"We maintain that, far from converting virtue into a parodox, 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.

THOBURN & CO., St. Bride's Steam Press, 136, Salisbury Square, Fleet Street, London, E.C.

PREFACE.

  When this Collection was originally projected, it seemed so unlikely to receive much support from the general public that it was intended to publish a few only of the best Parodies of each author.

After the issue of the first few numbers, however, it became evident that "a hit—a palpable hit—" had been made, the sale rapidly increased, and subscribers not only expressed their desire that the collection should be made as nearly complete as possible, but by the loans of scarce books, and copies of Parodies, helped to make it so.

This involved an alteration in the original arrangement, and as it would have been monotonous to fill a whole number of sixteen pages with parodies of one short poem, such as those on "Excelsior," or Wolfe's Ode, it became necessary to spread them over several numbers. In the Index, which has been carefully compiled, references will be found, under the titles of the original Poems, to all the parodies mentioned. In all cases, where it has been possible to do so, full titles and descriptions of the works quoted from, have been given; any omission to do this has been unintentional, and will be at once rectified on the necessary information being supplied.

To the following gentlemen I am much indebted for assistance in the formation of this collection, either by granting permission to quote from their works, or by their original contributions:—Messrs. Lewis Carroll (author of "Alice's Adventures in Wonderland"), G. P. Beckley, James Gordon, John Lane, J. W. Morris, Walter Parke (author of "The Lays of the Saintly"), H. Cholmondeley Pennell (author of "Puck on Pegasus"), Major-General Rigaud, Edward Simpson, G. R. Sims, Basil H. Soulsby, Edward Walford, M.A. (Editor of "The Antiquarian Magazine"), J. W. Gleeson White, W. H. K. Wright, Public Library, Plymouth, and John Whyte, Public Library, Inverness. A great deal of bibliographical information was sent me by my late lamented friend, the learned and genial Mr. William Bates, Editor of "The Maclise Portrait Gallery;" his brother, Mr. A. H. Bates; the Rev. T. W. Carson, of Dublin; and Miss Orton, have also given me valuable assistance.

In a few cases where parodies are to be found in easily accessible works, extracts only have been quoted, or references given; but it is intended in future, wherever permission can be obtained, to give each parody in full, as they are found to be useful for public entertainments, and recitations. When the older masters of our Literature are reached, a great deal of curious and amusing information will be given, and it is intended to conclude with a complete bibliographical account of PARODY, with extracts and translations from all the principal works on the topic. Whilst arranging the present volume, I have been gathering materials for those to come, which will illustrate the works of those old writers whose names are familiar in our mouths as household words. Much that is not only quaint and amusing will thus be collected, whilst many illustrations of our literature, both in prose and verse, which are valuable to the student, will for the first time be methodically arranged, annotated, and published in a cheap and accessible form.

WALTER HAMILTON.

64, BROMFELDE ROAD, CLAPHAM, LONDON, S.W.
December, 1884.

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.

[1]

INTRODUCTION.

I HAVE, for many years past, been collecting Parodies of the works of the most celebrated British and American Authors. This I have done, not because I entirely approve of the custom of turning high-class work into ridicule, but because many of the parodies are in themselves works of considerable literary merit. Moreover, as "imitation is the sincerest form of flattery," so does a parody show that its original has acquired a certain celebrity, for no author would waste his time, or his talent, in composing a burlesque of an unknown, or obscure work.

Numerous articles on parodies are to be found scattered up and down in odd corners of old magazines and reviews, a few small books have been written on the topic; but, until now, no attempt has been made to give, in a connected form, a history of parody with examples and explanatory notes.

This, then, is what I propose to do in the following articles, and those who desire to possess a complete set of parodies on any favourite author, would do well to preserve these papers for future reference.

PARODY is a form of composition of a somewhat ungracious description, as it owes its very existence to the work it caricatures; but it has some beneficial results in drawing our attention to the defects of some authors, whose stilted language and grandiloquent phrases have veiled their poverty of ideas, their sham sentiment, and their mawkish affectations.

The first attribute of a parody is that it should present a sharp contrast to the original either in subject, or treatment of the subject; that if the original subject should be some lofty theme, the parody may reduce it to a prosaic matter-of-fact narrative. If, on the other hand, the topic selected be one of every day life, it may be made exceedingly amusing if described in high-flown mock heroic diction. If the original errs in sentimental affectation, so much the better for the parodist. Thus many of Tom Moore's best known songs are mere windy platitudes in very musical verse, which[2] afford excellent and legitimate materials for ridicule. The nearer the original diction is preserved, and the fewer the alterations needed to produce a totally opposite meaning or ridiculous contrast, the more complete is the antithesis, the more striking is the parody; take for instance Pope's well-known lines:—

which, by the alteration of two words only, were thus applied by Miss Katherine Fanshawe to the Regent's Park when it was first opened to the public:—

In this happy parody we have that "union of remote ideas," which is said, and said truly, to constitute the essence of wit. Even the most serious and religious works have been parodied, and by authors of the highest position. Thus Luther mimicked the language of the Bible, and both Cavaliers and Puritans railed at each other in Scriptural phraseology. The Church services and Litanies of both the Catholic, and Protestant Churches, have served in turn as originals for many bitter satires and lampoons, directed at one time against the Church and the priests, at another time in equally bitter invective against their opponents.

