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Onam 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 somewbat puzzled to understand the full significance of the satire conveyed in the adapted comedy of “The Colonel " at the Prince of Wales's, and Messrs. 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 Æsthetic 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 Æsthetic 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.”

“ 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 1848. 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 School have been exhibited, including the works of E. Burne-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 ' Æsthetic Culture' is one that will probably excite the greatest interest and curiosity; in it the in Huencc of the new School on art, music, architecture, furniture and dress is distinctly pointed out: and the undoubted vood it has achieved prove that the ridicule which has hitherto been directed against the Æsthetes was both unjust and unreasonable.

“The poetry of the Esthetic School is next described, and naturally leads up to an account of Robert Buchanan's attacks ujion 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 (scar Wilde contains facts and anecdotes 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 sneer at the Æsthetic bard.

“ The author has throughout treated his topic in a reverent spirit; indeed, he deprecates the frivolity of those who, without understanding its aims or meaning, choose to ridieule Estheticism, and if he is not himself an Esthete, he is at any rate an appreciative Philistine."

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ALTHOUGH Parodies abound in English Literature no attempt has yet been madle 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, biographical, or bibliographical, as may be required to elucidate the text.

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 vi 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., dic.

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, and free from political or other bias.

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..

The First Volume will be completed in Twelve Parts, for which a Title-page and Index will be issued.

All subscriptions and communications to be addressed to

64, Bromfelde Road,




On the ist March, 1884, a bust of Longfellow (by Mr. T. Brock, A.R.A.) was unveiled in Poet's Corner, Westminster Abbey. It is placed between the graves of Dryden and Cowley, and bears this inscription :

LONGFELLOW. “ This bust was placed among the memorials of the poets of England by the English admirers of an American poet, 1884. and on the sides are the dates

“ Born at Portland, U.S.A., February 27, 1807.
Died at Cambridge, U.S.A., March 24, 1882."

Mr. J. Russell Lowell was present at the cereinony, and gave an address, in which he stated that

“Longfellow's mind always moved straight towards its object, was always permeated with the emotions, and gave them the frankest, the sincerest, and, at the same time, the most simple expression ; and never was there a private character more answerable to public performance than that of Longfellow. His nature was consecrated ground, into which no unclean spirit could ever enter."

THE interest which is taken in this collection by

many of the subscribers is shewn by their kind permission to quote Parodies from their works; by the information they have sent as to out-of-the-way books in which others may be found; and, further, by their contribution of original Parodies.

The author of the following introduction to this series, is well known for his charming pathetic poems. From the first he has rendered most valuable assistance; having formed a large collection of Parodies, he has kindly placed them at the Editor's disposal, and they will be inserted underthe respective authors to whom they apply. THE MONTHLY PARODIES.

After William Morris's “ Earthly Paradise."

(Written expressly for this collection.)
Of Love or War this is no hour to sing,

But I may ease the burden of your fears
(Lest you think death to mirth is happening),

And quote from wit of past and present years,

Till o'er these pages you forget your tears,
And smile again, as presently you say
Some idle jingle-or forgotten lay.
But when a-weary of the hunt for mirth

Thro' comic journals with a doleful sigh
You feel unkindly unto all the earth,
And grudge the pennies that they cost to buy

These “weakly comics,” lingering like to die,
Remember, then, a little while, I pray,
The clever singers of a former day.
The pomp and power and grand majestic air

That marches thro' their poems' stately tread,
These idle verses may catch unaware,

And by burlesque call back remembered
Some rhymes “that living not can ne'er be dead,"

Though what is meant by that I cannot say

But Mr. Morris wrote it one sine day.
Here grouped are strains of parody in rhyme,

Now classified and placed in order straight,
Let it suffice it for the present time

That some be old, while some are born but late,

A careful choice, from all the crowd that wait,
Of those that in forgotten serials stay,
Or are, in passing journals, tossed away.
Folks say a wizard to a common King,

One April-tide such wondrous jest did show
That in a mirror men beheld each thing,

Like, yet unlike, and saw the pale nose glow,

While rosy face looked white as fallen snow,
Each visage altered in such comic way
That those who came to court, remain'd to play.
So with these many Parodies it is,

If you will read aright and carefully,
Not scathing satire, nor malicious hiss

For lack of beauty in the themes to see,

Nor jeerings coarse, at what men prize, as we
But jest to make some litile changeling play
Its pranks in classic robes, all crowned with bay.

March, 1884.


