had a hat—it was not all a hat”	204
“I had a dream” (On Smoking) The Spirit of the Age, 1828	204
’Tis time this Heart should be Unmoved	205
’Tis time that I should be removed, Punch’s Pocket Book, 1856	205
Lord Byron’s Marriage	205
Fare thee Well!
Yes, farewell; farewell for ever	206
And fare Thee well, too—if, for ever	207
Fare thee well! Lyrics and Lays, 1867	207
Mrs. Harriet Beecher Stowe’s Article on Byron	207
The Un-true Story, dedicated to Mrs. Stowe “Know ye the land where the Novelists blurt all,” Walter Parke, Punch and Judy, 1870	208
To Inez. “Nay, smile not at my garments now,” Phœbe Carey	213
“I stood in Venice, on the Bridge of Sighs”	213
Venice Unpreserved, Punch, 1851	214
Practical Venice, Punch, 1882	214
“Roll on thou drunk and dark blue peeler”	214
There is pleasure in a cask of wood, Hugh Cayley	214
Arcades Ambo, C. S. Calverley, Fly Leaves, 1878	214
Beer, C. S. Calverley	215
The Guerilla, James Hogg, The Poetic Mirror	215
The Last Canto of Childe Harold	215
The Giaour— iii
“He who hath bent him o’er the dead”	215
“He that hath gazed upon this head,” The Gownsman, 1830	216
“He that hath bent him o’er a goose,” The Gossip, 1821	216
“He who hath bent him o’er the bed,” Beauty and the Beast, 1843	216
“He that don’t always bend his head, Punch, 1847	216
“He who hath looked with aching head”	216
The Bride of Abydos—
Know ye the Land?	217
Know’st thou the land? Thomas Carlyle	217
Know ye the land where the leaf of the myrtle?	217
Know ye the town of the turkey and turtle?	217
Know ye the house in which Vestris and Nisbett?	217
Know’st thou the land where the kangaroos bound?	217
Know ye the house where the Whigs and the Tories? Punch 1842	217
Where ye the scene where the clerks and the tailors? Punch, 1844	218
Know ye the loss of the beautiful turtles?	218
Know ye the land where the hot toast and muffin?	218
Know ye the town where policemen and navvies?	218
Know ye the stream where the cesspool and sewer?	218
Know’st thou the spot where the venison and turtle? Diogenes, 1853	218
Know ye the Inn where the laurel and Myrtle?	219
Know’st thou the land (of Greece)? Shirley Brooks, 1854	219
Know you the lady who does’nt like turtle? Shirley Brooks, 1856	219
Know ye the land of molasses and rum?	219
Know ye the Hall where the birch and the myrtle?	220
O, know you the land where the cheese tree grows?	220
Know’st thou the land where the hardy green thistle? An Address to Lord Byron	220
Know ye the land where the novelists blurt all? Walter Parke 1870	208
Know ye the place where they press and they hurtle? Jon Duan, 1874	220
Is it where the cabbage grows so fast?	221
Know ye the land of reeds and of rushes?	221
They stood upon his nose’s bridge of size. Lays of Modern Oxford, 1874	221
Prisoner of Chillon.—Snowed up	228
Sublime Tobacco! which from East to West	279
Sublime Potatoes; that from Antrim’s shore	279
Cabul, September, 1879. In imitation of the Siege of Corinth. The World, 1879	221
The Civic Mazeppa, Punch, 1844	221
Mazeppa Travestied. 1820	279
Don Juan—
“Bob Southey! you’re a poet”	222
“Ben Dizzy! you’re a humbug,” Jon Duan	222
The isles of Greece, the isles of Greece	222
The Isle of Eels! the Isle of Eels, Punch, 1844	223
The Smiles of Peace, Shirley Brooks, 1856	223
The Wines of Greece, Punch, 1865	224
The Ills of Greece Punch, 1879	224
The Claims of Greece, G. A. Sala	224
The aisles of Rome, Jon Duan, 1874	224
The Isles decrease, Faust and Phisto, 1876	225
The Claims of Greece, Punch, 1881	225
The Town of Nice, Herman Merivale, 1883	225
The Smiles of Peace, Funny Folks, 1885	225
The Liberal Seats, Pall Mall Gazette, 1886	226
The Fields of Tothill; a Fragment	49
The Childe’s Pilgrimage, W. F. Deacon	226
“Without one lingering look he leaves,” Lays of Modern Oxford. 1874	227
Miscellaneous Parodies of Lord Byron’s Poems	228
Don Juan Unread (1819), Dr. W. Maginn (A Parody of Wordsworth’s “Yarrow Unvisited”)	229
——:o:——
Thomas Campbell.
Lord Ullin’s Daughter	21
Sir Robert’s Bill. Protectionist Parodies	21
John Thompson’s Daughter, Phœbe Carey, 1854	22
Lambeth Ferry	22
The New Lord Ullin’s Daughter	23
“In London when the funds are low,” Coronation Lays, 1831	113
“To London ’ere the sun is low,” Hyde Parker	112
Hohenlinden	23
Bannockburn, Archie Aliquis, 1825	23
The Battle of Peas-Hill, from The Gradus ad Cantabrigiam, 1824	23
Jenny-Linden, Punch, 1847	23
The Bal-Masqué at Crockford’s—The Man in the Moon	25
Row-in-London, The Puppet Show, 1848	25
The Battle of the Boulevard, W. E. Aytoun	25
Hohen-London, Punch, 1851	26
Swindon Station	26
Hotel Swindling, Diogenes, 1853	26
The Battle of Bull-Run	27
“At Seacliff, when the time passed slow,” College Rhymes, 1861, L. E. S	27
“At Belton, ere the twilight grew”	27
“At Oxford when my funds were low,” Lays of Modern Oxford, 1874	27
At Prince’s when the sun is low, 1876	28
The Tay Bridge Disaster, F. B. Doveton, 1880	28
“In Erin where the Praties grow,” J. M. Lowry	28
Hohenlinden, Latin translations of	28
The Tay Bridge Disaster, J. F. Baird	43
”  ”    ”    ”   L. Beck	43
The Lawn Tennis Match, F. B. Doveton	47
The Soldier’s Dream	29
“We were wet as the deuce,” Punch 1853	29
The Boat Race: “We had stripped off our coats,” Lays of Modern Oxford, 1874	29
The Tory Premier’s Dream, Funny Folks, 1880	29
The Fatal Gallopade, The Comic Magazine, 1834	30
Lochiel’s Warning	30
1879, its glory and its shame. Prize Poem. The World. 1880, Goymour Cuthbert
“Old year, old year, I’m glad of the day”	30
“Chieftain, O, Chieftain, lament for the year”	31
“Old women! old women! prepare for the day,” J. H. Wheeler	31
“O, Cecil! O, Cecil! beware of the day,” James Robinson,	31
“O, Salisbury, Salisbury, beware of the day,” Albert Otley	32
“O, Tories! O, Tories! beware of the day”	32
The Student’s Warning, 1838	45
Ye Mariners of England	32
Ye Kite-flyers of Scotland, Thomas Love Peacock	32
Young gentlemen of England, Punch, 1844	33
Ye Peasantry of England, Punch, 1845	33
Ye Constables of London, Puppet Show, 1848	34
Ye Ship builders of England, Punch, 1849	34
Ye Subalterns in England Punch, 1854	34
Ye Clergymen of England, Punch, 1856	35
March, March, Make-rags of Borrowdale, T. L. Peacock	33
You rustic maids of England, Punch, 1857	35 iv
Ye Commoners of England, Echoes from the Clubs, 1867	35
You sneaking Skunks of England, Lyrics and Lays, 1867	35
Ye Gentlemen of Ireland, Punch, 1870	36
Ye Scavengers of England, Punch, 1880	36
Ye Milliners of England, Hugh Cayley, 1883	36
Ye Mariners of England (Torpedo Terrors)	37
Ye Infantry of England, Punch	37
Ye Gentlemen of England, Truth, 1884	37
Ye Mariners of England (and Mr. J. Chamberlain) Funny Folks, 1884	38
”    ”   ”    ”    Punch 1884	38
”    ”   ”    ”    Globe, 1885	39
Ye Radicals of Brumm’gem, 1884	39
Ye Gentlemen of England (Cricket Match)	39
Ye Shopkeepers of London, Truth, 1884	40
Ye Ministers of England, Truth, 1879	40
You faithful Muggletonians,	40
Ye Mariners of England (on Chinese Sailors)	47
The Maid’s Remonstrance—
The Bench of Bishops. James Turner	40
Randolph’s Remonstrance to Sir Stafford. H. L. Brickel	40
Britannia’s Remonstrance. J. A. Elliott	40
Staffy’s Remonstrance. Gossamer	41
The Exile of Erin	41
Parody from Figaro in London, May, 1833	41
Mitchell in Norfolk Island, The Puppet Show, 1848	42
The Ex-premier’s Visit to Erin, 1877	42
Ireland’s Distress, Captain Walford	42
”    ”   Miss E. Chamberlayne	42
The Sorrows of Ireland. Rejected Odes, 181	47
Ye Mariners of England (as sung by Lord Ellenborough), Punch, 1846	110
You Managers of Railways, Punch, 1847	110
Ye Husbandmen of Scotland	110
Ye Liberals of England, Funny Folks, 1880	111
“There came to the beach a poor landlord of Erin,” M. O’Brien. The Irish Fireside, 1886	111
Battle of the Baltic	43
Battle of the Balls. The University Snowdrop.	44
Stanzas on a Late Battle   ”     ”	45
The Burning of the Play House (Covent Garden.) Shirley Brooks	45
“Of Scotia and the North.” Rival Rhymes, 1859	47
The Escape of the Aldermen. Punch, 1845	111
The Last Man—
The Last Growler. Punch, 1885	46
The Last Duke. Punch, 1846	109
The Last Man in Town. Funny Folks, 1878	109
The Massacre of Glenho. Puck on Pegasus	46
The Pleasures of Hope.	47
Campbell, undone and outdone. Joseph G. Dalton	47
Portrait of Campbell. Maclise Portrait Gallery	47
Lines on Campbell. Dr. W. Maginn	47
——:o:——
Miss Catherine Fanshawe.
The Enigma on the Letter H	197
A Parody on the above—Henry Mayhew	197
The Letter H’s Petition and a Reply	197
Petition of the letter W, and reply	198
An Enigma on the letter U. The Gownsman, 1830	278
——:o:——
Dr. Oliver Goldsmith.
When lovely Woman stoops to folly	3
“Lorsqu’une femme,” Ségur	3
“When woman,” as Goldsmith declares, Barham	3
When Harry Brougham turns a Tory. Punch, 1844	3
When lovely woman wants a favour. Phœbe Carey	3
When lovely woman, prone to folly. Punch, 1854	3
When lovely woman stoops. Diogenes, 1853	4
When lovely woman, hooped in folly. Punch, 1857	4
When lovely woman, lump of folly. S. Brooks	4
When managers have stooped to folly. Fun, 1866	4
When lovely woman takes to lollies. Grasshopper.	4
When lovely woman, still a maiden. Kottabos.	4
When lovely woman stoops to fashion.	4
When lovely woman takes to rinking	4
When lovely woman reads Le Follet. Figaro, 1873	4
When foolish man consents to marry	4
When lovely woman, once so jolly	5