To undertake the composition of parodies, as the word is generally comprehended—that is, to make a close imitation of some particular poem, though it should be characteristic of the author—would be at times rather a flat business. Even the Brothers Smith in "Rejected Addresses," and Bon Gaultier in his "Ballads," admirable as they were, stuck almost too closely to their selected models; and Phœbe Carey, who has written some of the best American parodies, did the same thing. It is an evidence of a poet's distinct individuality, when he can be amusingly imitated. We can only make those the object of our imitations whose manner, or dialect, stamps itself so deeply into our minds that a new cast can be taken. But how could one imitate Robert Pollok's "Course of Time," or Young's "Night Thoughts," or Blair's "Grave," or any other of those masses of words, which are too ponderous for poetry, and much too respectable for absurdity! Either extreme will do for a parody, excellence or imbecility; but the original must at least have a distinct, pronounced character.

Certain well known poems are so frequently selected as models for parodies that it will only be possible to select a few from the best of them; to re-publish every parody that has appeared on Tennyson's "Charge of the Light Brigade," E. A. Poe's "The Raven," Hamlet's Soliloquy, or Longfellow's "Excelsior," would be a tedious, and almost endless task.

Prose parodies, though less numerous than those in verse, are often far more amusing, and it will be found that Dr. Johnson's ponderous sentences, Carlyle's rugged eloquence, and Dickens' playful humour and tender pathos, lend themselves admirably to parody.

The first portion of this work will be devoted to the parodies themselves, accompanied by short notes sufficient to explain such allusions as may, in time, appear obscure; the second will contain a full bibliographical account of all the principal collections of Parodies and Works on the subject, such as the "Probationary Odes," Hone's Trials, the "Rejected Addresses," and the late M. Octave Delepierre's Essai sur la Parodie. The latter work, which was published by Trübner & Co. in 1870, gave an account of old Greek and Roman, and of modern French and English Parodies. I had the pleasure of supplying M. Delepierre with the materials for his chapter on English Parodies, but, owing to the limited space at his command, he was only able to quote a verse or two of the best parody of each description. My aim will be to give each parody intact, except in the few cases where I have been unable to obtain the author's permission to do so.

WALTER HAMILTON.

[3]

Alfred Tennyson.

Poet Laureate.

ALFRED TENNYSON, the third of seven brothers, was born August 5th, 1809, at Somersby, a small village near Horncastle, in Lincolnshire. His father, Dr. George Clayton Tennyson, was the rector of this parish, he was a man remarkable for his strength, stature, and varied attainments as poet, painter, musician and linguist. In 1827, Alfred Tennyson, with his elder brother Charles, both then being scholars at the Louth Grammar school, published a small volume entitled "Poems by Two Brothers." Shortly afterwards, these two brothers removed to Trinity College, Cambridge, and in 1829, Alfred Tennyson obtained the Chancellor's Gold Medal for his poem on "Timbuctoo." His subsequent poetical works rapidly attracted attention, and, on the death of William Wordsworth, he was created Poet Laureate, the Warrant being dated the 19th November, 1850. As a poet he has achieved almost the highest fame, but in his numerous efforts as a dramatist he has been less successful.

For the consideration of the Parodies of Tennyson's poems, they may conveniently be divided into three periods, namely, his early Poems, poems in connection with his appointment in 1850 to the office of Poet Laureate, and Poems since that date. Although Tennyson has suppressed many of his early works, yet he occasionally furbishes up, and re-issues as a new poem some of his youthful compositions.

Fastidious as he is known to be in his selection of what he thus re-publishes, it is still a matter of some surprise that he should have entirely suppressed his prize poem Timbuctoo, which would always be of interest as a specimen of his early work, and is, besides, far removed above the average of Prize Poems.

The poems were sent in for competition in the month of April, 1829; and on June 12, 1829, the Cambridge Chronicle recorded that "On Saturday last, the Chancellor's Gold Medal for the best English poem by a resident undergraduate was adjudged to Alfred Tennyson, of Trinity College." Shortly afterwards the poem was published, and was favourably reviewed in The Athenæum, which speaking of Prize poems generally, stated, "These productions have often been ingenious and elegant, but we have never before seen one of them which indicated really first-rate poetical genius, and which would have done honour to any man that ever wrote. Such, we do not hesitate to affirm, is the little work before us."

W. M. Thackeray was at Cambridge at the same time as Tennyson, and early in 1829 he commenced the publication of a small paper entitled "THE SNOB, a Literary and Scientific Journal, not conducted by members of the University." This was published by W. H. Smith, of Rose Crescent, Cambridge, and ran for eleven weeks: its contents were humorous sketches in prose and verse, and the most remarkable paper amongst them is the following droll poem on Timbuctoo, which appeared on the 30th April, 1829, and has most unaccountably been omitted from recent editions of Thackeray's works:—

To the Editor of the "SNOB."

SIR,—Though your name be Snob, I trust you will not refuse this tiny "Poem of a Gownsman," which was unluckily not finished on the day appointed for delivery of the several copies of verses on Timbuctoo. I thought, Sir, it would be a pity that such a poem should be lost to the world; and conceiving "THE SNOB" to be the most widely circulated periodical in Europe, I have taken the liberty of submitting it for insertion or approbation.—I am, Sir, yours, &c., &c.

TIMBUCTOO.—PART I.

The Situation.

The Natural History.

The lion hunt.

Their lives at home.

Abroad.

Reflections on the foregoing.

NOTES.—Lines 1 and 2.—See Guthrie's Geography. The site of Timbuctoo is doubtful; the author has neatly expressed this in the poem, at the same time giving us some slight hints relative to its situation.

Line 5.—So Horace: leonum arida nutrix.

Line 13.—"Pop goes the musketoons." A learned friend suggested "Bang" as a stronger expression, but as African gunpowder is notoriously bad, the author thought "Pop" the better word.

