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.

“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.

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.

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

John Taylor, the Water Poet.

“It was because Homer was the most popular poet, that he was most susceptible of the playful honours of the Greek parodist; unless the prototype is familiar to us, a parody is nothing.”

Isaac D’Israeli.

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

CONTENTS OF PARTS I. to XXXVI. PARODIES.

EACH PART MAY BE PURCHASED SEPARATELY.

Part 1. Alfred Tennyson’s Early Poems.

Part 2. Alfred Tennyson’s Early Poems.

Part 3. Alfred Tennyson’s Later Poems.

Part 4. Page 49 to 62. Tennyson’s Poems.

Page 62 to 64. H. W. Longfellow.

Part 5. Page 65. A Parody of William Morris.

Page 65 to 80. H. W. Longfellow.

Part 6. Page 81 to 96. H. W. Longfellow.

Part 7. Page 97 to 105. H. W. Longfellow. Hiawatha.

Page 105 to 112. Rev. C. Wolfe. Not a Drum was heard.

Part 8. Page 113. Not a Drum was heard.

Page 113 to 128. The Song of the Shirt.

Part 9. Page 129 to 135. Thomas Hood.

Page 135 to 140. Bret Harte.

Pages 140 & 141. Not a Drum was heard.

Page 142 to 144. Alfred Tennyson.

Part 10. Page 145 to 160. Alfred Tennyson.

Part 11. Page 161 to 176. Alfred Tennyson.

Part 12. Page 177 to 186. Alfred Tennyson.

Page 187 to 190. Not a Drum was heard.

Page 190 to 192. Song of the Shirt.

Part 13. Page 1 to 4. Bret Harte.

Pages 4 and 5. Thomas Hood.

Page 6 to 16. H. W. Longfellow.

Part 14. Page 17 to 24. H. W. Longfellow.

Page 25 to 40. Edgar Allan Poe.

Part 15. Page 41 to 64. Edgar Allan Poe.

Part 16. Page 65 to 88. Edgar Allan Poe.

Part 17. Page 89 to 103. Edgar Allan Poe.

Pages 103, 4 & 5. The Art of Parody.

Page 106 to 112. My Mother, by Miss Taylor.

Part 18. Page 113 to 135. My Mother.

Page 136 The Vulture, (After “The Raven.”)

Page 136 A Welcome to Battenberg.

Part 19. Page 137 to 141. Tennyson’s The Fleet, etc.

Page 141 to 143. My Mother.

Page 144 to 160. Hamlet’s Soliloquy.

Part 20. Page 161 to 184. W. Shakespeare. The Seven Ages of Man, etc.

Part 21. Page 185 to 206. W. Shakespeare. Account of the Burlesques of his Plays.

Page 206 to 208. Dr. Isaac Watts.

Part 22. Page 209 to 217. Dr. Isaac Watts.

Page 217 to 232. John Milton.

Part 23. Page 233 John Milton.

Page 233 to 236. Dryden’s Epigram on Milton.

Page 236 to 238. Matthew Arnold.

Page 239 to 244. W. Shakespeare.

Page 244 to 246. Bret Harte.

Page 246 to 255. H. W. Longfellow.

Pages 255 and 256 Thomas Hood.

Part 24. Page 257 to 259. Thomas Hood.

Page 260 to 280. Alfred Tennyson.

Part 25. A Chapter on Parodies, by Isaac D’Israeli.

Page 3 to 16. Oliver Goldsmith.

Part 26. Page 17 to 20. Oliver Goldsmith.

Page 20 to 40. Thomas Campbell.

Part 27. Page 41 to 47. Thomas Campbell.

Page 48 to 64. Robert Burns.

Part 28. Page 65 to 71. Robert Burns.

Page 71 to 88. Sir Walter Scott.

Part 29. Page 89 to 99. Sir Walter Scott.

Page 99 to 105. Scotch Songs.

Page 106 to 109. Robert Burns.

Page 109 to 112. Thomas Campbell.

Part 30. Page 113 to 116. Coronation Lays.

Page 117 to 129. Charles Kingsley.

Page 129 to 136. Mrs. Hemans.

Part 31. Page 137 to 140. Mrs. Hemans.

Page 140 to 160. Robert Southey.

Part 32. Page 161 to 181. Robert Southey.

Page 181 to 184. The Anti-Jacobin.

Part 33. Page 185 to 186. The Anti-Jacobin.

Page 187 to 189. A. C. Swinburne.

Page 189 to 208. Lord Byron.

Part 34. Page 209 to 229. Lord Byron.

Page 230 to 232. Thomas Moore.

Part 35. Page 233 to 256. Thomas Moore.

Part 36. Page 257 to 278. Thomas Moore.

Page 278. Lord Byron.

Pages 279 & 280. Charles Kingsley.

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:—

A Paraphrase.

4

5

Woman’s Rights.

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

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.

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

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:—