When lovely woman finds that breaches	5
When lovely woman’s melancholy. Fun, 1885	5
When lovely woman longs to marry	5
When stupid Odger stoops to folly. Judy	5
When foolish woman stoops to fashion. 1882	5
When man, less faithful than the colley. Judy.	5
If lovely woman seeks to enter. Gossip, 1885	5
When lovely woman pines in folly—1885	5
When lovely woman stoops to Foli	5
When a grave Speaker stoops to folly	17
An Elegy on the death of a Mad Dog	6
An Elegy on Mrs. Mary Blaize	6
Le Fameux la Galisse, by Gilles de Ménage, 1729	6
The Happy Man. The Mirror, 1823	8
Le Chanson de La Palice, by Bernard de la Monnoye	8
John Smith, he was a guardsman bold. The Comic Magazine, 1834	9
There was a man, so legends say. Tom Hood	10
An Elegy on Mrs. Grimes. The Century Magazine	10
Description of an Author’s Bed Chamber	10
The Street Artist. The Month, 1851	10
The Deserted Village	10
The Doomed Village	10
The Deserted Village (London). The Tomahawk	11
London in September. Lord John Russell	12
Innovation. Anthony Pasquin. 1786	18
The Frequented Village. E. Young	19
The Deserted School. James E. Thompson, 1885	19
The Hermit	12
“Gentle Herdsman tell to me”	12
The Friar of Orders Gray	14
The Hermit—a Prophetic Ballad. The St. James’s Gazette, 1881	15
The Hermit of Vauxhall, G. A. à Beckett, 1845	17
Retaliation
The Speaker’s Dinner. Posthumous Parodies	15
Home, sweet Home. H. C. Bunner, 1881	17
The Tears of Genius. Courtney Melmoth, 1774 (Thomas Jackson Pratt)	19
The Vicar of Wakefield, and Olivia. W. G. Wills	19
The Vicar of Wide-a-Wakefield, or the Miss-Terryous Uncle, a burlesque by H. P. Stephens and W. Yardley	19
The Caste of the Burlesque	20
Jupiter and Mercury. David Garrick	20
——:o:—— v
Mrs. F. D. Hemans.
The Stately Homes of England	129
The Donkey-boys of England. Punch, 1849	129
The Garden Grounds of England	130
The Merchant Prince of England. Shirley Brooks	130
The dirty Cabs of London. Punch, 1853	130
The Duns of Merry England. Diogenes, 1853	131
The Barristers of England. Punch, 1853	131
The Compo’d Homes of England. The Figaro	131
The Stately Homes of England. Truth, 1877	132
The Cottage Homes of England. Punch, 1874	132
The Haunted Homes of England. Pall Mall Gazette, 1883	132
The Stately Men of England. Hugh Cayley	132
The Unhealthy Homes of England. Punch, 1884	133
Ye Cottage Homes of England. Truth, 1885	133
The Graves of a Household. The Man in the Moon	138
He never wrote again. Phœbe Carey, 1854	139
Leaves have their Time to Fall.
Fish have their times to bite. College Rhymes	139
Casabianca	133
“Macbeth stood on the new-built Stage” (Mr. Henry Irving as Macbeth.) The Figaro, 1875	134
The Mule stood on the Steamboat Deck”	134
“The boy stood on the back-yard fence”	134
“The dog lay on the butcher’s stoop”	134
“The Peer stood on the burning deck.” Truth, 1884	134
“The girl stewed on the burning deck”	135
“The boy stood by the stable door”	135
The Better Land	135
“I’ve heard thee speak of a good hotel”	136
“I have heard you speak of ‘Three acres of land.’” Edward Walford, M.A. Life, 1885	136
“I hear thee speak of a bit o’ land”	136
“I hear thee speak of a ‘Plot of Land’”	137
An answer to the preceding	137
“I hear thee speak of a Western land”	137
“I hear them speak of a Happy Land.” Fun	138
——:o:——
Charles Kingsley.
“Three Fishers went Sailing away to the West”	117
“Three Merchants went riding.” Punch, 1858	117
“Four Merchants who thought themselves.”	117
The Lasher at Iffley. College Rhymes, 1861.
“Eight coveys went out in their college boat.”	117
“Three mothers sat talking.” Punch, 1861	118
“Three freshmen went loafing.” College Rhymes	118
“Three fellahs went out to a house in the west.”	118
“Three husbands went forth.” Banter, 1867	118
“Three Children were playing.” The Mocking Bird, F. Field, 1868	119
“Three Students sat writing.” The Cantab, 1873	119
“Three gourmands invited were into the West.”	119
“Three ladies went skating.” Idyls of the Rink	119
“Three regiments went sailing away to the East,”	119
“Three practical men went strolling west.”	120
“Three profits had got to come out of the land.”	120
“Three lambkins went larking.” Judy, 1879	120
“Three rascals went ranting round in the West.” Gobo, The World, 1879	120
“Three land agitators went down to the West.”	121
“Three Paddies went spouting away at Gurteen.” F. B. Doveton	121
“Three fishes were floating about in the Sea.”	121
“Three Tories went bravely.” Grins and Groans	121
“There were three pussy cats.” Fun. 1882	121
“Three Fishmongers looked for a sale.” 1883	122
“Three Potters set out all dressed in their best.”	122
“Three Champions went stumping.” Punch 1884	122
“Three Fossils sat perched in the Whitehall Zoo.”	122
“Three fishermen went gaily out into the North.”	122
“Three acres seemed pleasant to Countryman Hodge.” Punch, 1885	123
“Three Farmers went driving up into the town.”	123
“Three Topers went strolling out into the East.” Hyde Parker. 1886	123
“Three Poets went sailing down Boston streets.” Lilian Whiting	123
“Three Filchers went cadging.” The Free Lance	124
“Three Students were walking.” The Lays of the Mocking Sprite	124
“Three Melons went sailing out in the West.”	124
“Three Carpets hung waiving abroad in the breeze.”	124
“Three worthless young fellows went out in the night.”	124
“Three Sports got into a railroad car.”	125
“Three husbands went reeling home out of the West.” Mrs. G. L. Banks	125
“Three young men who never went astray.”	125
“Three Anglers went down to fish Sunbury Weir.” The Angler’s Journal, 1886	139
“Three Freshers went sailing out into the street.”	139
“An Umpire went sallying out into the East.”	140
Three women went sailing out into the street.	279
Three little fishers trudged over the hill. F. H. Stauffer	279
Three cows were seized for tithe rent in the West.	280
Three fishers went fishing out into the sea. H. C. Dodge	280
Ode to the North-East Wind.
“Welcome, wild North-Easter!”	125
The Surgeon’s Wind. Punch, 1857	126
Hang thee, vile North-Easter. Punch, 1858	126
“Welcome, wild North-Easter,” as sung by a Debutante at the last Drawing Room	127
Welcome, English Easter. Fun, 1867	128
Kingsley, and the South-west Trains	128
“I once saw a sweet pretty face.”	128
The Dirdum. A parody of C. Kingsley’s Scotch poem on an Oubit, 1862	129
——:o:——
Thomas Moore.
’Tis the last Rose of Summer	230
’Tis the first rose of Summer, R. Gilfillan	230
Do.    do.    Wiseheart’s Songster	230
’Tis the last man in London. The National Omnibus, 1831	230
I’m the last Rose of Summer, 1832	231
’Tis the last summer bonnet. T. H. Bayly, 1833	231
’Tis the last bit of candle. Wiseheart’s Songster	231
The last lamp of the alley. Dr. Maginn	232
’Tis the last choice Havana	232
’Tis the straw hat of summer	232
’Tis the last of the Fancy. Judy, 1867	232
’Tis the last weed of Hudson’s. J. R. G.	233
’Tis the last little tizzy. The Snob, 1829	233
’Tis the last of the members. Figaro in London	233
’Tis the last fly of summer. Punch’s Pocket Book, 1848	233
He’s the last “Vivâ Voce.” College Rhymes	234
’Tis the last belle of summer. Funny Folks	234
’Tis the last pipe this winter. Funny Folks, 1879	234
’Tis the last jar of pickles	234 vi
He’s the last of his party. R. H. Lawrence	234
’Tis the last baked potato. W. W. Dixon	235
’Tis a prime leg of mutton. Lizzie Griffin	235
’Tis the last rose of Windsor. F. Rawkins	235
’Tis the last blow of a drummer. Hugh Cayley	235
’Tis the last ruse of someone. The Globe, 1886	236
Let Erin remember. Punch. 1885	236
When he who adores thee	236
To a Bottle of old Port. Dr. Maginn	236
When he who adjures thee	236
When he who now bores thee	264
The Harp that once through Tara’s Halls	236
The Puff that once thro’ Colburn’s halls. 1831	237
The Belt which once. Egan’s Book of Sports, 1832	237
The Harp that once in Warren’s Mart. Punch	237
The Broom that once through Sarah’s halls. Judy	237
The Girl that oft in lighted halls, 1869	237
The Voice that once thro’ Senate halls. Funny Folks, 1884	237
Luke Sharpe, who once. Detroit Free Press, 1885	238
The Plate that once through Fashion’s halls	264
Fly not yet, ’tis just the hour. Figaro, 1833	260
Fly not to wine. The Blue Bag, 1832	238
Fly not yet. St. James’s Gazette, 1881	238
Rich and rare were the Gems she wore	238
Rich and furred was the robe he wore, T. Hook	238
Ragged and rough were the clothes she wore	239
Rich and rare were the arms she bore	239
Rough and red was the cloak she wore	239
Quaint and queer were the gems she wore	264
There is not in the wide world	239
There is not in this city an alley so sweet. National Omnibus, 1831	239
There is not in the palace. National Omnibus	239
There’s not in Saint Stephen’s. Figaro in London	239
There is not in all London. Punch, 1842	240
There’s not in the wide world a country so sweet	240
There’s not in the wide world an odour less sweet	240
O, There’s not in the West-end, Punch. 1872	240
There’s not in all London a tavern so gay. G. W. M. Reynolds	240
On Stephen Kemble	240
The Irish welcome	241
The Trifle. Punch, 1852	241
The Bitter cry of outcast London. Two parodies from the Weekly Dispatch, by T. A. Wilson and Aramis	241
The meteing of the waters. Punch, 1884	241
The Thames. B. Saunders. 1884	242
The House of Lords. H. B., 1884	242
There is not to the poet. E. A. Horne, 1884	242
The Heiress. Aramis. 1884	242
The Club Smoking-room. J. Pratt, 1884	242