Lines 15-18.—A concise but affecting description is here given of the domestic habits of the people. The infamous manner in which they are entrapped and sold as slaves is described, and the whole ends with an appropriate moral sentiment. The enthusiasm the author feels is beautifully expressed in lines 25 and 26.

Although this poem is not actually a parody of Tennyson's Timbuctoo, it is a clever burlesque of Prize poems in general, and derives interest as being one of Thackeray's earliest writings.

The first independent volume of poems which Tennyson published in 1830, contained Mariana, The Ballad of Oriana, Adeline, Lilian, The Poet, The Merman, and the Mermaid, all of which are so well known that the following parodies require no introduction:—

ORIANA.

A Tennyson-cum-Albery Ballad.

From Fun, February 26th, 1873.

"Oriana," a romantic legend in three acts, by James Albery, music by F. Clay, was first performed at the Globe Theatre, on Saturday, February 15th, 1873. The lessee and manager, Mr. H. J. Montague, performed the part of King Raymond, that of Oriana being represented by Miss Rose Massey. The plot was founded on a fairy tale, slightly resembling Mr. Gilbert's "Palace of Truth," but, beyond the name, the play had nothing in common with Tennyson's poem of "Oriana."

MARIANA.

(At the Railway Station.)

[5]

THE WEDDING DRESS.

From Funny Folks.

In the Bon Gaultier Ballads is a parody of Lilian entitled:—

CAROLINE.

I next give an extract from a capital parody of The Merman, taken from The Bon Gaultier Ballads, in which the allusions to the Laureate's office are happily introduced.

THE LAUREATE.

[6]

THE MERMAID.

(By a disgusted Tar with a vague recollection of TENNYSON.)

I.

II.

From Punch, July 20th, 1878, in reference to the so-called Mermaid then being exhibited at the Westminster Aquarium.

Tennyson's—The Poet—was in fourteen verses of four lines each; it commenced thus:—

The following parody, which appeared in Punch, was apropos of the poetry of the so-called "Fleshly School," and very closely follows the diction of the original:—

THE POET (OF THE PERIOD).

With Punch's apologies for the application of noble Stanzas to an ignoble subject.

In 1832 Tennyson published another small volume of poems which contained that beautifully classical piece of blank verse Œnone; The Sisters, The Palace of Art, Lady Clara Vere de Vere, The May Queen, The Lotus-Eaters, The Dream of Fair Women, and Margaret, all of which have been so frequently parodied that selection is indeed difficult.

The following parody of Tennyson's, The Sisters, was apropos to a division in the House of Commons, relative to the vexed question of marriage with a deceased wife's sister, and appeared in The Tomahawk.

MATRIMONIAL EXPEDIENCY.

A good many years ago a little volume, entitled "Carols of Cockayne," written by the late Mr. Henry S. Leigh, (who died June, 1883) had considerable success. It contained a number of Ballads and Parodies, and amongst others two amusing imitations of Tennyson (they can hardly be styled parodies), the first is in answer to the Laureate's somewhat bitter attack on a lady entitled "Lady Clara Vere de Vere:—"

The other, a reply to a well known song, is scarcely so good, because it does not follow its original so closely:—

MAUD.

[8]

In 1879 the Editor of The World offered a prize for the best parody on Tennyson's Lotus-Eaters, the chosen subject being "Her Majesty's Ministers at Greenwich."

The prize was awarded to C. J. Billson, for the following parody, which appeared in The World, for September 3rd, 1879:—

THE WHITEBAIT-EATERS.

CHORIC SONG.

AUGUSTO MENSE POETA.
(C. J. Billson.)

In the year 1868, when the mania for trapeze performances was at its height, and men and women were nightly risking their lives to please the thoughtless audiences at the music halls, The Tomahawk had some powerful cartoons (drawn by Matt Morgan) in condemnation of this senseless and dangerous form of entertainment; it also published the following parody of—

A DREAM OF FAIR WOMEN.

[9]

An Extract from the original MARGARET.

MARY ANN.

(After Mr. Tennyson's "Margaret.")

From The Weekly Dispatch, 25th June, 1882.

It is in the strongly marked individuality of some of Tennyson's early poems that we find, at once, the secret of much of his popularity, and the excuse for the vast number of parodies of his works scattered about in nearly all our humorous literature; and three of the early poems have been especially chosen by parodists as models for imitation; these are the "May Queen," "Locksley Hall," and the "Charge of the Light Brigade."

In the "Bon Gaultier Ballads" by Theodore Martin and Professor Aytoun, will be found several parodies of Tennyson, also of Lord Macaulay, Tom Moore, Bulwer Lytton, Mrs. Browning, and of Leigh Hunt, of whom parodies are rare.

Of the parodies of Tennyson, "Caroline" and "The Laureate" have already been quoted; the others are "The Lay of the Lovelorn" and "The Dirge of the Drinker," both in imitation of "Locksley Hall," "La Mort D'Arthur," concerning Mechi's steel; and the "The Biter Bit."

"The Biter Bit" is a kind of burlesque continuation of the "May Queen," the tender pathos of the original being turned into cynical indifference, whilst preserving a great similarity of style and versification.

THE BITER BIT.

THE MAY QUEEN CORRECTED—May, 1879.

CARTED AWAY.

A Farewell Ode to the Brompton Boilers.

The following appeared in The Referee, in 1882:—

"Chief Justice May has scandalously prejudged the Land League case, and in common decency he should not be allowed to try it. A fair trial is impossible after the partisanship which in the vilest possible taste this person has displayed. It is not the practice even now in Ireland to hang people first and try them afterwards, and May may congratulate himself upon having done the very worst thing in his power for the[11] Government brief, which, sitting in judgment, he had the effrontery to flaunt in the face of the accused."

