Into the gates of Rome,
Into the jaws of Hell,

(It's all the same)! Marched the Six Hundred !

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:

“ Barracks, and tables laid ! Food for the Pope's Brigade ;"

But ev'ry Celt afraid, Gazed on the grub disinay'd

Twigged he had blundered ;“Who can eat rancid grease ? Call this a room a-piece ?” *

“Silence ! unseemly din, Prick them with bayonets in."

Blessed Six Hundred !



Waves every battle blade. • Forward the Pope's brigade!”

Was there a man obeyed ? No—where they stood they stayed, Though Lamoricière pray'd,

Threatened, and thundered “ Charge !Down their sabres then Clashed, as they turn'd--and ranSab'ring the empty air, Each of one taking care, Here, there, and ev'rywhere

Scattered and sundered.

The sequel of to-day dissevers all
This fellowship of straight riders, and hard men
To hounds--the flyers of the hunt.

I think
That we shall never more in days to come
Hold cheery talk of hounds and horses (each
Praising his own the most) shall steal away
Through brake and coppice-wood, or side by side
Breast the sharp bullfinch and deep-holding dyke,
Sweep through the uplands, skim the vale below,
And leave the land behind us like a dream.

I tear me from this passion that I loved-
Though Paget sware that I should ride again--
But yet I think I shall not; I have done :
My hunt is hunted : I have skimmed the cream,
The blossom of the seasons, and no more
For me shall gallant Scott have cause for wrath,
Or injured farmer mourn his wasted crops.

Now, therefore, take my horse, which was my pride
(For still thou know'st he bore me like a man-),
And wheel him not, nor plunge him in the mere,
But set him straight and give his head the rein,
And he shall bear thee lightly to the front,
Swifter than wind, and stout as truest steel,
And none shall rob thee of thy pride of place.

Sick of the powder smell,
Down on their knees they fell,

Howling for hearth and home

Cursing the Pope of Rome-
Whilst afar shot and shell

Volleyed and thundered ;
Captured, alive and well,
Ev'ry Hibernian swell,
Came back the tale to tell ;
Back from the states of Rome-
Back from the gates of Hell-

Safe and sound every man

Jack of Six Hundred !
When shall their story fade?
Oh the mistake they made !

Nobody wondered,
Pity the fools they made-
Pity the Pope's Brigade-

NOBBLED Six Hundred !


TO AN EXAMINER. (Suggested by the Laureate's conundrum In the Garden

at Swaintson.)

* A room for each man, and plenty of excellent provisions were amongst the inducements held out to the deluded victims who enlisted in the Papal Brigade to fight against Italian unity.

Butcher boys shouted without,

Within was writing for thee,
Shadows of three live men

Talked as they walked into me.
Shadows of three live men, and you were one of the three.

Butcher boys sang in the streets,

The bobby was far away,
Butcher boys shouted and sang

In their usual maddening way.Still in the Schools quite courteous you were torturing men all the day.

Two dead men have I known,

Examiners settled by me.
Two dead men have I scored,

Now I will settle with thee, Three dead men must I score, and thou art the last of the three.


(The Shotovor Papers, 1874).

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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 senti. ment 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.”

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Tennyson's Official Odes as Poet Laureate,

The Idyls of the King,


Patriotic Poems,





BEING 1 History of the Office of Poet Laureate, Biographical Votices of its Holders, anul

at Collection of the Satires, Epigrams, and Lampoons lirected against them.




" The author of this amusing volume has spared no pains to make it as complete as possible, and it is a good instance of the progress that we have made of late years in the production of literary history. Mr. Hamilton's pages will not only be found useful for purposes of reference, but extremely entertaining to an idle reader." ". The Athenæum," January 18, 1879.

" Recommendation can scarcely be necessary to secure proper attention for The Poets Laureate of England,' by Walter Hamilton, ibasmuch as the very title is pretty sure to attract notice and pique curiosity. It may be worth while, however, to remark at once that. what with the care, diligence, and judgment which have apparently been brought to bear upon the whole composition of the book the public have a chance of obtaining a volume so interesting so trustworthy, so instructive, and so manageable, that they have no small reason to thank the author for his trouble, in his preface and introduction he displays no little learning and research, and brings before his readers information touching matters in which they should be glad to be instructed."-"Illustrated London News," Feb. 15. 1879.

* Mr. Walter Hamilton's little volume is charmingly written and ably arranged, and is the result of research and ingenuity. In his preface he traces the rise of the office of Laureate from an early age in classical antiquity, and proceeds to introduce us to the history of our own Laureates. Mr. Hamilton's criticisms are usually just and give evidence of thought and culture. On the whole his book is quite successful, and one which can be heartily recommended, not only for general reading, but for preservation for reference in the library." --“The Morning Post,” February 1, 1879.

In cloth, gilt, price five shillings, post free from the Author.