The Meeting of the Emperors. Moonshine, 1884	243
There’s not in old Ireland. Walter Parke	270
Come, send round the wine. 1825	243
Believe me, if all those endearing young charms	243
Mr. Colburn to Lady Morgan’s Books, 1831	243
On the House of Lords and Reform. Figaro in London, 1831	243
Believe me, dear Susan. Diogenes, 1854	243
To a lady in a crinoline. Punch, 1857	244
John Bull to Paddy, 1867	244
John Bright to his place, 1869	244
To an Ancient Coquette	244
On College Don	244
On Roast pork. F. B. Doveton, 1881	244
On Tory election promises, 1886	244
Oh, blame not the Bard. Fun, 1883	245
Oh! the days are gone when beauty bright. 1869	245
Lesbia hath a beaming eye	245
Peggy hath a squinting eye	245
Lesbia hath a fowl to cook	246
Lesbia’s skirt doth streaming fly. Punch, 1856	246
Lemon is a little hipped. Charles Dickens, 1855	246
This suit is all chequer’d	246
Oh! the Shamrock	247
Oh! the Scarecrows. United Ireland, 1885	247
One more try at parting. Punch’s Almanac, 1883	247
The Young May Moon	248
The Irishman’s serenade	248
The Bladder of whiskey	248
The Cat’s serenade	248
The old March moon. Diogenes, 1854	248
Song of the Signalman, Punch, 1885	248
Defeated Manœuvres	249
The Minstrel Boy	249
Mister Sheil into Kent has gone. W. M. Thackeray	249
The Sailor Boy on a tour is gone. 1832	249
The leary cove to the Mill is gone. 1832	249
The fiddler’s boy to the fair is gone	249
The Koh-i-noor to the wall has gone. Punch, 1851	250
The Cordon Bleu (M. A. Soyer). Punch, 1855	250
The Draper’s man. Punch, 1857	250
The Chinese Boy to the War is gone	250
The Errand Boy. Judy, 1869	250
The Beardless Boy. Punch, 1875	250
The Minstrel Boy in the train. Funny Folks	250
Bradlaugh to protest is gone. S. J. Miott	251
The Warrior Duke (of Cambridge)	251
The Alderman from Guildhall has gone. Judy, 1880	251
The Girton Girl to Exam’ has gone. Funny Folks	251
The Grand old Boy. Punch, 1882	251
The Noble Lord to the stores is gone. Judy, 1882	251
Sir D. V. Gay to the poll is gone. United Ireland	252
Our Bradlaugh boy	252
The ’prentice boy to the street has gone	252
The Grand Young Man. F. B. Doveton	252
The Grand old man to the North has gone. Life	253
The Grand old man. Songs for Liberal electors	253
The Shy Bo-Peep to the sea is gone. A. H. S.	276
The time I’ve lost in “screwing”	253
Come, rest on this gridiron. Punch, 1881	253
To the Finish I went. Dr. W. Maginn	253
I saw up the steps. Lays of the Mocking Sprite	253
I saw from my window. Girl of the Period, 1869	254
Sail on, Sail on, thou Fearless Bark	254
Scale on, scale on, oh! tuneless strummer	254
Thee, thee, only thee	254
Tea, Tea, only Tea. Punch, 1884	254
Oh! Call it by some Better Name	254
Oh, try, good sirs, some better game. 1886. B. Saunders	254
Oh! try some worthier, better game. D. Evans	255
Oh! call it by some better name. J. Fitzpatrick	255
Oh! call it by some fitter name. Gossamer	255
Oh! call him by some stronger name. Robert Puttick	255
I knew by the Smoke that so Gracefully curl’d	255
I knew by the wig that so gracefully curl’d	255
I knew by the post that so gaily display’d. The Mirror, 1823	255 vii
We knew by the string that so gracefully curl’d	256
I saw by the steam that so gracefully curl’d	256
I knew by the smoke that so heavily curl’d	256
To Dizzy, “When time hath bereft thee,” 1867	256
By the Thames to the right, is the flat shore of Erith	256
Had I a shilling left to spare, Bertie Vyse	256
A Canadian Boat Song.
“Faintly as tolls the evening chime”	257
The Cabinet’s Boat Song, 1878	257
“Plainly as tolls disruption’s chime,” 1886	257
Hither, Flora, Queen of Flowers!	257
“Hither, Flora of the street. T. A. Wilson	257
“Hither, Flora, Queen of Flowers.” Aramis	258
”    ”    ”    ”    Thistle	258
When in gaol I shall calm recline	258
When in death I shall quiet be found	258
When in death I shall calm recline. 1832	271
Farewell! but whenever you welcome the hour	259
To Tory hearts a round, boys	259
A nice Devill’d Biscuit. Punch	259
Apple pie. “All new dishes fade.”	259
Those Evening Bells	259
Those Christmas Bills. W. Hone, 1826	259
That Chapel Bell. The Gownsman, 1830	260
My white moustache. Figaro, 1832	260
Those London belles. Miss Bryant	260
Those Ball-room belles. Diogenes, 1853	261
Those Scotch hotels, Diogenes, 1853	261
Those Gresham chimes. Punch, 1853	261
Those Tramway bells. Funny Folks	261
Those Evening bells. Tom Hood	261
Those London Bells. Shirley Brooks, 1855	261
Those Pretty Girls. J. W. W.	261
Those Vatted Rums. Punch, 1855	262
Those evening belles. Pan the Pilgrim	262
That Muffin bell. Punch, 1880	262
The Parcel Post. Judy, 1883	262
Those Evening belles. Moonshine, 1886	262
Oft, in the Stilly Night	262
Oft, o’er my tea and toast. Figaro in London	263
Oft, in his present plight. The Puppet Show, 1848	263
Oft, in the chilly night. Memoirs of a Stomach	263
Oft, on a “silly” night. Funny Folks, 1878	263
Oft, in election’s fight. Truth, 1886	263
Here’s the bower she loved so much	264
Here’s the box that held the snuff	264
Here’s the bottle she loved so much. J. Bruton	264
There’s a bower of roses by Bendemeer’s Stream	264
There’s of benches a row in St. Stephen’s extreme	264
There’s a bower of bean-vines in Benjamin’s yard. Phœbe Carey, 1854	264
One morn a Tory at the gate. Figaro, 1832	265
A Peri at the “Royal” gate. Truth. 1877	265
This week a Peeress at the gate. Truth, 1883	265
One morn Ben Dizzy at the gate	266
Farewell, Farewell to thee, Araby’s daughter	266
Farewell, farewell to thee, desolate Erin!	266
Farewell, farewell to thee, Arabi darling!	266
Begone, begone with thee, son of Shere Ali!	267
Away, away, with the Ameer unlucky!	267
Farewell, farewell to thee, Ireland’s protector!	270
Oh! ever thus, from childhood’s hour	267
I never wrote up “Skates to Sell”	267
I never loved a dear gazelle	268
I never rear’d a young gazelle. H. S. Leigh	268
I never had a piece of toast	268
A Parody by Tom Hood the younger	268
Wus! ever wus! H. Cholmondeley-Pennell	268
’Twas ever thus! C. S. Calverley	268
I never bought a young Gazelle	269
The young Gazelle, a Moore-ish tale. Walter Parke	269
Come hither, come hither, by night and by day	270
A Parody. On the House of Commons, 1832	270
Sweet Borough of Tamworth 1832	270
The Sweet Briar. C. S. K.	271
Miscellaneous Parodies on “Paradise and the Peri”	271
Lalla Rookh Burlesque. Vincent Amcotts	272
One more Irish Melody, 1869	272
On Lord Brougham, 1833	272
Loves of the Mortals	272
Loves of the New Police	273
Jack Randall’s Diary, 1820	273
Young Love once fell through a straw-thatched shed	273
The Bencher, or whitewashing day	273
The Living Lustres. Rejected Addresses	273
A Fallen Angel over a Bowl of Rum-Punch. Christopher North, 1823	274
Love and the Flimsies. Thomas Love Peacock	275
The Bard of Erin’s Lament	275
Old Sherry. (An Anacreontic, 1828)	275
Anacreon’s Ode xxi.
“Observe when mother earth is dry”	276
Earlier translations by Ronsard, Capilupus, Shakespeare, Lord Rochester, and Abraham Cowley	276
On Moore’s Plagiarisms. An article in Fraser’s Magazine, June, 1841	276
Lays of the Saintly. Walter Parke	270
“The Duke is the lad to frighten a lass,” by Thomas Moore	260
——:o:——
Sir Walter Scott.
Rebecca and Rowena. W. M. Thackeray	71
A Tale of Drury Lane. Rejected Addresses	72
Blue Bonnets over the Border	73
Blue Stockings over the Border. Mirror 1828	74
Write, write, tourist and traveller. Robert Gilfillan	74
Read, read, Woodstock and Waverley, Robert Gilfillan, 1831	74
Tax, tax, Income and Property. Punch, 1851	75
March, march, pipe-clayed and belted in	75
Take, take, lobsters and lettuces. Punch	75
Take, take, blue pill and colocynth. Punch	75
Drill, drill, London and Manchester. Punch, 1859	75
Mr. Kemple’s Farewell Address, 1817
“As the worn war-horse at the trumpet’s sound”	75
Mr. Patrick Robertson’s farewell to the Bar
“As the worn show horse whom Ducrow so long”	76
Lament for Tabby, or the Cat’s Coronach. The Satirist, 1814	76
The Lay of the last Minstrel  Introduction—	77
“The way was long, the wind was cold”	77
“The tide was low, the wind was cold.” Funny Folks, 1875	77
“The sun was hot, the day was bright.” Weekly Echo, 1885	77
The Lay of the last Cab-Hack. Funny Folks	78
The Bray of the last Donkey	78
The Lay of the last Ministry. Fun, 1885	78
Mr. Barnum’s Experience of Travelling	116
Canto III.— viii
“And said I that my limbs were old”	78
“And thought they I was growing old.” They are Five. 1880,	79
Canto VI.—
“Breathes there the man with soul so dead”	79
A declamation, by Miss Mudge, the Blue Stocking	79
“Breathes there a Scot with soul so dead.” O. P. Q. P. Smiff. The Figaro, 1874	79
Pilosagine. Advertisement parody	80
“Lives there a man with soul so dead”	80
“Breathes there a man with taste so dead.” The Figaro, 1876	80
“O Caledonia! very stern and wild.” Jon Duan	80
Don Salisbury’s Midnight Vigil. Truth, 1885	81
Parody from the Lays of the Mocking Sprite	82
Albert Graeme.
“It was an English ladye bright”	81
“It was a toper one Saturday night”	81
“It was an Oxford Scholar bright.” The Shotover Papers, 1874	82
The Lay of the Poor Fiddler, 1814	81
St. Fillan’s Arm. From Lays of the Saintly, by Walter Parke	83
The Blue Brother. Walter Parke	83
The Lay of the Scottish Fiddle, 1814. James Kirke Paulding	84
A Lay to the Last Minstrel. Edward Churton	84
Marmion.