THE MAY OF THE QUEEN.

(The Land League Boy to his Mother).

THE PLAY KING.

(Not included in Mr. Tennyson's New Volume).

These verses had reference to the announcement that the Poet Laureate was writing a tragedy to be produced at the Lyceum Theatre.—The Cup was indeed a greater success than most of Mr. Tennyson's previous dramatic productions, but it owed its popularity to splendid acting, and the magnificent mise-en-scene, far more than to its merits as a play, beautiful as it was as a poem.—It was produced on the 19th February, 1881.

[12]

In The Referee for December 2, 1882, the following parodies were published. It will be noticed that the first part imitates Cowper's John Gilpin, the second part Tennyson's May Queen, and the third part Campbell's Hohenlinden.

A MEDLEY FOR MONDAY.

The longest and most important work (by many also considered the finest) of Alfred Tennyson is the collection of Arthurian Idyls, known as the Idyls of the King. These were originally published in detached parts, in somewhat irregular order, but in recent editions the Author has striven to arrange them in a consecutive and more connected form.

The first to appear in order of date was the Morte d'Arthur, which was published in the 1842 volume, in the later arrangement of the poems this has been absorbed into the last Idyl, entitled "The Passing of Arthur."

In the original it commenced thus:—

Then spake King Arthur to Sir Bedivere:

[13]

This mission was distasteful to Sir Bedivere, who exclaims:—

Thus much of the original must indeed be in one's thoughts ere the Voyage de Guillaume can be appreciated; it recounts the holiday trip of the Prime Minister to the north in September, 1883. It will be remembered that Mr. Gladstone was the guest of Sir Donald Currie, on board the Pembroke Castle, and that Alfred Tennyson was also one of the party.

VOYAGE DE GUILLAUME.—A FRAGMENT.

To the Editor of the St. James's Gazette.

SIR,—I have received the following lines from North Britain. Evidently it was not without reason that the Prime Minister was accompanied on his cruise by the Poet Laureate.—I am, Sir, your obedient servant, H. H.

In the same 1842 volume, appeared "Godiva," "Locksley Hall," "Break, Break, Break," and "The Eagle," of each of which there are some excellent parodies.—The old legend of Lady Godiva, so beautifully retold in blank verse by the Laureate, has recently been sadly vulgarised by the processions at Coventry, and the following poem describes, not unfairly, the scene in which a somewhat prominent actress stooped to sustain the part of the Lady Godiva.

THE MODERN LADY GODIVA.

BREAK, BREAK, BREAK.

Tennyson writes thus:—

Of this he has had numerous imitators:—

TO MY SCOUT.

After a smash (and Tennyson).

Here is another in a similar vein:—

[15]

THE BATHER'S DIRGE.

By Tennyson Minor.

The two following are taken from Punch:—

THE MUSICAL PITCH.

TENNYSON AT BILLINGSGATE IN 1882.

(Apropos of the Ring of Wholesale Fish Dealers.)

In June, 1882, the Editor of The Weekly Dispatch awarded a prize of Two Guineas to M. Percivale, for a parody on Locksley Hall. The somewhat uncomplimentary allusions to a young Æsthetic poet are too obvious to require any elucidation.

Here is another, and an earlier, imitation of the same original:—

BACCHANALIAN DREAMINGS.

THE NEW ŒNONE.—AN EPIC FRAGMENT.

(With Apologies to the Poet Laureate.)

[17]

There still remain to be quoted a few amusing parodies of Tennyson's early poems, the first in order being Mariana, which was thus closely burlesqued in George Cruikshank's Comic Almanack for 1846.

THE BOW STREET GRANGE.

By Alfred Tennyson.

In 1855, Messrs. G. Routledge & Co., published a small volume, by Frank E. Smedley and Edmund Hodgson Yates, entitled Mirth and Metre, which contained several excellent parodies, one entitled Boreäna, after the The Ballad of Oriana; and another, called Vauxhall, which imitated Locksley Hall. Most of the parodies in the book were written by Mr. Edmund H. Yates, but he gave the credit of Boreäna to Mr. Frank Smedley, the author of several well-known novels, who died in May, 1864.

THE BALLAD OF BOREÄNA.

TENNYSON'S The Palace of Art, commences thus:—

The following skit ridiculing the furniture and decorations of an artistically-arranged modern house, is taken from Punch of the 15th February, 1879.

THE PALACE OF ART.

Although taken from Cruikshank's Comic Almanack, for 1846, the following parody of The May Queen is so fresh and so funny that it might have been written yesterday:—

THE QUEEN OF THE FÊTE.

By Alfred Tennyson.

I.—THE DAY BEFORE.

[To be read with liveliness.]

II.—THE DAY AFTER.

[Slow, and with sad expression.]

Light Green, a magazine published at Cambridge, in 1872, contained another parody of the same original, it is called "The May Dream," by Alfred Pennysong.

[20]

The following appeared in The Tomahawk, of December 5th, 1868.

ELECTIONS' EVE!

A Song of the Future(?).

A DREAM OF FAIR WOMEN.

(From The World, July 23rd, 1879).

[21]

Those who have read Locksley Hall will greatly appreciate The Lay of the Lovelorn, a parody contained in the Bon Gaultier Ballads of Theodore Martin and Professor Aytoun.

Tennyson's original poem commences thus:—

THE LAY OF THE LOVELORN.

[23]

VAUXHALL.

[24]

Extract from Sir Rupert the Red, in imitation of Tennyson's Locksley Hall.

The following imitation of "Break, Break, Break," is from Snatches of Song, by F. B. Doveton, 1880, which volume also contains (page 127) a long, but not very amusing, parody of The Grandmother, entitled Hard Times.

