Romantic Parodies, 1797-1831

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Overview

This is the first collection of literary parodies, both poetry and prose, written during the English Romantic period. Many anthologies of literary parody have been published during the past century, but no previous selection has concentrated so intensively on a single period in English literary history, and no period in that history was more remarkable for the quantity and diversity of its parody. There was no Romantic writer untouched by parody, either as subject or as author, or even occasionally as both. Most parodies were intended to discredit the Romantics not only as poets but as individuals, and to disarm the threat they were seen as posing to establish literary and social norms. Because it focuses on the "swarm of ...
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Overview

This is the first collection of literary parodies, both poetry and prose, written during the English Romantic period. Many anthologies of literary parody have been published during the past century, but no previous selection has concentrated so intensively on a single period in English literary history, and no period in that history was more remarkable for the quantity and diversity of its parody. There was no Romantic writer untouched by parody, either as subject or as author, or even occasionally as both. Most parodies were intended to discredit the Romantics not only as poets but as individuals, and to disarm the threat they were seen as posing to establish literary and social norms. Because it focuses on the "swarm of imitative writers" about whom Robert Southey complained in an 1819 letter to Walter Savage Landor, this collection throws light on a large and often overlooked body of work whose authors had much more serious purposes than mere ridicule or amusement. Romantic parody situates itself between the eighteenth-century craft of burlesque and the nonsense verse that Victorian parody often became. This anthology demonstrates that parody is concerned with power: that it expresses ideological conflict, dramatizing clashes of ideas, styles, and values between different generations of writers, different classes and social groups, and even between writers of the same generation and class. Parody is not an inherently conservative mode; politically, it serves the whole range of opinion from extreme left to extreme right. While several of the parodies are playful - a few even affectionate - most angrily testify to the political, social, and aesthetic divisions embittering the times. Some parodies have aged more gracefully than others. But all contribute to a more vivid understanding of the era and to the reception accorded the most important Romantic writers. The venom and alarm of the response those writers provoked may surprise anyone who takes it for grante

Product Details

  • ISBN-13: 9780838634585
  • Publisher: Fairleigh Dickinson University Press
  • Publication date: 10/1/1992
  • Pages: 416

Table of Contents

Foreword: Parody and Romantic Ideology 7
Introduction 11
1 George Canning and John Hookham Frere, from The Anti-Jacobin (1797) 25
2 Nehemiah Higginbottom, "Sonnets, attempted in the Manner of 'Contemporary Writers'" (1797) 32
3 Robert Southey, "Inscription under an Oak" (1799) 35
4 "S," "Joseph: An Attempt at Simplicity" (1799) 37
5 Robert Southey, from "The Amatory Poems of Abel Shufflebottom" (1799) 39
6 Anonymous, "Barham Downs; or Goody Grizzle and Her Ass" (1801) 41
7 Peter Bayley, "The Fisherman's Wife" (1803) 46
8 Edward Copleston, "L'Allegro, A Poem" (1807) 54
9 George Manners, "The Bards of the Lake" (1809) 62
10 Anonymous, "Lines originally intended to have been inserted in the last Edition of Wordsworth's Poems" (1811) 68
11 Anonymous, "Review Extraordinary" (1812) 70
12 James and Horace Smith, from Rejected Addresses (1812) 73
13 Francis Hodgson, from Leaves of Laurel (1813) 94
14 Eaton Stannard Barrett, from The Heroine, or Adventures of Cherubina (1813) 101
15 Anonymous, "The Universal Believer" (1815) 112
16 James Hogg, from The Poetic Mirror (1816) 114
17 William Hone, from his Parodies on The Book of Common Prayer (1817) 139
18 John Keats, "The Gothic Looks Solemn" (1817) 147
19 Anonymous, "The Old Tolbooth" (1818) 148
20 Thomas Love Peacock, from Nightmare Abbey (1818) 156
21 D. M. Moir, "The Rime of the Auncient Waggonere" (1819) 163
22 Anonymous, "Pleasant Walks: A Cockney Pastoral" (1819) 169
23 John Hamilton Reynolds, Peter Bell (1819) 173
24 D. M. Moir, "Christabel, Part Third" (1819) 185
25 John Wilson Lockhart, from Benjamin the Waggoner (1819) 194
26 John Hamilton Reynolds, The Dead Asses (1819) 203
27 Percy Bysshe Shelley, Peter Bell The Third (1819) 213
28 William Maginn, "Don Juan Unread" (1819) 239
29 David Carey, "The Water Melon" (1820) 242
30 William Maginn and Others, from "'Luctus' on the Death of Sir Daniel Donnelly, Late Champion of Ireland" (1820) 244
31 Anonymous, "The Nose-Drop: A Physiological Ballad" (1821) 249
32 William Hone, "A New Vision" (1821) 256
33 Eyre Evans Crone, "Characters of Living Authors, By Themselves" (1821) 261
34 Lord Byron, The Vision of Judgment (1821) 268
35 Anonymous, "To the Veiled Magician" (1822) 297
36 Anonymous, "Lyrical Ballad" (1822) 299
37 Thomas Colley Grattan, "Confessions of an English Glutton" (1823) 302
38 Caroline Bowles Southey, "Letter from a Washerwoman" and "Fragments" (1823) 313
39 Catherine Maria Fanshawe, "Fragment in Imitation of Wordsworth" (n.d.) 325
40 William Hay Forbes, "Cockney Contributions for the First of April" (1824) 327
41 William Frederick Deacon, from Warreniana (1824) 338
42 Thomas Hood, "Ode to Mr. Graham," from Odes and Addresses to Great People (1825) 354
43 Thomas Love Peacock, "Proemium of an Epic," from Paper Money Lyrics (1825) 361
44 Hartley Coleridge, "He Lived Amidst Th' Untrodden Ways" (1827) 364
45 James Hogg, "Ode to a Highland Bee" (1829) 365
46 Anonymous, "A Driver of a Rattling Cab" (1831) 368
Notes 370
Selected Bibliography 403
Index 408

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