O Woman! in our hours of ease	84
Oh! Scotsman! in thine hour of ease	84
A good Wife	85
A Dedication to Women. Finis, 1877	85
The Mansion House Marmion (Lord Mayor Fowler). Truth, 1883	85
Lochinvar	86
Lock-and-Bar. Blackwood’s Edinburgh Magazine	86
“O young William Jones is come out of the West.”	87
“The big-booted Czar had his eye on the East.” Shirley Brooks, 1854	87
“It was Albert of Wales and his troop of Hussars. Judy, 1871	88
“Choice of Stoke-upon-Trent, lo, Kenealy confest.” Punch, 1875	88
“O young Stephey Cave is come out of the East.”	89
Young Lochinvar in Blank Verse. Free Press Flashes, 1883	89
“Oh! A Bishop from Surrey is come here to pray.” From Marmion Travesty, by Peter Pry	90
Epigrams on the Duke of York	91
A Parody concerning Mr. Digby Pigott. 1877.	116
The Lady of the Lake, 1810	91
The Lady of the Wreck, or Castle Blarneygig. George Colman	91
“The stag at eve had drunk his fill”	91
“The pig at eve was lank and faint”	91
Boat Song—
“Hail to the Chief who in triumph advances”	91
“Hail our Chief! now he’s wet through with whiskey.” George Colman	92
“Hail to the Chief” (Gladstone). Punch, 1880	92
The Nile Song. Punch, 1863	99
Mountain Dhu; or, the Knight, the Lady, and the Lake. Burlesque. Andrew Halliday, 1866	92
The Lady of the Lake, plaid in a new tartan. Burlesque by R. Reece	92
“Raising the “Fiery Cross.” Punch, 1884	93
Rokeby, 1813	94
Jokeby, by an amateur of Fashion, 1813 (attributed to John Roby, also to Thomas Tegg, and to the Brothers Smith)	94
“O, Brignall banks are wild and fair”	94
“Oh, Giles’s lads are brave and gay”	94
Smokeby, in Ephemerides, 1813	94
Rokeby the second, in the Satirist, 1813	94
MacArthur, an Epic Poem, ascribed to Walter Scott. The Satirist, 1808	95
Valentines. The Satirist, 1810	95
The Ovation of the Empty Chair. The Satirist, 1811	95
Walter Scott, Esq., to his Publishers. Accepted Addresses, 1813	96
The Poetic Mirror, or the Living Bards of Britain, by James Hogg, 1816	96
“O, heard ye never of Wat o’ the Cleuch”	97
The Battle of Brentford Green. Warreniana, 1824	97
The Bridal of Caolchairn. John Hay Allan, 1822	99
Rejected Odes. Humphrey Hedgehog, 1813	99
A Border Ballad. Thomas Love Peacock, 1837	99
“Carle, now the King’s come”	99
“Sawney, now the King’s come”	99
The Battle of Wimbledon. Punch, 1862	99
Kenilworth Burlesque, by R. Reece and H. B. Farnie	99
The Lay of the Lost Minstrel	112
Coronation Lays.
The New Monthly Magazine, July, 1831. Containing parodies of Walter Scott, The Lay of the Lost Minstrel. T. Campbell, The Show in London. S. T. Coleridge, “The Sun it shone on spire and wall.” W. Wordsworth, Sonnets on the Coronation. L. E. Landon, The Little Absentee. George Crabbe, A Reflection. Thomas Moore, A Melody. Thomas Hood, A Glance from a Hood. Robert Southey, P.L., The Laureate’s Lay	112
——:o:——
Scotch Songs.
The London University
“March, march, dustmen and coal-heavers.” The Spirit of the Age, 1829	99
“Smoke, smoke! Arcade and College Green”	100
Oh Where, and oh Where	100
“Oh where, and oh where, is my Harry Brougham gone?” Punch, 1846	100
“Oh, where, and oh where, has my learned counsel gone?” Punch, 1848	100
The great kilt Reform. Diogenes, 1854	100
“Oh where, and oh where, has our Wand’ring Willie gone.” Judy, 1879	101
Bonnie Dundee
“To the gents of the pantry ’twas Yellow-plush spoke,” 1872	101
The Maidens of Bonnie Dundee “And did they its meeting turn into a joke”	101
“Tis a jolly conception”!—’twas Truscott who spoke.” (The Temple Bar Obstruction)	101
“In the House of St. Stephen’s Britannia thus spoke”	102
“To the lords of Creation ’twas Chamberlain spoke”	102
The Campbells are Coming. ix
The Pop’ an’ Jock Cumming, oh dear, oh dear	102
Hey, Johnny Cumming! are ye waukin’ yet?	103
The Camels are coming, at last, at last! The Globe, 1884	103
My ’art’s in the ’Ighlands. Punch, 1883	103
Woo’d and Married an’ a’	103
The Tourists’ Matrimonial Guide through Scotland. Lord Neaves	103
Charley is my Darling—
“Charley was so daring” (Sir Charles Napier)	104
“O, Langtry, wilt thou gang wi’ me”	105
Robin Adair—
“You’re welcome to Despots, Dumourier,” Robert Burns, 1793	105
“Canning, O rare!” Liverpool election, 1812	105
——:o:——
Robert Southey, Poet Laureate.
Thalaba the Destroyer—
“How beautiful is night?”	140
“How troublesome is day?” T. L. Peacock	141
“How beautiful is green?” Charterhouse Poems	141
The Curse of Kehama—
“Midnight, and yet no eye.”	141
“Midnight, yet not a nose.” The Rebuilding James Smith. The Rejected Addresses	141
Justice. Lays of Modern Oxford, by Adon, 1874	144
The Cataract of Lodore—
“How does the water come down at Lodore?”	145
Before and after Marriage
How do the gentlemen do before marriage?	145
How do they do after marriage	146
How the Daughters come down at Dunoon. Puck on Pegasus. H. C. Pennell	146
How does the drunkard go down to the tomb?	147
How do the jolly days pass in the Holidays? Banter, 1867	147
How the Horses come round at the Corner. Fun	148
May in Lincolnshire. Once a week, 1872	148
How do the ’Varsities come to the Race	149
Ready for the Derby Start. Funny Folks, 1878	149
How does the water come down at Niagara? Funny Folks, 1878	150
How the Customers come to the Sandown Bazaar. W. J. Craig, 1879	150
Is it how the Home Rulers make spaches, me boys? Miss Story	151
Here they come broguing, together colloquing. C. J. Graves	152
Here they come wrangling. Pembroke	152
Just out of one bother into another. Hoyle	152
The World. Parody Competition. Nov., 1879
How the Home Rulers behave at St. Stephens. F. B. Doveton, 1880	153
How do cheap trippers come down to the shore?	153
How do the waters come down on the public?	154
How the Commons rush in through the door?	154
How do the Landlords “come down on” the Act?	155
How the Tourists come down to the shore. Detroit Free Press, 1885	155
The Falls of Niagara. E. H. Bickford	156
“You are old, Father William”	156
A Parody from Alice’s Adventures in Wonderland	156
“You are cold, Father William.” The Figaro	157
“You air old, Father William. Zoz, 1878	157
“You are old, Father William.” Mayfair, 1878	157
“You are sad, People’s William.” Truth, 1878	157
“You are old, turkey gobbler.” Free Press Flashes, 1882	158
“You look young, little Randolph.” Punch, 1882	158
Parody Competition in Truth, April 5, 1883
“You are old, Father William.” Repealer	159
“You are young, Master Randolph.” Pickwick	159
“You’re a Peer, now, Lord Wolseley.” Skriker	159
“New Honours, Lord Wolseley.” Old Log	159
“You are old, Lady William.” Third Raven	159
“You are old, Kaiser Wilhelm.” T. S. G.	160
“You are plain, Mr. Biggar.” Paste	160
“You are young, Randolph Churchill.” Yash	160
“You are old, Father William.” Don Juan	160
“You have told, Lady Florence.” Ohr	161
“You are old, Noble Senate.” Poetry for the Poor. 1884	161
“You are old, Father William” (Mr. Gladstone.)] Truth, 1884	161
Old William Archer interviewed. The Sporting Times, 1885	162
On the danger of licking postage stamps. Funny Folks, 1885	162
Sequel to a great Poem. Once a Week, 1886	162
On Irish Policy. A new Alphabet of Irish Policy	162
A Valentine from Miss Hibernia to W. E. G.	163
The Battle of Blenheim—
“It was a summer evening”	163
Notes on the Poem,	163
A Battle with Billingsgate. G. Cruikshank’s Comic Almanac	164
A Seasonable Gossip. The Puppet Show, 1848	164
The Battle of Jobbing. Diogenes, 1853	164
The Battle of Berlin. Funny Folks, 1878	165
Children at the Pantomime. F. B. Doveton. The World, 1880	165
Another Parody on the same topic. A. Salter	165
The Battle of Brummagem. William Bates	166
A Famous Holiday. Punch, 1880	166
A Glorious Victory (in Cricket). Punch, 1882	167
A Famous Victory (in Egypt). Clapham Free Press, 1884	168
The Battle of Blenheim House. Birmingham Daily Mail, 1885	168
The old Gladstonite and his Son. Morning Post	169
The Jackanape Jock, Cribblings from the Poets	169
Southey’s Early Political Poems	170
Bob Southey! you’re a poet	171
The Anti-Jacobin Review	171
Inscription—Henry Marten, the Regicide	171
Inscription—Mrs. Brownrigg, the Prentice-cide	172
The Widow. (Southey’s Sapphics)
“Cold was the night-wind”	172
The Friend of Humanity, and the Knife Grinder	172
The Friend of Humanity, and the Bricklayer’s Labourer. John Bull, 1827	173
Sapphics of the Cabstand. Punch, 1853	173
Lay of the Proctor. The Shotover Papers, 1874	174
The Friend of Humanity, and Seafaring Person. Punch, 1874	174
The Friend of Humanity, and John Bull. Funny Folks, 1878	174
The Friend of Agriculture, and the needy new Voter. Punch, 1886	174
The Soldier’s Wife. Dactylics, 1795	175 x
The Soldier’s Friend. (Canning’s Contrast.)	175
The Soldier’s Wife. Imitation Dactylics	175
Southey’s Official Poems	176
The Curse of the Laureate. James Hogg	176
The Vision of Judgment	176
The Vision of Judgment. Lord Byron	176
A Slap at Slop. William Hone	177
“The New Times” and “The Constitutional Association”	177
A New Vision. William Hone	177
Carmen Triumphale. W. F. Deacon. Warreniana	179
“The Satirist or Monthly Meteor,” 1813	180
Epitaph for Robert Southey, Esq., Poet Laureate, The Spirit of the Public Journals, 1824	180
——:o:——
Algernon Charles Swinburne.
The Commonweal, July 1, 1886	187
The Old Cause, A Counterblast. The Daily News, July 2, 1886	187
The Common Squeal. Punch, 1886	189
The Weekly Dispatch. Parodies by A. Whalley, and F. B. Doveton	189