Here is another in a similar vein, from Punch's Almanack for 1884:—

OUR MISCELLANY (which ought to have come out, but didn't), edited by Edmund H. Yates and R. B. Brough, published by G. Routledge & Co., in 1857, contains a number of parodies, amongst them of Lord Macaulay, E. A. Poe, Longfellow, and Charles Dickens.

Of Tennyson there are two imitations of Maud; one, nine verses in length, of In Memoriam, and one entitled A Character, which is a rather close parody of a poem having the same title, published in Tennyson's 1830 volume.

It will be remembered that at the time Our Miscellany appeared, M. Jullien's Promenade Concerts were in the full tide of their prosperity, and that the little fopperies and vanities of the clever Chef d'orchestre, and his importation of French military bands were then the talk of the town.

A CHARACTER.

(Jullien.)

The In Memoriam verses are scarcely so good, I will, therefore, only quote the first and the last:—

RICHMOND, 1856.

The two imitations of Maud, at pages 80 and 179, are too long, and scarcely sufficiently interesting, to quote at length.

The Shilling Book of Beauty, by Cuthbert Bede (J. Blackwood, 1853), has also a parody of Maud, in ten verses, it is entitled:—

MAUD IN THE GARDEN.

By Alfred Tennison, Esq.

In 1856 a little sixpenny pamphlet was published by J. Booth, of Regent Street, entitled Anti-Maud, by a Poet of the People. Tennyson had been accused of fanning the warlike spirit then rampant in the land, and his Maud contained—in exquisite poetry—many of the stock arguments in favour of war and glory. The "Poet of the People," in his Anti-Maud, adopted the other, and less popular view. Read in the light of subsequent events, this scarce little pamphlet seems more correct in its deductions, than the Laureate's war cry in Maud. The author asserts that Anti-Maud is not merely a jeu d'esprit, but something of a more earnest character, and he disclaims any intention of depreciating the Laureate's poetry. I can quote a few only of the best of the fifty odd stanzas it contains:

ANTI-MAUD.

I have quoted so much of this parody because it was one of the first to draw attention to the Laureate's love for the pride, pomp and circumstance of glorious war, a bellicose spirit which breathes quite as fiercely in his later writings, as in his early songs. In all cases, where he has attempted any Patriotic poem, the main idea seems to be a bloodthirsty hatred of some other nation; at one time, and for some years, it was France, next it was Russia, and latterly some of his writings have been well calculated to revive our long forgotten animosity to Spain. In so doing Tennyson has narrowed the circle of his admirers, for war is far from being the popular game it once was; and the poet, who would be loved of all, should avoid controversial topics. The Laureate's patriotic muse has certainly sung a few noble songs, but many which have been deservedly ridiculed; in his official capacity he has written some of the most exquisite lines in which adulation of Royalty has ever been expressed; for whilst we know that his laurelled predecessors credited the Stuarts and the Georges with precisely the same virtues which he has ascribed to members of the present Royal Family, their official poems were laughed at at the time, and are now forgotten; whilst his have been greatly admired, especially in high quarters, and the coronet which is to reward his poetical loyalty confers on him, and the latest of his descendants, a perpetual title to rule over the people of Great Britain.

All honour to the Poet, as Poet, as a titled Legislator the choice rather reminds one of the saying of Beaumarchais' hero;—"It fallait un calculateur, ce fut un danseur qui l'obtint," a saying which I may perhaps be allowed to parody thus:—"Il fallait un Legislateur, ce fut un chanteur qui l'obtint"

THE LAST PEER.

Nothing yet written about this unpopular title (which jars on the ears of the people), approaches the severity of the following caustic parody which appeared in the Pall Mall Gazette, 12th December, 1883:—

BARON ALFRED VERE DE VERE.

For the curious in such matters I give the following extract from the St. James's Gazette relating to Mr. Tennyson's lineage:—That Mr. Tennyson comes of an ancient house is generally known; not every one perhaps is aware of the number of princes, soldiers, and statesmen, famous in British or European history, from whom he can claim descent. Without pretending to give an exhaustive list of his royal and noble ancestors, it may be interesting at the present moment to point out a few of the more renowned among them. The Laureate's descent from John Savage, Earl Rivers (from which stock came Johnson's friend), implies descent from the Lady Anne, eldest sister of Edward IV., and so from sixteen English kings—namely, the first three Edwards, Henry III., John, the first two Henrys, William the Conqueror, Edmund Iron-side, Ethelred the Unready, Edgar the Peaceable, Edmund I., Edward the Elder, Alfred, Ethelwulf, and Egbert. But Edward III. was the son of Isabella, daughter of Philip the Fair, King of France, who descended from Hugh Capet, and nine intervening French Kings, among whom were Robert II., Philip Augustus, Louis VIII., and St. Louis. The last is not the only saint who figures in this splendid pedigree. The mother of Edward II. was Eleanor, daughter of Ferdinand III., King of Castle and Leon, who was canonized by Clement X. Again, through the marriage of Edmund of Langley, Duke of York, with Isabel, daughter of Peter the Cruel, Mr. Tennyson descends from Sancho the Great and Alphonso the Wise. Other crowned ancestors of the poet are the Emperor Frederick Barbarossa, and several Kings of Scotland, notably Malcolm III. and the "gracious Duncan," his father. In truth, the Shakespearean gallery is crowded with portraits of his progenitors—e.g., besides those already mentioned, John of Gaunt, Edmund Mortimer Earl of March, Richard Earl of Cambridge, Richard Plantagenet "the Yeoman," Edmund Beaufort Duke of Somerset, Lord Hastings (of the reigns of Edward IV. and Richard III.), and Lord Stanley. Mr. Tennyson is not only descended from the first Earl of Derby and that third earl with whose death, according to Camden, "the glory of hospitality seemed to fall asleep," but from the "stout Stanley" who fronted the right of the Scots at Flodden, and whose name in Scott's poem was the last on the lips of the dying Marmion. "Lord Marmion," says Scott, "is entirely a fictitious personage:" "but" he adds "that the family of Marmion, Lords of Fontenay in Normandy, was highly distinguished; Robert de Marmion, a follower of Duke William, having obtained a grant of the castle and town of Tamworth. This Robert's descendant, Avice, married John, Lord Grey of Rotherfield, one of the original Knights of the Garter, whose great-granddaughter became (in 1401) the wife of John, Lord D'Eyncourt, another ancestor of Mr. Tennyson's; whose uncle, the Right Honourable Charles Tennyson, many years Liberal member for Lambeth, assumed the name of D'Eyncourt by royal licence."

