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PARTS I, II, III, & IV,

CONTAINING PARODIES OF

TENNYSON'S

POEM S,

MAY STILL BE HAD, AND A SUPPLEMENTARY CHAPTER

ON TENNYSON WILL BE ISSUED LATER ON.

PART IV.

ALSO CONTAINED SEVERAL PARODIES OF THE POEMS OF

HENRY WADSWORTH LONGFELLOW.

PART VI.

WILL CONTAIN THE CONCLUSION OF LONGFELLOW'S PARODIES.
AND ALSO PARODIES OF WOLFE'S ODE

On the

Burial of Sir John Moore.

Not a drum was heard, not a funeral note.

THE POETS LAUREATE OF ENGLAND:

BEING

A History of the Office of Poet Laureate, Biographical Notices of its Holders, and a Collection of the Satires, Epigrams, and Lampoons directed against them.

BY

WALTER HAMILTON.

OPINIONS OF THE PRESS.

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. Hamilta's pages will not only be found useful for purj oses of reference, but extremely entertaining to an idle reader." The Atheneum," January 15, 1578.

Recommendation can scarcely be necessary to secure proper attention for The Poets Laureate of England, by Walter Hamilton, inasmuch 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 to small leason to thank the author for his trouble. In his preface and introduction he displays no Intle 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 167h.

Mr. Walter Hamilton's little volume is charmingly written and aldy 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 story 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 genera. reading, but for preservation for reference in the laurary." "The Morning Post," February 1, 1879.

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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.

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MR. E. L. BLANCHARD says: "There are many playgoers who are somewhat puzzled to understand the full significanes 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. Hi chapters on the painters and poets of the Esthetic 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 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 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 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 and 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 form' to sneer at the Esthetic 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 ridicule Estheticism, and if he is not himself an Esthete, he is at any

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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, my. 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

TOPSIDE GALAH!

"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!

“Joss 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 bobbely, findee he;
Hand muchee colo, allo same icee,
Have piecee flag wid chop so nicee,
Topside Galah!

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,

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