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CONTENTS OF PARTS I. to XXXVI. PARODIES.

EACH PART MAY BE PURCHASED SEPARATELY.

NOTES AND CORRECTIONS.

Page 19. Courtney Melmoth was the assumed name of T. J. Pratt, who wrote “The Tears of Genius” lamenting the death of Oliver Goldsmith.

Page 20, Line 3. For Cast read Caste.

Page 71, Column 2, line 6. Read “Mr. William Cadenhead.”

Page 80, Foot Note.—For “dear runs” read deer runs.

Page 197. The Enigma on the letter H. here ascribed to Lord Byron was written by Miss Catherine Fanshawe.

Page 208. “The Un-True Story” was written by Mr. Walter Parke for Punch and Judy, in 1870. The fifth line should read:—

“Know ye the land of the dollar and dime?”

Page 218. Foot Note. Read, “Parody of a song in The Veiled Prophet of Khorassan.”

Page 229. Don Juan Un-Read. This is a parody of Wordsworth’s Yarrow Unvisited.

1

A lady of bas bleu celebrity (the term is getting odious, particularly to our savantes) had two friends, whom she equally admired—an elegant poet, and his parodist. She had contrived to prevent their meeting as long as her stratagems lasted, till at length she apologised to the serious bard for inviting him when his mock umbra was to be present. Astonished, she perceived that both men of genius felt a mutual esteem for each other’s opposite talent; the ridiculed had perceived no malignity in the playfulness of the parody, and even seemed to consider it as a compliment, aware that parodists do not waste their talent on obscure productions; while the ridiculer himself was very sensible that he was the inferior poet. The lady-critic had imagined that PARODY must necessarily be malicious; and in some cases it is said those on whom the parody has been performed, have been of the same opinion.

Parody strongly resembles mimicry, a principle in human nature not so artificial as it appears. Man may well be defined a mimetic animal. The African boy who amused the whole kafle he journeyed with, by mimicking the gestures and the voice of the auctioneer who had sold him at the slave market a few days before, could have had no sense of scorn, of superiority, or of malignity; the boy experienced merely the pleasure of repeating attitudes and intonations which had so forcibly excited his interest. The numerous parodies of Hamlet’s soliloquy were never made in derision of that solemn monologue, no more than the travesties of Virgil by Scarron and Cotton; their authors were never so gaily mad as that. We have parodies on the Psalms by Luther; Dodsley parodied the book of Chronicles, and Franklin’s most beautiful story of Abraham is a parody on the Scripture-style; not one of these writers, however, proposed to ridicule their originals; some ingenuity in the application was all that they intended. The lady-critic alluded to had suffered by a panic, in imagining that a parody was necessarily a corrosive satire. Had she indeed proceeded one step further, and asserted that Parodies might be classed among the most malicious inventions in literature, in such parodies as Colman and Lloyd made on Gray’s odes, in their odes to “Oblivion and Obscurity,” her readings possibly might have supplied the materials of the present research.

Parodies were frequently practised by the ancients, and with them, like ourselves, consisted of a work grafted on another work, but which turned on a different subject by a slight change of the expressions. It might be a sport of fancy, the innocent child of mirth; or a satirical arrow drawn from the quiver of caustic criticism; or it was that malignant art which only studies to make the original of the parody, however beautiful, contemptible and ridiculous. Human nature thus enters into the composition of parodies, and their variable character originates in the purpose of their application.

There is in “the million” a natural taste for farce after tragedy, and they gladly relieve themselves by mitigating the solemn seriousness of the tragic drama; for they find, as one of them told us, that it is but a step from the sublime to the ridiculous; and if this taste be condemned by the higher order of intellectual persons, and a critic said he would prefer to have the farce played before the tragedy, the taste for parody would be still among them, for whatever tends to level a work of genius is usually very agreeable to a great number of contemporaries. In the history of PARODIES, some of the learned have noticed a supposititious circumstance, which it is not improbable happened, for it is a very natural one. When the rhapsodists, who strolled from town to town to chant different fragments of the poems of Homer, and had recited some, they were immediately followed by another set of strollers—buffoons who made the same audience merry by the burlesque turn which they gave to the solemn strains which had just so deeply engaged their attention. It is supposed that we have one of these travesties of the Iliad in one Sotades, who succeeded by only changing the measure of the verses without altering the words, which entirely disguised the Homeric character; fragments of which are scattered in Dionysius Halicarnassensis, which I leave to the curiosity of the learned Grecian.[1] Homer’s battle of the Frogs and Mice, a learned critic, the elder Heinsius, asserts, was not written by the poet, but is a parody on the poem. It is evidently as good humoured an one as any in the “Rejected Addresses.” And it was because Homer was the most popular poet, that he was most susceptible of the playful honours of the parodist; unless the prototype is familiar to us, a parody is nothing! Of these parodists of Homer we may regret the loss of one. Timon of Philius, whose parodies were termed Silli, from Silenus being their chief personage; he levelled them at the sophistical philosophers of his age: his invocation is grafted on the opening of the Iliad, to recount the evil doings of those babblers, whom he compares to those bags in which Æolus deposited all his winds; balloons inflated with empty ideas! We should like to have appropriated some of these silli, or parodies of Timon the Sillograph, which, however, seem to have been at times calumnious.[2] Shenstone’s “School Mistress,” and some few other ludicrous poems, derive much of their merit from parody.

This taste for parodies was very prevalent with the Grecians, and is a species of humour which perhaps has been too rarely practised by the moderns: Cervantes has some passages of this nature in his parodies of the old chivalric romances; Fielding in some parts of his Tom Jones and Joseph Andrews, in his burlesque poetical descriptions; and Swift in his “Battle of Books,” and “Tale of a Tub,” but few writers have equalled the delicacy and felicity of Pope’s parodies in the “Rape of the Lock.” Such parodies give refinement to burlesque.

The ancients made a liberal use of it in their satirical comedy, and sometimes carried it on through an entire work, as in the Menippean satire, Seneca’s mock Eloge of Claudius, and Lucian in his Dialogues. There are parodies even in Plato, and an anecdotical one recorded of this philosopher shows them in their most simple state. Dissatisfied with his own poetical essays he threw them into the flames; that is, the sage resolved to sacrifice his verses to the god of fire; and in repeating that line in Homer where Thetis addresses Vulcan to implore his aid, the application became a parody, although it required no other change than the insertion of the philosopher’s name instead of the goddess’s:[3]

“Vulcan, arise! ’tis Plato claims thy aid!”

Boileau affords a happy instance of this simple parody. Corneille, in his Cid, makes one of his personages remark,

A slight alteration became a fine parody in Boileau’s “Chapelain Décoiflé.”

We find in Athenæus the name of the Inventor of a species of parody which more immediately engages our notice—DRAMATIC PARODIES. It appears this inventor was a satirist, so that the lady-critic, whose opinion we had the honour of noticing, would be warranted by appealing to its origin to determine the nature of the thing. A dramatic parody, which produced the greatest effect, was “the Gigantomachia.” as appears by the only circumstance known of it. Never laughed the Athenians so heartily as at its representation, for the fatal news of the deplorable state to which the affairs of the republic were reduced in Sicily arrived at its first representation—and the Athenians continued laughing to the end! as the modern Athenians, the volatile Parisians, might in their national concern of an OPERA COMIQUE. It was the business of the dramatic parody to turn the solemn tragedy, which the audience had just seen exhibited, into a farcical comedy; the same actors who had appeared in magnificent dresses, now returned on the stage in grotesque habiliments, with odd postures and gestures, while the story, though the same, was incongruous and ludicrous. The Cyclops of Euripides is probably the only remaining specimen; for this may be considered as a parody of the ninth book of the Odyssey—the adventures of Ulysses in the cave of Polyphemus, where Silenus and a chorus of satyrs are farcically introduced, to contrast with the grave narrative of Homer, of the shifts and escape of the cunning man “from the one-eyed ogre.” The jokes are 2 too coarse for the French taste of Brumoy, who, in his translation, goes on with a critical growl and foolish apology for Euripides having written a farce; Brumoy, like Pistol, is forced to eat his onion, but with a worse grace, swallowing and execrating to the end.

In dramatic composition, Aristophanes is perpetually hooking in parodies of Euripides, whom of all poets he hated, as well as of Æschylus, Sophocles, and other tragic bards. Since that Grecian wit, at length, has found a translator saturated with his genius, and an interpreter as philosophical, the subject of Grecian parody will probably be reflected in a clearer light from his researches.

Dramatic parodies in modern literature were introduced by our vivacious neighbours, and may be said to constitute a class of literary satires peculiar to the French nation. What had occurred in Greece a similar gaiety of national genius unconsciously reproduced. The dramatic parodies in our own literature, as in “The Rehearsal,” “Tom Thumb,” and “The Critic,” however exquisite, are confined to particular passages, and are not grafted on a whole original; we have neither naturalised the dramatic parody into a species, nor dedicated to it the honours of a separate theatre.