Probably the learned compiler of this abstruse genealogy has no time to study the poets, or he might have read of one who claimed an even more ancient descent:—

[29]

The following beautiful lines, which occur in The Princess, have been the subject of many parodies:—

An excellent parody, by Shirley Brooks, appeared in Punch, December 30, 1865.

HOME THEY BROUGHT.

(With abject apologies to Mr. Tennyson, Miss Dance and Miss Dolby).

And the following by Mr. Sawyer is also worthy of preservation:—

THE RECOGNITION.

In January, 1882, Mr. Cook speaking at a public meeting in reference to the state of affairs in Ireland at that time, observed that he could not better represent Mr. Gladstone's position in this land question than by quoting a parody on that celebrated poem of Tennyson's, "Home they brought her warrior dead":—

IN IMMEMORIAM.

(Ascribed to the author of "In Memoriam" but not believed to be his).

[30]

The 1842 volume of Tennyson's works contained a short poem in four verses entitled

A FAREWELL.

The following parody is taken from Odd Echoes from Oxford, 1872.

A FAREWELL.

After sleeping in the Argyle Hotel, Dunoon.

A still closer imitation of the versification of the original is contained in The Shotover Papers, published in Oxford in 1874.

ODE TO ALDGATE PUMP.

THE UNDERGRAD.

This is taken from Odd Echoes from Oxford, 1872, and is a parody on The Beggar Maid and King Cophetua, which was also in the 1842 collection.

In a little volume by C. S. Calverley entitled "Fly Leaves," (George Bell & Sons, 1878) there are several clever parodies, and one, entitled Wanderers, is an especially happy imitation of the style of Tennyson's Brook:—

THE TINKER.

Another parody of the same original, and almost as clever, is contained in a little anonymous Pamphlet, entitled Idyls of the Rink, published by Judd & Co., in 1876, it is called

THE RINKER

By Alfred Tennyson.

I now come to a clever and most amusing little work entitled Puck on Pegasus, by H. Cholmondeley-Pennell, which was published about sixteen years ago by the late Mr. John Camden Hotten. In the original edition this work was a small quarto, with numerous illustrations and a characteristic frontispiece designed and etched by dear old George Cruikshank. It has since run through numerous editions, and is now included in the series known as The Mayfair Library, published by Chatto and Windus. It contains the following parodies:—"Song of In-the-Water," after Longfellow; "The Du Chaillu Controversy," after The Bon Gaultier Ballads; "The Fight for the Championship," after Lord Macaulay; "How the Daughters come down at Dunoon," after Robert Southey; "Wus, ever wus," after Tom Moore; "Exexolor!" after Longfellow's Excelsior; "Charge of the Light (Irish) Brigade," after Tennyson.

The incidents referred to in the last-mentioned parody have now somewhat faded from the public memory. It is sufficient to say that the warlike behaviour of the one brigade was quite as great a contrast to the action of the other, as the parody here given presents to the original poem:—

CHARGE OF THE LIGHT (IRISH) BRIGADE.

(Not by A——d T——n).

Like the accomplished authors of The Bon Gaultier Ballads, Mr. Cholmondeley-Pennell is almost too much a Poet to be thoroughly successful as a mere Parodist. His muse often carries him away, and what begins in mere badinage, and playful imitation, runs into graceful sentiment and poetical imagery, until the author pulls her up short, and compels her to turn aside again into the well-worn "footprints in the sand of time."

It would be difficult to find a better example both of the merits, and, so far as mere parody is concerned, of the defects of Mr. Cholmondeley-Pennell's style than in the following lines, which he has kindly permitted me to insert in this collection.—They parody the Morte D'Arthur:—

LINES SENT TO THE LATE CHARLES BUXTON, M.P.,
WITH MY FAVOURITE HUNTER, WHITE-MIST.

IN THE SCHOOLS AT OXFORD.
TO AN EXAMINER.

(Suggested by the Laureate's conundrum "In The Garden at Swaintson.")

[33]

Since the year 1845 Alfred Tennyson has been in the receipt of a civil list pension of £200 a year, so that, in round figures, he has received about £8,000 of the public money, besides drawing the annual salary of £100 since his appointment as Poet Laureate, November, 1850. The sale of his works has also, of course, been greatly increased, owing to his official title, and the present fortunate holder of the laurels enjoys a fortune much in excess of that of any of his predecessors in office. From the days of Ben Jonson downwards Poets Laureate have been paid to sing the praises of the Royal Family; of these Laureates, Jonson, Dryden, Southey, and Wordsworth were true poets, but the others in the line of succession were mere rhymesters, whose very names are now all but forgotten. Eusden, Cibber, and Pye were unremitting in their production of New Year, and Birth-day Odes, Southey did little in this way, and Wordsworth would not stoop to compose any official poems whatever, although he wore the laurels for seven years.

