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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 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 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 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 Esthetic 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 Esthetic Movement in England is here ascribed to the small circle of artists and poets who styled thenu. selves 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 '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 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 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 aud anecdotes concerning that talented young poet, which will certainly be new to the general public, and extracts from his poems of a stamp likely to astonish some of those who now think it good forin' to sneer at the Esthetic bard.

“ The author has throughout treated his topic in a reverent spirit; indeed, he deprecates the frivolitr of those who without understanding its aims or meaning, choose to ridicule 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 maile to publish a complete collection of these amusing Jews d'esprit, many of which have been composed by our greatest humourists.

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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 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 ; College Rhymes, and other Parodies written by members of the Oxford and Cambridge Universities, &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 imitation 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,




Topside Galah :


The shades of night were falling fast,
As through an Alpine village passed,
A youth, who bore 'mid snow and ice,
A banner with this strange device,

Excelsior !

His brow was sad ; his eye beneath
Flashed like a faulchion from its sheath,
And like a silver clarion rung,
The accents of that unknown tongue.

Excelsior !

It is possible that Longfellow had the motto of New York, “ Excelsior," in his mind when he composed this hackneyed poem, which has served as the model for hundreds of parodies, and particularly for advertising purposes. A few of the more amusing only can be inserted.

“That nightee tim begin chop-chop,
One young man walkee, no can stop,
Maskee colo! maskee icee!
He cally that flag wid chop so nicee

Topside Galah!
“He too muchee solly, one piecee eye
Look see sharp-so fashion-allo same my,
He talkee largee, talkee stlong,
Too muchee culio-allo same gong-

Topside Galah!
“ Inside that housee he can see light,
And evely loom got fire all light.
Outside, that icee largee high,
Inside he mouf, he plenty cly,

Topside Galah!
“Olo man talkee, 'No can walkee!'
Bimeby lain come-welly darkee,
Hab got water, too muchee-wide !
Maskee ! my wantchee go topside---

Topside Galah!
"Man-man,' one galo talkee he,
What for you go topside look see ?!
And one tim more he plenty cly,
But allo tim walkee plenty high,

Topside Galah!
""Take care that spilem-tlee young man !
Take care that icee !!" He no man-man;
That coolie chin-chin he 'Good night,'
He talkee, “My can go all lite !!

Topside Galah!
“Toss Pidgin man chop-chop begin
That morning tim that joss chin-chin,
He no man see, he plenty fear,
Cause some man speakee, he can hear

Topside Galah!
“That young man die-one largee dog see,
Too muchee bubbely, findee he ;
Hand muchee colo, allo same icee,
Have piecee flag wid chop so nicee,

Topside Galah!

Excelsior IN “PIDGIN ENGLISH.” The following article is from Pro and Con, December 14, 1872.

“Pidgin English is the name given to an absurd patois which is used in conversation between the Chinese celestials, and the outer barbarians. It appears to be a physical impossibility for a Chinaman to pronounce the letter ras in rough, cry, or curry, which he turns into lough, cly, and cully, as young English children often do. V, he turns into W, th into f, and to most words ending with a consonant, he adds a final syllable, as in find findie, catch catchee, &c. I, me, my, and mine, are all expressed by one word, miy. The vocabulary consists of a few words of French origin, such as savey, one or two from the Portuguese, many common Chinese expressions, such as chop-chop for quick; man-man, which means stop; maskee, never mind, or do not mind; chin-chin, good-bye ; Welly culio, or muchee culio, very curious; Foss-pidgin-man, a priest; and Topside Galah, hurrah for the top, or Excelsior. There is also a plentiful use ofthe word pidgin, which is simply a corruption of our word business, but it appears to be applied with the utmost impartiality, to a variety of most incongruous phrases. As an example of every day talk, a lady telling her nurse to bring down her little girl and boy to see a visitor would say,* Aymah, suppose you go topside catchee two piecee chiloe, bull chiloe, cow chiloe, chop-chop.' From a gentleman well acquainted with China and the Chinese, we have received the following clever imitation of Excelsior, which is pronounced a very fair specimen of Pidgin English”:

MOLAL. “ You too much laughee ! what for sing? I tink you no savey what ting! Supposee you no b’long cleber inside, More better you go walkee topside,

Torside Galah !!

Another, but, on the whole, inferior version of the above parody appeared in Harper's Magazine, and is quoted at page 122 of Poetical Ingenuities and Eccentricities, by W. T. Dobson (Chatto and Windus, 1882.)

The shades of night were falling fast,
When through the spacious High there passed
A form in gown of strange device,
Who uttered in a tone of ice,

“ Your name and college !"

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Shone like a wrathsil bull-dog's teeth ;
And still amid the darkness rung
The accents of his well-known tongue ;

“Your name and college !"
“ Try not the High," the porter said,
“Dark lowers the proctor, bull-dog led."
But forth in "loud " illegal dress
The youth went, crying “Let him guess

My name and college!"

(Half-an-hour elapses.)
" ( stay,” his comrade said, “and rest
Thy wearicd limbs and panting chest !"
To gain 11 eir wind the fliers try,
When lo ! a figure gliding nigh,

Cries, “Name and college !"
“ Beware the proctor's sacred paunch,
Beware the rushing bull-dog's launch !"
This was the porter's last good-night ;
A voice replied, “ It serves me right

For cutting college !"
Next morn, as tolled the stroke of nine,
Two youths, in dread of penal fine,
Sluok silent through the awful gate,
And “hoped they were not much too late,

They'd run from college !"
There, like a mouse awaiting cat,
Awful and calm the proctor sat ;
And, like a death-knell booming far,
A voice fell stern: “This week you are
Confined to college !"

College Rhymes, 1863.

THE THEATRE. “ Nam quae pervincere voces Evaluere sonum referunt quem

nostra Theatra?"

The theatre was filling fast,
As through the open door there passed
A stranger with a scarlet tie,
That instantly provoked the cry

Of "Turn him out !"


His nose was red, his lips beneath,
In frequent smiles disclosed his teeth,
And upward when he turned his eye,
In ceaseless hubbub came the cry,

“Ugh! Turn him out !"


EXEXOLOR. The shades of night had fallen (at last!) When from the Eagle Tavern pass'd A youth, who bore, in manual vice, A pot of something monstrous nice

XX-oh lor! Ilis brow was bad-his young eye scann'd The frothing flagon in his hand, And like a gurgling streamlet sprung The accents to that thirsty tongue,

XX-oh lor!

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In happy homes he saw them grub
On stout, and oysters from a tub,--
The dismal gas-light gleamed without,
And from his lips escaped a shout,

“XX-oh lor !".

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“ Young man," the Sage observ'd, “just stay,
And let me dip my beak, I say,
The pewter is deep, and I am dry!”
“ Perceiv'st thou verdure in my eye?

XX-oh lor !"
"Oh stop," the maiden cried, “and lend
Thy beery burden here, my friend_”
Th' unbidden tear regretsul rose,
But still his thumb-tip sought his nose ;

XX-oh lor!

I left the place with aching brain,
And deasened ear that throbbed again,
And as I sauntered down the High,
Upon the breeze I heard the cry,

“Ugh! Turn him out !"

Lays of Modern Oxford (Chapman and Hall, 1874.)

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