This peculiar dramatic satire, a burlesque of an entire tragedy, the volatile genius of the Parisians accomplished. Whenever a new tragedy, which still continues the favourite species of drama with the French, attracted the notice of the town, shortly after up rose its parody at the Italian theatre. A French tragedy is most susceptible of this sort of ridicule, by applying its declamatory style, its exaggerated sentiments, and its romantic out-of-the-way nature to the commonplace incidents and persons of domestic life; out of the stuff of which they made their emperors, their heroes, and their princesses, they cut out a pompous country justice, a hectoring tailor, or an impudent mantua-maker; but it was not merely this travesty of great personages, nor the lofty effusions of one in a lowly station, which terminated the object of parody; it intended a better object, that of more obviously exposing the original for any absurdity in its scenes, or in its catastrophe, and dissecting faulty characters; in a word, critically weighing the nonsense of the poet. It sometimes became a refined instructor for the public, whose discernment is often blinded by party or prejudice. It was, too, a severe touch-stone for genius: Racine, some say, smiled, others say he did not, when he witnessed Harlequin, in the language of Titus to Berenice, declaiming on some ludicrous affair to Columbine; La Motte was very sore, and Voltaire and others shrunk away with a cry—from a parody! Voltaire was angry when he witnessed his Mariamne parodied by La mauvaise Mênage; or “Bad House-keeping:” the aged, jealous Herod was turned into an old cross country justice; Varus, bewitched by Mariamne, strutted a dragoon; and the whole establishment showed it was under very bad management. Fuzelier collected some of these parodies,[4] and not unskilfully defends their nature and their object against the protest of La Motte, whose tragedies had severely suffered from these burlesques. His celebrated domestic tragedy of Inez de Castro, the fable of which turns on a concealed and clandestine marriage, produced one of the happiest parodies in Agnes de Chaillot. In the parody the cause of the mysterious obstinacy of Pierrot the son, in persisting to refuse the hand of the daughter of his mother-in-law Madame la Baillive, is thus discovered by her to Monsieur le Baillif:—

The Baillif exclaims,

“Ma servante?”

This single word was the most lively and fatal criticism of the tragic action of Inez de Castro, which, according to the conventional decorum and fastidious code of French criticism, grossly violated the majesty of Melpomene, by giving a motive and an object so totally undignified to the tragic tale. In the parody there was something ludicrous when the secret came out which explained poor Pierrot’s long concealed perplexities, in the maid-servant bringing forward a whole legitimate family of her own! La Motte was also galled by a projected parody of his “Machabees”—where the hasty marriage of the young Machabeus, and the sudden conversion of the amorous Antigone, who, for her first penitential act, persuades a youth to marry her, without first deigning to consult her respectable mother, would have produced an excellent scene for the parody. But La Motte prefixed an angry preface to his Inez de Castro; he inveighs against all parodies, which he asserts to be merely a French fashion (we have seen, however, that it was once Grecian), the offspring of a dangerous spirit of ridicule, and the malicious amusement of superficial minds.—“Were this true,” retorts Fuzelier, “we ought to detest parodies; but we maintain, that far from converting virtue into a paradox, and degrading truth by ridicule, Parody will only strike at what is chimerical and false; it is not a piece of buffoonery so much as a critical exposition. What do we parody but the absurdities of dramatic writers, who frequently make their heroes act against nature, common sense and truth? After all” he ingeniously adds, “it is the public, not we, who are the authors of these PARODIES; for they are usually but the echoes of the pit, and we parodists have only to give a dramatic form to the opinions and observations we hear. Many tragedies,” Fuzelier, with admirable truth, observes, “disguise vices into virtues, and PARODIES unmask them.” We have had tragedies recently which very much required parodies to expose them, and to shame our inconsiderate audiences, who patronised these monsters of false passions. The rants and bombast of some of these might have produced, with little or no alteration of the inflated originals, “A Modern Rehearsal,” or a new “Tragedy for Warm Weather.”

Of PARODIES, we may safely approve of their legitimate use, and even indulge their agreeable maliciousness; while we must still dread that extraordinary facility to which the public, or rather human nature, are so prone, as sometimes to laugh at what, at another time, they would shed tears.

Tragedy is rendered comic or burlesque by altering the station and manners of the persons; and the reverse may occur, of raising what is comic and burlesque into tragedy. On so little depends the sublime or the ridiculous! Beattie says “In most human characters there are blemishes, moral, intellectual, or corporeal; by exaggerating which, to a certain degree, you may form a comic character; as by raising the virtues, abilities, or external advantages of individuals, you form epic or tragic characters;” a subject humourously touched upon by Lloyd, in the prologue to “The Jealous Wife.”

——:o:——

This apology for Parody, extracted from “The Curiosities of Literature,” was written by the late Mr. Isaac D’Israeli more than fifty years ago. Mr. Isaac D’Israeli was a Jewish gentleman of great literary attainments, and of a most amiable character. He was the father of the late Benjamin Disraeli, Earl of Beaconsfield. Mr. Isaac D’Israeli died in 1848.

3

Dr. Oliver Goldsmith,

Born at Pallas, in the County of Longford, Ireland, Nov. 29, 1728,

Died in Brick Court, Temple, London, April 4, 1774.

efore quoting the Parodies on the Poems of Oliver Goldsmith, mention must be made of three instances, in which he, himself, borrowed ideas from French sources. These are the well-known “Elegy on the Glory of her Sex, Mrs. Mary Blaize,” the “Elegy on the Death of a Mad Dog,” and the favourite verses, entitled “Stanzas on Woman,” commencing “When lovely woman stoops to folly,” which appeared in “The Vicar of Wakefield,” when first published in 1765. Before Goldsmith settled down in London as a struggling man of letters, he had spent some time wandering about on the Continent, and had obtained a fairly good insight into foreign literature. He had, therefore, in all probability seen the poems of Ségur, printed in Paris in 1719, in which the following lines occur:—

These he appears to have almost literally translated, thus:—

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A Paraphrase.

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Woman’s Rights.

[Mrs. Longshore Potts says that, if a woman fall in love, custom ought not to debar her making some proposal.]

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The following, signed “By the Ghost of Goldsmith,” was picked up in the Queen’s Bench Division Court after the termination of the trial, Foli v. Bradshaw, that being an action for assault brought by the eminent singer, in May, 1884:—

6

The two other before-named poems by Goldsmith, which can be traced to a French source, are so similar in style that they may be both given together, followed by the French original:—

An Elegy on the Death of a Mad Dog.

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The following Chanson du Fameux la Galisse, taken from Ménagiana, 1729, must have supplied hints for the construction of the foregoing poems:—

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Some verses of this song were translated, and published in The Mirror, November 8, 1823. They do not adhere very closely to the original.

——:o:——

Ménage introduces Le Chanson de la Galisse without any other explanation than that it relates to the adventures of an imaginary character, he does not mention the Author’s name, nor does he refer to any other poem having any resemblance to it. Yet there was a “Chanson” written in exactly the same style and metre, recording (in burlesque it is true) the adventures of a brave French officer, named La Palice. And what makes it more remarkable is, that this poem was written by a friend of M. Gilles de Ménage, the grave and religious Bernard de la Monnoye, who conceived the idea of personifying nonsensical truths in his Complaint upon the Life and Death of La Palice; careless of attaching popular ridicule to a name which should excite only recollections of heroic and military virtue.

Concerning this Chanson de la Palice there was a long article in Chambers’s Edinburgh Journal, as 9 far back as July, 1845, from which the following notes are extracted:—

“Thanks to this strange production, we know that the famous La Palice died in losing his life, and that he would not have had his equal had he been alone in the world. Doubtless it is satisfactory to know that he could never make up his mind to load his pistols when he had no powder; and that when he wrote verse he did not write prose; or that while drinking he never spoke a word. These are certainly notable details concerning the habits and character of this great man, but it is also certain that La Palice had greater claims to admiration which may be brought to light in illustrating some stanzas of the biographical ballad. The song begins thus:—

Besides this proposition, the historian would have done well to tell us that La Palice was of noble race, for his grandfather, an earlier Jacques de Chabannes, after valiantly defending Castillon against Talbot, the English Achilles, died of his wounds at the siege of this city, which, two years afterwards (17th July, 1453), cost the life of his illustrious enemy.

Abundance of glory, of honours, of treasures, of war on battle fields; this was surely what the poet meant to say. He ought to have been rich indeed, when three sovereigns successively invested him with the titles of marshal of France, governor of Bourbonnais, of Auvergne, of Forez and the Lyonnais.

Those which he gained are faithfully chronicled in history. First, stands Marignan in 1515, next Fontarabia, in 1521; then Bicocca, in Lombardy, where La Palice, being second in command, made incredible exertions to recover the fortunes of the day; and last, Marseilles, which went to sleep one night Spanish, and woke up French the next morning, because a great Captain, Chabannes de la Palice, had scaled her walls, and effaced by dint of courage the shame with which the desertion of Bourbon had tarnished the name of French gentlemen.

Chabannes made a sortie with a handful of brave fellows from the fort which he defended against the Spanish army, and saw all those who followed fall around him. A Spanish soldier climbs over the barrier of corpses piled before him, aims a tremendous blow at his head, beneath which the brave La Palice fell senseless to the earth,

——:o:——

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The Century Magazine for November, 1883, contained an Elegy on Mrs. Grimes, written in the same vein of humour as Goldsmith’s Elegy on Madam Blaize.

——:o:——

Description of an Author’s Bed-Chamber.

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THE DESERTED VILLAGE.

The following imitation was originally published by Messrs. Parker, of 377, Strand, London, but no date is given.

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The following Parody appeared in Vol. XVIII. of The Mirror:

“Lord John Russell, even amidst all the turmoil of Office has contributed:—

——:o:——

THE HERMIT.

This favourite poem originally appeared in “The Vicar of Wakefield,” which was published in the year 1765. Dr. Goldsmith was accused of having borrowed the idea of the ballad from “The Friar of Orders Gray,” and in June, 1767, he sent the following reply to the St. James’s Chronicle:

“A correspondent of yours accuses me of having taken a ballad I published sometime ago, from one by the ingenious Mr. Percy. I do not think there is any great resemblance between the two pieces in question. If there be any, his ballad is taken from mine. I read it to Mr. Percy some years ago; and he (as we both considered these things as trifles at best) told me with his usual good humour, the next time I saw him, that he had taken my plan to form the fragments of Shakespeare into a ballad of his own. He then read me his little Cento, if I may so call it, and I highly approved it.”