It was reserved for Alfred Tennyson to revive the custom, and he has composed numerous adulatory poems on events in the domestic history of our Royal Family.

The smallest praise that can be bestowed on Tennyson's official poems is that they are immeasurably superior to any produced by former Laureates; and although the events recorded have but a passing interest, the poems will probably long retain their popularity. The death of the princess Charlotte in 1817 was, no doubt, considered at the time as a greater public loss than was the death of Prince Albert in 1861; yet who now reads Southey's poem in her praise? Whereas the beauty of Tennyson's Dedication of the Idyls of the King will cause it to be remembered long after people have forgotten the Prince to whom it was inscribed.

The Dedication commences thus:—

NOTE.—Poets Laureate, with the dates of their appointment:—Benjamin Jonson, 1615-16; Sir William Davenant, 1638; John Dryden, 1670; Thomas Shadwell, 1688; Nahum Tate, 1692; Nicholas Rowe, 1715; Lawrence Eusden, 1718; Colley Cibber, 1730; William Whitehead, 1757; Thomas Warton, 1785; Henry James Pye, 1790; Robert Southey, 1813; William Wordsworth, 1843; and Alfred Tennyson, 19th November, 1850.

Continuing in this strain for another fifty lines, the Poet credits the Prince with every conceivable virtue, after which, as a contrast, it is almost a relief to turn to some parody, less ideal, and less heroic.

The Coming K—— was published about ten years ago as one of Beeton's Christmas Annuals, and created a sensation at the time, as it dealt with some social scandals then fresh in the public mind. After enjoying a rapid sale for a[34] short period, it was suddenly withdrawn in a mysterious manner from circulation, and is now rather scarce. Following the Dedication, just quoted, are parodies of the Idyls of the King, with the following titles:—The Coming of Guelpho; Heraint and Shenid; Vilien; Loosealot and Delaine; The Glass of Ale; Silleas and Gettarre; The Last Carnival; and Goanveer. In each of these parts there are parodies well worthy of preservation, but space will only permit of the insertion of the following extracts, one from Vilien, the other from Goanveer.

In Vilien, the then prevalent crazes for Spiritualism, Table Rapping, and Cabinet séances are amusingly satirised; Vilien seeks out Herlin the Wizard, and thus begs him to reveal the one great secret of his art:—

The last legend, that of Goanveer, tells how—

This mare the Coming K—— had backed heavily, but his trusted friend, Sir Loosealot, obtaining access to her stable the night before the race, had drugged her, so that on the day she hobbled sickly to the winning-post. By this evil trick Sir Loosealot wins much, whilst the Coming K—— is a heavy loser. Guelpho visits the mare in her stable, and thus addresses her, in a parody of the celebrated passage in Guinevere, where Arthur parts from his faithless Queen:—

On the occasion of the arrival of the Princess Alexandra from Denmark in March, 1863, Tennyson wrote:—

A WELCOME TO ALEXANDRA.

In 1869, Ismail Pasha, the Viceroy of Egypt, visited this country, and the following kindly welcome appeared in The Tomahawk of July 10, 1869:—

BRITANNIA'S WELCOME TO THE ILLUSTRIOUS STRANGER.

Shortly after the death of the late John Brown, when it was announced that the Queen had had a statue of him erected in the grounds at Balmoral, it was also rumoured that Tennyson was writing a poem in his honour. A jocular author suggested that it might run as follows:—

It is generally admitted that Tennyson's more recent official poetry has added little to his fame, whilst it has often been mercilessly ridiculed, and, of late, his adulatory poems, and protestations of loyalty, have frequently been ascribed to interested motives. As soon as it was definitely announced that he was to be ennobled, a genealogy was compiled tracing his[36] descent from the kings who ruled in Britain long before the Conquest. This grand claim (which was quoted at page 28) has since been rather spoilt by the plain statement that Alfred Tennyson's grandfather was a country attorney, practising in a small, quiet way in Market Rasen, North Lincolnshire, who, having made money in his business, retired, and bought some land in the neighbourhood.

But for the title just conferred upon him, Tennyson's birth and lineage would have been matters of perfect indifference to his readers. As for raising Tennyson to the peerage, no writer seems seriously to have defended an act which most people look upon as a mistake. Not one parody in its favour has been written, but many against it.

Of Tennyson's Patriotic Poems The Charge of the Light Brigade has always been the most popular, and has, consequently, been the most frequently parodied. An excellent parody, taken from Puck on Pegasus, was given on page 31; the following are the most interesting examples which remain to be quoted:—

THE INSTITUTION OF MECHANICAL ENGINEERS.

On Thursday, August 3, 1865, an excursion was made by the Members of the Institution of Mechanical Engineers of England, to the Dublin Corporation Waterworks at the Stillorgan and Roundwood Reservoirs. The members proceeded from Bray through the Glen of the Downs, along a portion of the line of pipes, and at the Roundwood Reservoir they were handsomely entertained by Sir John Gray, M.P., the Chairman of the Waterworks Committee, and by Mr. John Jameson, the Deputy-Chairman.

[37]

The following parody appeared in a Dublin newspaper a few days later. Dr. Waller, who is mentioned in it, was then the Chairman of the Connoree Copper and Sulphur Mines, in the Vale of Avoca, which were also visited by the party of Engineers:—

THE TWO HUNDRED.

(After Tennyson's "Charge of the Light Brigade.")