This tribute to his memory, paid by one who had known him for nearly forty years, sufficiently explains the reason why, in the parodies of his works which are now to be given, nothing of a personal nature will be inserted. Indeed it is doubtful whether one unkindly worded, or spiteful burlesque was ever penned about either Longfellow, or his works. The absence of this element will be all the more noticeable as follow. ing directly after the parodies of the Poet Laureate, whose actions and writings have invited so many attacks. Tennyson's early sneers at hereditary nobility, as contrasted with his adulation of royalty, and the exaggerated praise of princes in his official poems of later years. His involved, and often obscure, mode of writing, especially when attempting to deal with metaphysical topics ; his narrow insular prejudices; his frequent writings in praise of war, and calling aloud for the blood of either the French, or the Russians, or the Spaniards. And, lastly, his acceptance of a coronet which sits grotesquely enough on the laurels he so long has worn as Poet Laureate.

In all this there was ample room for adverse comment, which the life and works of Long. fellow never afforded. The tenderness, the grace, the sweet pathos, and the exquisite sim. plicity of his poems, combined with the purity, charity, and kindness of his personal character, -- ------were such that detraction, envy, and malice were dumb, and criticism itself was almost silenced.

Hence the parodies will be found to consist principally of imitations of his style, language, or ideas, or of reproductions of his poems in a grotesque form. In some cases a few verses of the original are given for the convenience of comparison with the parodies.

Tell me not in mournsul numbers,

Lise's one long unending bill -
Debts unpaid disturb your slumbers-

Tin will fly, do what you will.
Meat is high in real good earnest,

Far above the hungry soul ;
Dust thou art, to dust returns, is

Very typical of coal.
In the weekly market battle,

For the cheapest things and best,
Be not like dumb-driven cattle,

Stand out bravely, all the rest.
Not enjoyment, hardly sorrow,

Feel we, when small debts we pay ;
Still, we know that each to-morrow

Finds them larger than to-day.
Duns are hard, and time is Meeting,

Bills are sadly in arrears,
And our hearts, tho' brave, stop beating

At the aspect of affairs.
Bailiffs are not very pleasant,

Lock your door and keep the key ;
Act, act in the living present-

Leave your country, cross the sea.
Lives of great men, too, remind us,

Big debts sometimes clogged their feet ;
And, like them, we leave behind us

Some few bills we cannot meet

Ministerial slips to follow

Is our destined end and way,
So that we may throw each morrow

Stumbling blocks in Dizzy's way. Dizzy's strong, but fame is fleeting ;

Conservatism, now so brave,
In the Bills which we are greeting,

Yet may sind an early grave. Trust no Forster, howe'er pleasant,

Let past premiers bury their dead ; Act with Hartington at present,

Nor the coming session dread. Ilansard's pages all remind us

We have but to bide our time;
Dizzy some fine day may find us

In majority sublime.
Gladstone's gone, but till another,

Like him takes the helm again,
Let us help our leader, brother,

Hartington with might and main. Let us then be up and doing,

Meeting Dizzy in debate, Tory tactics still pursuing,

Find a policy--and wait !

From Funny Folks, February 27, 1875, when the Conservative party, led by Mr. Disraeli, was in power, and ihe Liberal Opposition was led by Lord Hartington,

A Psalm of Life At Sixty.

Bills that make you try to smother,

As you cross the stormy main,
Thoughts of love, and home, and mother,

Listening for your step in vain.
Let us then be up and doing

With an eye to making tin,
Any likely trade pursuing,
Learn to gain your end and win.

From The Figaro, December 3, 1873.

IVhat the Heart of the Old Man said to the Genial Gusher

at Christmas Time.
Tell me not in Christmas Numbers

Life is but a gourmet's dream !
Sure your sense is dead or slumbers :

Peptics are not what they seem.
Life is serious! Life is solemn !

And good grub is not its goal :
Menu-making by the column

llelps not the dyspeptic soul.
Not delight from cates to borrow

Is the aim of prudent will,
But to eat so that to-morrow

Finds us not exceeding ill.
Feeds are long and health is fleeting ;

And old stomachs once so strong,
Find that indiscriminate cating

Very quickly puts them wrong.
In the banquet's dainty battle,

At the table's toothsome strife,
Feed not like dumb hungry cattle,

Wield a cautious fork and knife !
Trust no menu, howe'er pleasant ;

Night-mare-Nemesis is dread ;
Swig and swallow like a peasant,

You'll repent it when in bed !

THE LIBERAL PSALM OF LIFE. Tell us not in mournful numbers

Liberal union is a dream : Bright is cranky, Bob Lowe slumbers ;

Yet things are not what they seem. Opposition must be earnest,

Or we shall not win the goal ;
If for Gladstone still thou yearnest,

Thou art a weak-minded soul.

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