In confirmation of this statement Bishop Percy afterwards added a note to “The Friar of Orders Gray,” stating that it was only just to declare that Goldsmith’s Poem was written first, and that if there had been any imitation in the case, they would be found to be both indebted to the beautiful old ballad Gentle Herdsman. This ballad is reprinted below, with Goldsmith’s The Hermit, and a few verses from Bishop Percy’s Friar of Orders Gray.

It will be seen that although the poems have several points of resemblance, yet each has a distinct individuality of its own.

——:o:——

——:o:——

THE FRIAR OF ORDERS GRAY.

This poem is given in Bishop Percy’s Reliques of Ancient English Poetry with the following note:—

“Dispersed through Shakespeare’s plays are innumerable little fragments of Ancient ballads, the entire copies of which could not be recovered. Many of these being of the most beautiful and pathetic simplicity, the Editor was tempted to select some of them, and with a few supplemental stanzas to connect them together, and form them into a little tale, which is here submitted to the reader’s candour.”

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——:o:——

THE SPEAKER’S DINNER.

The following political paraphrase of Oliver Goldsmith’s pleasing poem Retaliation, is taken from an anonymous collection, published in 1814, entitled “Posthumous Parodies and other Pieces, composed by several of our most celebrated Poets, but not published in any former Edition of their Works.” Several pieces from this collection have already been quoted in Parodies; they have nearly all a strong party bias in favour of the Tory Government of the day. The Politicians alluded to in the poem are, the Earl of Liverpool, Premier 1812 to 1827, died in 1828; Viscount Castlereagh (afterwards Marquis of Londonderry) Foreign Secretary, committed suicide in 1822; Lord Grenville, died in 1834; the Right Hon. George Canning author of the witty parodies in the “Anti-jacobin,” died 1827; Sir Francis Burdett, an opposition M.P., father of Lady Burdett Coutts, died 1844; Viscount Sidmouth, died 1844; the Right Hon. John Wilson Croker, died 1857; Samuel Whitbread, M.P., died 1815; the Right Hon. R. B. Sheridan, died 1816; Lord Chief Justice Ellenborough, died 1818; William Cobbett, M.P., for Oldham, died 1835; and Robert Waithman, M.P., Alderman and Lord Mayor of London, who died in 1833.

17

——:o:——

In Scribner’s Magazine for 1881 appeared a set of variations on “Home, Sweet Home,” treated in the different styles of Swinburne, Bret Harte, Austin Dobson, Walt Whitman and Oliver Goldsmith. This amusing contribution has since been included by its Author, Mr. H. C. Bunner, in his pretty little Volume, entitled “Airs from Arcady and elsewhere,” published by Mr. C. Hutt.

——:o:——

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——:o:——

In that amusing book, “The Reminiscences of Henry Angelo” (published by Colburn and Bentley in 1830), some account is given of the satirical writer, Anthony Pasquin, whose real name, by the way, was Williams. This man who had been originally brought up to the profession of an Engraver, threw aside the graving tool, and adopted the less respectable calling of a satirical lampoonist. He was an unprincipled impudent sponge, who spoke ill of every one, and forced himself on the hospitality of all who knew him, so that it was said of him that “he never opened his mouth but at another man’s expence.” In 1786 he contributed to a weekly paper then appearing, entitled The Devil, from which Angelo quotes part of a long Parody upon the Deserted Village, written by Pasquin asserting the inferiority of the actors then upon the stage, to their predecessors, an assertion frequently made by elderly people even in these days.

——:o:——

There was another Poem written in imitation of The Deserted Village entitled “The Frequented Village, a Poem dedicated to Oliver Goldsmith,” by E. Young, L.L.D. (J. Godwin). Unfortunately there does not appear to be any copy of this Poem in the Library of the British Museum.

Oliver Goldsmith, died on April 4th, 1774, and within a few days of his death a poem, written by Courtney Melmoth, was published by T. Beckett, in the Strand. “The Tears of Genius,” as the Poem was called, was dedicated to Sir Joshua Reynolds; part being written in imitation of the style of The Deserted Village, whilst another part, deploring the death of the poet Gray, was written in imitation of his Elegy in a Country Churchyard. There were also allusions to several other minor Poets but the whole effusion lacks interest.

——:o:——

——:o:——

The Vicar of Wakefield is probably, of all English stories, the one which has been most widely read, (perhaps only excepting Robinson Crusoe), and has taken most thoroughly hold of the hearts of English speaking people. It was first printed at Salisbury, by Collins, and was issued by Francis Newberry, in 2 vols., in March 1766. A dainty facsimile of this original Edition has recently been published by Mr. Elliot Stock.

A dramatic version of The Vicar of Wakefield, by W. G. Wills, entitled Olivia, has for some time past been attracting large audiences to the Lyceum Theatre, to see Henry Irving and Miss Ellen Terry in the parts of the Vicar and his daughter. The success of Olivia tempted the inevitable travestie, and on Saturday, August 8, 1885, “The Vicar of Wide-a-Wakefield, or the Miss-Terry-ous Uncle.” a Respectful Burlesque Perversion by H. P. Stephens and W. Yardley, was produced at the Gaiety Theatre. The burlesque had but little humour, or literary merit, and although Mr. Arthur Roberts’s imitation of Henry Irving as Dr. Primrose was at times quaint and amusing, the entire success of the production was due to the extraordinary caricature of Miss Ellen Terry given by Miss Laura Linden, who has a perfect genius for such mimicry. Not only in voice, but in gestures, movements, and delivery, the resemblance was striking, and wonderfully sustained throughout the piece, with only just sufficient exaggeration to produce the intended effect of caricature. The plan of the authors of the burlesque consists in making the virtuous persons of the original appear to be more or less villainous and unprincipled, while the villain of the original is made out to be the only pure-minded and moral individual in the piece. For instance, the Vicar is a terrible old scoundrel, who only pretends to have lost all his money, who knows that Mr. Burchell is the baronet in disguise, and who schemes to get his daughters and son married, and performs the nuptials himself, under different disguises, so as to pocket the fees. Burchell is another villain, having unlawfully possessed himself of his nephew’s titles and estates. Olivia is a very forward minx, who tells the virtuous Squire Thornhill all about the pleasures of London, especially the gay and giddy Inventories, and who begs and induces him to run away with her. Even Sophia is cunning enough to discover Burchell’s 20 identity, and to sum up all the worldly advantages of catching him matrimonially.

The Cast when the Burlesque was first produced was as follows:—

THE VICAR OF

WIDEAWAKEFIELD,

OR

THE MISS-TERRY-OUS UNCLE,

Written by H. P. Stephens & W. Yardley,

The Original Music by Florian Pascal.

The Dances arranged by Madame Katti Lanner.

The New Scenery by Mr. E. G. Banks.

CHARACTERS.

Dr. Primrose	(Vicar of Wideawakefield)			Mr. A. Roberts
Squire Thornhill		Miss Violet Cameron
Mr. Burchell		Mr. T. Squire
Moses	⎫	The	⎧	Mr. J. Jarvis
Bill	⎬	Vicar’s	⎨	Miss M. Pearce
Dick	⎭	Sons	⎩	Miss G. Tyler
Leigh	(a Vagabond)			Miss Lesley Bell
Farmer Flamborough			Mr. Corry
Mrs. Primrose		Miss Harriet Coveney
Olivia	⎫	her	⎧	Miss Laura Linden
Sophia	⎭	Daughters	⎩	Miss Agnes Hewitt
Polly Flamborough		Miss Sylvia Grey
Gipsy Woman		Miss M. Rayson

In The Retaliation Goldsmith treated David Garrick with some severity, and the cause may perhaps be found in some lines written by Garrick, descriptive of the curious character of Goldsmith, and therefore forming a fitting conclusion to this Collection of Parodies of his works:—

Thomas Campbell,

Born July 27, 1777.   Died June 15, 1844.

aving already given Parodies of several of the most celebrated English, Irish, and American Poets, it is advisable to turn now to Scotland for an Author, and although, perhaps, the genius and writings of Campbell were not very distinctly Scotch, most of his poems have achieved world-wide fame, and have consequently been very frequently parodied.

Thomas Campbell was born and educated in Glasgow, where he achieved remarkable success in his studies; after travelling some time upon the Continent, he came to London, married, and went to reside at Sydenham. His writings soon attracted considerable attention, he was appointed Professor of Poetry to the Royal Institution, and became Editor of the New Monthly Magazine, to which he contributed many interesting articles. But an Act of Parliament should be passed to prohibit men of genius from acting as Editors, the work and worry kill them, and the duties leave no time for original compositions. It is, therefore, not surprising that Campbell was not a prolific poet, and Washington Irving relates that he once 21 expressed his regret to Mrs. Campbell that her husband did not write more verse. “It is unfortunate,” she replied, “that he lives in the same age with Scott and Byron who write so much, and so rapidly. He is apt to undervalue his own works, and to consider his little light put out, whenever they come blazing out with their great torches.” Irving subsequently repeated this to the great Sir Walter, who, with his usual kindness, and good humour, replied, “How can Campbell mistake the matter so much? Poetry goes by quality, not by bulk. My poems are mere cairngorms, wrought up, perhaps, with a cunning hand, but they are mere Scotch pebbles, after all; now Tom Campbell’s are real diamonds, and diamonds of the first water.”

Of the “diamonds” produced by Campbell, some of the most popular are Lochiel’s Warning, Hohenlinden, the Soldier’s Dream, Lord Ullin’s Daughter, and The Exile of Erin, but no one of his poems has been so often parodied as his famous naval ode “Ye Mariners of England.”

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LORD ULLIN’S DAUGHTER.

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HOHENLINDEN.

The Battle of Hohenlinden was fought on December 3, 1800, when the French, under General Moreau gained a victory over the Austrians. Campbell witnessed the battle from the monastery of St. Jacob, it is therefore somewhat surprising that his poem should, in its details, be so completely at variance with the reality of history. The Colonel of the Sixteenth Lancers, in describing the battle said that the “victory was obtained almost without an effort of the General, or any very great bravery on the part of his troops.” Some of the poetical allusions, as for instance “the black Iser,” “bannered Munich,” and the “night scene” were altogether imaginary, and nothing can be called true but the beautiful stanza that concludes the Ode. Whilst a writer in “Notes and Queries” suggested that even this stanza was poetically faulty, and proposed it should be altered to:

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The Battle of Peas Hill.

“The following effusion was penned the day after the memorable 13th of November, 1820, which must be a day of pleasant recollection to all Cantabs, as long as there shall be a Snob or Radical amongst them, or a fist to bate them with. This is the only Matriculation Day which is registered in letters of blood in the archives of the Vice-Chancellor; 24 and we are sure there never was, nor ever will be, such an occasion for calling Freshmen from the science of mechanics to the application of its theory in the science of war.”