This poem is signed with the initials W. S., which probably stand for the name of the late Mr. William Smith, a gentleman well-known in Dublin literary circles, as the author of many clever parodies which appeared over the nom de plume of "Billy Scribble." Whether these humorous poems have ever been published in a collected form, I cannot say, and I should be glad to receive any information about them.

"THE HALF HUNDRED" (OF COALS).

A good way after A. Tennyson's "Six Hundred."

The following clever parody was given to me, about ten years ago, by a young Scotch friend, who has since gone to New Zealand. I have no clue to the year in which it was written (the day of the month, however, was carefully preserved), nor do I know by whom it was written, nor where it made its first appearance in public. Will any kind correspondent furnish me with information on these points?

THE DOCTOR'S HEAVY BRIGADE.

"They would scarcely believe him when he told them that when in Thurso, some time ago, he on one occasion saw six hundred people asleep in a church." Speech of Dr. Guthrie, October 26th.

L'ENVOY.

THE CHARGE OF THE BLACK BRIGADE.[3]

AT THE MAGDALEN GROUND.

Ecce canit formas alius jactusque pilarum.

The following is a fair specimen of the Puff Poetical, taken from the Daily News of January, 1878:—

CHARGE OF THE FAIR BRIGADE.

With the Junior Partner's Apologies to Mr, Tennyson.

THE CHARGE OF THE "BUSTLE."

OUR BOYS.

On the occasion of the Six Hundredth performance of this most successful comedy at the Vaudeville Theatre, the following verses were composed:—

These stanzas, which bore the signature of Mr. Robert Reece, were circulated among the audience, but were not spoken from the stage.

The extraordinary run of Our Boys, which closed in April, 1879, will long excite the curiosity and wonder of the theatrical world. Mr. Byron's comedy was produced January 16, 1875, and was played continuously for four years three months and three days. This would allow about 1,321 nights, but extra day representations have raised the total number of performances to 1,362. Besides this return the "long runs" of[41] previous days were completely dwarfed. When Our American Cousin was brought out at the Haymarket it ran for 496 nights, and the Colleen Bawn went 278; Meg's Diversion, 330; and School 381 nights respectively.

"Apropos of the vote for six millions," said The Globe, "Mr. Gladstone, in his speech, protested against many of the attacks which had been levelled at him during the debate, and he threatened Mr. Chaplin in particular with his vengeance upon some future occasion, and he quoted, amid the laughter of the House, some doggerel verses which had been sent to him in reference to the vote." These lines, parodying 'The Charge of the Light Brigade,' ran thus:—

THE CHARGE OF THE "RAD." BRIGADE.

(After Mr. Tennyson's "Charge of the Light Brigade".)

A LAY OF THE LAW COURTS.

Being the experience of Officials, Counsel, Clients, Witnesses, and all who do their business in the Great Legal Maze. With apologies to the Poet Laureate.

THE LATEST CHARGE.

[At a meeting in Ireland recently, when Mr. Biggar got up to speak, six hundred ladies rose and quitted the room.]

[42]

The Nineteenth Century, March 1878, contained a poem entitled—

THE REVENGE.

A Ballad of the Fleet.

I.

The rugged metre, and the exaggerated national sentiment of this ballad were thus amusingly parodied:—

RETRIBUTION—A XIXTH CENTURY BALLAD OF THE SLOE.

By the Author of "Vengeance, a Ballad of the Fleet."

On the 15th March, 1882, at one of the London Ballad Concerts, Mr. Santley sang, for the first time, a patriotic song, written by Alfred Tennyson, the music composed by Mr. C. V. Stanford. This song was announced with much ceremony as a new work, whereas it was simply an abbreviated, and somewhat modified, arrangement of a poem in five verses, entitled Hands all Round, which had appeared in the Examiner in 1852, over the signature Merlin. The song did not arouse any enthusiasm, and is now only memorable for the offence its chorus gave to the temperance party. The first verse is quoted to illustrate the parodies:—

On this poem getting into the papers, the Good Templars attached far too much importance to it, and wrote to remonstrate with the Poet Laureate. The following reply was sent to Mr. Malins, the Chief Templar:—

"86, Eaton-square, London,—Sir,—My father begs to thank the Committee of the Executive of the Grand Lodge of England Good Templars for their resolution. No one honours more highly the good work done by them than my father. I must, however, ask you to remember that the common cup has in all ages been employed as a sacred symbol of unity, and that my father has only used the word 'drink' in reference to this symbol. I much regret that it should have been otherwise understood.—Faithfully yours,
HALLAM TENNYSON."

The following parody, adverting to this correspondence, appeared in Punch, April 1, 1882:—

SLOPS ALL ROUND!

Tennyson Teetotalised.

[The Manchester Good Templars having expostulated with the Poet Laureate for countenancing "in his latest so-called patriotic song, Hands all Round," the heathen and intoxicating custom of drinking toasts (in anything stronger than toast and water) it is understood that the conscience-stricken Bard has prepared the following "revised version" for the special use of the I. O. G. T's.]

DRINKS ALL ROUND.

(Being an attempt to arrange Mr. Tennyson's noble words for truly Patriotic, Protectionist, and Anti-Aboriginal Circles):—

THE LAUREATE'S LAST LYRIC; OR, NORTHAMPTON' FREEMEN.

Tennyson's blank verse has seldom been more successfully imitated than in The Very Last Idyll, written by Shirley Brooks for "Punch's Pocket Book," it concludes thus:—

In a similar strain, but more ponderous in treatment is Sir Tray: an Arthurian Idyll, which appeared in Blackwood's Magazine for January, 1873. A few of the opening lines betray the whole of the jest:—