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Copies may be ordered of WALTER HAMILTON, 64, Bromfelde Road, Clapham, S.W., or of the

Publishers, Messrs. REEVES & TURNER, 196, Strand, W.C,

Notices of the Press. MR. E. L. BLANCHARD says :-“There are many playgoers who are somewhat puzzled to understand the full significan ce of the satire conveyed in the adapted comedy of “The Colonel ” at the Prince of Wales's, and Mesers. Gilbert and Sullivan's original comic opera of “ Patience," still prolonging its singularly successful career at the Savoy Theatre. To these, and many others, may be safely commended a curiously interesting book, just published, called “The Esthetic Movement in England." The author, Mr. Walter Hamilton, has treated a very important subject with much care and considerable research. His chapters on the painters and poets of the Asthetic school are excellently written and replete with information not readily accessible, while his sketch of the career of Mr. Oscar Wilde will solve many questions to which few, even in well-informed circles, could readily reply. -.“ Birmingham Daily Gazette."

MR. W. M. ROSSETTI says :--"There are, I think, many true and pointed observations in your book, and I necessarily sympathise in the general point of view which it adopts on the questions at issue.”

MR. G. A. Sala writes :-"Many thanks for your book on 'The Æsthetic Movement in England." It will be historically curious and valuable long after the silly opposition to the movement has passed away.”

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“ The West Middlesex Advertiser" thus described the scope of the work :--"The origin of the Æsthetic Movement in England is here ascribed to the small circle of artists and poets who styled themselves the Pre-Raphaelite Brotherhood, as far back as 1818. These were seven young Oxford students, namely, Holman Hunt, John Everett Millais, Dante Gabriel Rossetti, Thomas Woolner, William Michael Rossetti, G. F. Stevens, and James Collinson, and they started a small magazine, entitled “The Germ,” to advocate their peculiar views in art and poetry. After describing the attacks this circle was subjected to, and Mr. Ruskin's able defence of it, comes an outline of Ruskin's influence on art, and Sir Coutts Lindsay's formation of the Grosvenor Gallery, in which nearly all the most celebrated pictures of the Esthetic

he works of E. Burne-Jones

ne-Jones, who is by some held to be the head of the School in painting, and the peculiar paintings by J. A. M. Whistler. In connection with the latter artist, an account is given of the remarkable action for libel he brought against Mr. Ruskin.

“ The chapter devoted to ' Esthetic Culture'is one that will probably excite the greatest interest and curiosity; in it the influence of the new School on art, music, architecture, furniture and dress is distinctly pointed out; and the undoubted good it has achieved prove that the ridicule which has hitherto been directed against the Esthetes was both unjust and unreasonable.

“ The poetry of the Æsthetic School is next described, and naturally leads up to an account of Robert Buchanan's attacks upon Dante Gabriel Rossetti and the Fleshly School, with the law-suit that arose out of the curious anonymous poem. * Jonas Fisher.” These chapters are full of literary details, which will interest admirers of Swinburne, Morris, Rossetti, and Buchanan, whilst the article on Oscar Wilde contains facts and aneodotes concerning that talented young poet, which will certainly be new to the general public, and extracts from his poems of a stanıp likely to astonish some of those who now think it good form'to sheer at the Esthetic bard.

“The author has throughout treated his topic in a reverent spirit; indeed, he deprecates the frivolitr of those who. without uuderstanding its ainis or meaning, choose to ridicule Estheticisin, and if he is not himself an Esthete, he is at any rate an appreciative Philistine.



ALTHOUGH Parodies abound in English Literature no attempt has yet been male to publish a complete collection of these amusing Jeux d'esprit, many of which have been composed by our greatest humourists.

It is now proposed to publish, in monthly parts, a collection of Parodies, both in verse and in prose, drawn from every available source, and illustrative of all the most celebrated writings in the English Language, together with such notes, explanatory or bibliographical, as may be required to elucidate the


Each of the principal authors will be taken separately, and the series will commence with Parodies of the works of Alfred Tennyson, Poet Laureate, to be followed by Shakespeare, Swinburne, Wordsworth, Byron, Scott, Moore, Longfellow, Poe, Goldsmith, Gray, Lord Macaulay, Dickens, Carlyle, Ruskin, and a number of other favorite authors.

Full details will be given of the origin, and contents, of all the most famous collections of English Parodies, such as Charles Cotton's Travesties ; John Phillips's Splendid Shilling ; The Probationary Odes ; Ireland's Shakespearian Forgeries ; Hone's account of his Three Trials; The Rejected Addresses, 1812 ; The Rejected Odes, 1813 ; Posthumous Parodies, 1814 ; Accepted Addresses ; The Bon Gaultier Ballads, &c., &c.

The Editor offers no apology for Parody in itself, suffice it to say it exists, that the public appear pleased with it, and that no man with literary tastes can entirely ignore it.

. As will be seen from many examples here printed the object of a Parody is very seldom to ridicule its Original, more often on the contrary it does it honor, if only by taking it as worthy of innitation or burlesque.

Every endeavour will be made to render the collection complete.

The Editor tenders his best thanks to those gentlemen who have kindly permitted extracts to be taken from their works, and will be grateful for information as to any Parodies which may have escaped his notice.

The series will be published in Monthly Parts, price Sixpence, or the first Six Parts will be sent, post free, to Subscribers, for Two Shillings and Sixpence.

All subscriptions and communications to be addressed to


64, Bromfelde Road,



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