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Mr. Alfred Bunn, then lessee and manager of Drury Lane Theatre, had endeavoured to secure the services of Miss Jenny Lind, but she accepted an engagement under Mr. Lumley, and made her first appearance at Her Majesty’s Theatre, Haymarket, on May 4, 1847. Her début was a brilliant triumph, and for the short time she remained on the lyric stage she was extremely popular. But in 1851 she married M. Otto Goldschmidt, and retired from the stage, although she has occasionally performed since, principally for the benefit of public charities, or other philanthropic objects.

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These lines on the Coup d’Etat of Napoleon III. were written by the late Professor W. E. Aytoun, a most determined and persistent opponent of the Napoleon régime. The doubt as to the Emperor Napoleon’s paternity has been frequently expressed, it did not originate with Aytoun.

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The Tay Bridge broke down on December 28, 1879, carrying with it a train which was passing over at the time, and many lives were lost.

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It is said that Campbell sent the MS. of Hohenlinden to the Greenock Advertiser, but that it was rejected, with a polite intimation “that it did not come up to the Editor’s standard, and that poetry was evidently not the forte of the contributor.”

A version of Hohenlinden in Latin sapphics, probably written by Father Prout (the Rev. Francis Mahony) appeared in Blackwood’s Magazine, in 1834; and another version, in Latin Alcaics, “Prælium Lindenium” by the Rev. William Fellowes A.M., appeared in the Sabrinæ Corolla, 1850.

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THE SOLDIER’S DREAM.

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LOCHIEL’S WARNING

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These lines are from Campbell’s “Lochiel’s Warning,” which poem is said to have been formed upon the skeleton of bouts-rimés, it certainly displays little trace of such a mode of construction.

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On January 14, 1880, The World published two competition poems on the model of “Lochiel’s Warning”; the topic selected being:

“1879, its Glory and its Shame.”

First Prize.

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Second Prize.

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In March, 1882, “The Weekly Dispatch” had a Competition for Parodies of the first eighteen lines of “Lochiel’s Warning,” having reference to the House of Lords’ Select Committee on the Irish Land Act. The first prize was awarded to Mr. Jesse H. Wheeler, for the following:—

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The following Parody was also printed:—

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The same original was again selected for a competition in the Weekly Dispatch, and the following prize poem was printed in that paper on September 14, 1884:—

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Ye MARINERS OF ENGLAND.

Campbell began this famous Ode, in Edinburgh, in 1799, and finished it at Altona in 1800. He at first styled it “Alteration of the old ballad ‘Ye Gentlemen of England’ composed on the prospect of a Russian War;” it was published early in 1801, in the Naval Chronicle, with the line “Where Granvill (boast of freedom) fell,” instead of

“Where Blake and mighty Nelson fell,”

this being an allusion to the brave Sir Richard Granvill, who was killed in 1591, in the fight of the “Revenge” against the Spanish Armada.

After the death of Lord Nelson, at Trafalgar, in 1805, Campbell revised the poem, and then introduced the beautiful line

“Where Blake and mighty Nelson fell.”

The poem is frequently printed with the original date of 1800, and with the line about the fall of Nelson, without any explanation of these facts, thus making it appear that Campbell, had anticipated the loss of the great sailor five years before it occured.

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The above parody is one of a series entitled Paper Money Lyrics, which were written in 1825-26, and published in a collected form in 1837. They had reference to the commercial panic of the winter 1825-26, and are consequently somewhat obsolete now. The other authors imitated besides Campbell, were Robert Southey, Poet Laureate; William Wordsworth, Thomas Moore, Samuel T. Coleridge, and Sir Walter Scott; whilst several old Scotch songs were also parodied, as for instance,

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(Written at the time of the Chartist movement, when the late Emperor Napoleon III, was sworn in as a special Constable.)

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Another Parody on “Ye Mariners” appeared in Punch, December 11, 1852. It referred to a fracas which had taken place between two Members of Parliament, and has now no interest whatever.

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This Parody was accompanied by a portrait of the Duke of Bedford, the owner of this filthy, inconvenient, and mismanaged market.

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Ye Mariners of England.

The Salisbury Version of Campbell’s Song.

[It would appear from one of his recent speeches that Lord Salisbury considers Mr. Chamberlain a sham philanthropist, who only wishes to injure the poor innocent shipowners, and has no real desire to benefit seamen by his Merchant Shipping Bill.]

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Another long imitation of the same original appeared in Truth, Sept. 25, 1879, commencing

“Ye Ministers of England.”

Amongst the curiosities of literature may be classed an extraordinary collection entitled “Divine Songs of the Muggletonians,” printed in 1829, and now very scarce. Amongst these so-called Divine Songs are some to be sung to such tunes as “God save the King,” “Hearts of Oak,” “De’il tak the wars,” and one there is which commences as follows, in imitation of Campbell’s Mariners:—

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Campbell’s poems seem to be especially favored by the Editor of the Parody Competitions in The Weekly Dispatch, as, in addition to those already alluded to, he also selected “The Maid’s Remonstrance” for political parodies, and the following examples were printed, March 1, 1885:—

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THE EXILE OF ERIN.

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English Melodies.

“Unhappy little John, the once popular representative of Westminster, is, as every body knows, kicked out of the seat he has so long occupied, and has resigned the office in which he, for so short a period, was suffered to luxuriate. In the expressive words of the poet we may exclaim,

It will be seen from the following splendid ebulition of true pathos, that little Hobby in all his misery for the loss of his office and his seat, has not yet forgotten his kind patron ‘Dear De Vear,’ to whom his heart still turns with a most appropriate gratitude.”

This Parody refers to the late Sir John Cam Hobhouse (Lord Broughton), who long represented Westminster in Parliament, he was succeeded by Sir De Lacy Evans, then Colonel De Lacy Evans. The “Sir Frank” alluded to in the fourth verse was Sir Francis Burdett, a very advanced Radical politician for those days. He was the father of Lady Burdett Coutts, whose husband has recently been elected member for Westminster in the Conservative interest.

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In the thirtieth of the Poem Competitions in “The World,” two prizes were offered for poems on “Ireland’s Distress,” the model selected being Campbell’s “Exile of Erin.” The first prize was gained by Captain Walford (Kommitop); the second by Miss Chamberlayne (Hypophosphate.) The Poems were printed in “The World” March 3, 1880.

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Second Prize.

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HOHENLINDEN.

An imitation of Hohenlinden, written by Mr. F. B. Doveton, was given on page 28. It was descriptive of the Tay Bridge disaster, which happened in December, 1879.

The subject was chosen for a prize competition in The World, the model selected being Campbell’s Hohenlinden, and the following poems appeared in that journal on January 21, 1880:—

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Second Prize.

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BATTLE OF THE BALTIC.

The two following parodies of this poem occur in The University Snowdrop, an Edinburgh College Magazine. These and the interesting explanatory notes which accompany them have been kindly furnished by Mr. James Gordon, F.S.A., Scotland.

The winter of 1837-8 was very severe, and there was a heavy fall of snow in Edinburgh. On the 10th January some snowballing took place in front of the College, in which the students took part. The warfare between the students and the townspeople was renewed on the 11th, and became more serious. Several shop windows were broken, the shops were closed, and the street traffic suspended. The students, believing that the constables took the side of the mob against them, appeared on the 12th armed with sticks, to defend themselves against the constables batons. Then a regular riot took place, sticks and batons being freely used, and matters became so serious that the magistrates found it necessary to send to the Castle for a detachment of soldiers of the 79th Highlanders, which arrived and drew up across the College quadrangle, and peace was restored. Five students who had been most active in the fray were tried by the Sheriff and were acquitted. The trial lasted three days. Among the witnesses for the prosecution were the Lord Provost, some Bailies, and the heads of the police force. The students were defended by Patrick Robertson, in a most amusing speech. He was made a Lord of Session, and wrote some volumes of poetry, now unsaleable, if ever they did sell. Lockhart wrote an epitaph for him:—

A report of the trial was published, which was followed by “The University Snowdrop, an appendix to the Great Trial, containing a selection of squibs, old and new, descriptive of the wars of the quadrangle and the consequences thereof. With magnificent embellishments.” Edinburgh, 1838.

The “embellishments” are pen and ink portraits of the principal parties concerned in the riot, drawn by Edward Forbes, then a student, who became a Professor. (His widow married Major Yelverton, from which event sprang the famous case of Longworth against Yelverton.)

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In the same volume (which is now very scarce) there are also Parodies of “Lochiel’s Warning,” entitled the “Student’s Warning,” one of a passage from Marmion, and another imitating The Lady of the Lake:—

“Hail to the chief who in triumph advances,” &c.

headed “Clan Charlie’s Pibroch,” and a parody of Hamlet’s Soliloquy, commencing, “To stand or not to stand, that is the question?” This is headed, “The Policeman’s Soliloquy.”

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The Burning of the Play-house.

(Improved from Campbell.)

[Covent Garden Theatre was destroyed by fire on March 5, 1856, during a masked ball conducted by Anderson, the self-styled “Wizard of the North.”]

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The Last Growler.

(After Thomas Campbell’s Last Man—also after the Official Report that there are one hundred and fifty seven fewer Four-wheeled Cabs in London now than last year.)

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“We are ruined by Cheap Chinese Labour.”

In Punch for January 16, 1886, a Parody (in four verses) appeared apropos of an assertion that Chinamen were being largely employed on vessels of the Royal Navy, stationed in the China Seas. It commenced:—

THE PLEASURES OF HOPE.

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Amongst the various other imitations of Campbell’s style the following are noteworthy:—

In “Rival Rhymes in honour of Burns,” by Samuel Lover (London, 1859), is a long poem entitled “A Spirit Lay from Hades,” imitating “The Battle of the Baltic,” it commences thus:—

“Rejected Odes,” edited by Humphrey Hedgehog, Esq., published by J. Johnston, London, 1813, a dreary little book, which was, no doubt, brought into existence in consequence of the success of “The Rejected Addresses,” contains poems which are supposed to bear some resemblance to those of Lord Byron, Walter Scott, Wordsworth, Southey, and others. Specimen the Ninth is devoted to the description of the sorrows of Ireland, written after the style of Campbell’s Exile of Erin.

In “The Maclise Portrait Gallery” (Chatto and Windus) there is an excellent portrait of Campbell, who, comfortably seated in an arm chair, is enjoying a long pipe and a glass of whisky toddy:—