22:
65:
times began to share its territory with parody, using the deflationary inversion of values - comparing small things with great - as a satirical tool in the deconstruction of the epic style. A later humorous tactic, in place of a connected narrative in the mock-epic manner, was to apply poems in the
686:
Profiting from the delighted discussion caused by the parodies, an enterprising publisher went ahead and published a selection of the genuine failed entries, prefaced by Lord Byron's specially commissioned address from the actual occasion of the opening. Included in the new work's "mawkish
673:
are also dismissed: Wordsworth for his "childish verse", parodied by James Smith in "The Baby’s Debut"; and
Coleridge, ridiculed by Byron for his address "To a Young Ass" as "the laureate of the long-eared kind", who passes from the same subject to his "Playhouse Musings" in the
179:
was commissioned to write one specially. But when the brothers James and Horace Smith heard of the result of the competition, they planned a volume of parodies of writers of the day, to be published as supposed failed entries and issued to coincide with the theatre’s opening.
49:. In the line of 18th-century pastiches focussed on a single subject in the style of poets of the time, it contained twenty-one good-natured pastiches of contemporary authors. The book's popular success set the fashion for a number of later works of the same kind.
112:, followed in 1800 and its popularity guaranteed frequent editions over the following decades. Although the name of their targets are generally not mentioned, a clue is usually given by way of preface or notes, sometimes quoting the opening lines.
776:. Among the poetical works featured are "Old Cumberland Pedlar" by W. W., "Carmen Triumphale" by R. S., "The Childe's Pilgrimage" by Lord B., "The Dream: a psychological curiosity" by S. T. C. and "The Battle of Brentford Green" by Sir W. S.
764:(1826) is a prose equivalent, imitating the style of articles in magazines of the day, among which feature the two Smith brothers themselves and William Cobbett, the target of their earlier work. The other successor is
739:". In it various stereotypical poets throng the streets outside the theatre, clamouring for their competition entries to be heard. Among the farcical targets are the opening lines of Fitzgerald's entry in the original
140:(1796) became the satirical "The Progress of Man" (XV, XVI, XXI). This was later ascribed to the fictitious "Mr Higgins of St Mary Axe", author as well of "The Loves of the Triangles" (XXIII, XXIV, XXVI, a parody of
623:
in "Cui Bono?" he asked his publisher to pass on the message, "Tell the author I forgive him, were he twenty times our satirist, and think his imitations not at all inferior to the famous ones of
Hawkins Browne".
98:
were used as the focus for its series of good-natured parodic variations. The popularity of these was attested by many subsequent editions and by their reproduction in the poetical miscellanies of after decades.
128:
the
Prentice-cide" (I). And Southey's humanitarian themes clothed in experimental metres were rewritten as "The friend of humanity and the knife-grinder" (II) and the subversive "The Soldier’s Friend" (V).
170:
of 1812, in which works in prose were made additional targets. The occasion given for its publication was a public competition advertised in the press for an address to be spoken at the reopening of the
828:. That used commentaries on Latin tags to indicate what stylistic traits are the targets of the poems. Their later reappearance in miscellanies often added the name of the author travestied.
965:
893:
697:
identified victims already parodied by the Smith brothers such as
Fitzgerald and Dr Busby, and heartily seconded the committee's original decision to reject them.
102:
A new direction was given to this departure by employing parody as a weapon in the political conflicts of the 1790s. This was particularly identified with the
678:. Another common target is "spectre-mongering Lewis". Byron, however, thought more highly of Crabbe than did James Smith of his pedestrian "truth to nature".
154:
propaganda. He also reappears as author of "The Rovers" (XXX – XXXI), an imitation seemingly based on contemporary translations of popular German melodramas.
667:
by the mock-heroic trick of substituting the plebeian names of
Clutterbuck, Muggins and Higginbottom for the protagonists. The joint authors of the
923:
704:(1813). This too hid its targets under their initials and was similarly aimed at literary enthusiasms of the time: a labouring class effusion by
905:
641:
Byron's sympathy is understandable, since only three years before he had pilloried some of the same targets as the Smiths in his own satire of "
120:. For his "Inscription for the apartment in Chepstow Castle, where Henry Martin the regicide was imprisoned thirty years" was substituted the
1019:
663:
Also deplored are the "too profuse" heroic narrative of Robert
Southey and the "stale romance" of Walter Scott, the latter deflated in the
132:
Later numbers took as their target speculative philosophical and scientific works aiming at popular acceptance by being clothed in verse.
108:, where the works of poets identified with liberal tendencies were treated with satirical humour. An anthology of such parodies,
66:
style of varied authors to a single deflationary subject. The ultimate forerunner of this approach has been identified with
1088:
743:, and Nancy Drew's nursery narrative, with Wordsworth's supposed authorship disguised under the name of Mr Winandermere.
642:
634:, recognised another strand in the work's ancestry: "We have seen nothing comparable to it since the publication of
116:
was a particular victim in early numbers of the weekly, in which his lofty sentiments were downgraded to ridiculous
1078:
83:
625:
619:
67:
1083:
175:, which had been destroyed by fire. As none of the actual entries were considered adequate in the end,
878:
216:
172:
765:
1031:
485:
449:
772:(1824), a mixture of prose and verse with, as a common focus, the advertisement of a commercial
1073:
713:
409:
949:
The
Genuine Rejected Addresses presented to the committee of management for Drury-lane theatre
429:
852:
757:
721:
630:
133:
42:
8:
1068:
617:
The work was an immediate success. When Byron became acquainted with the travesty of his
565:
545:
125:
62:
46:
752:
published a list of other literary parodies, among which two further successors to the
236:
145:
748:
705:
21:
1050:
1001:
976:
947:
837:
825:
813:
797:
773:
669:
292:
79:
693:
390:
352:
332:
141:
121:
113:
95:
91:
1062:
849:
649:, appears Fitzgerald, "one of the foremost loyalist versifiers of his day":
605:
525:
75:
709:
585:
505:
371:
312:
104:
87:
934:
Timothy Jenks, "Contesting the Hero: The
Funeral of Admiral Lord Nelson",
735:, was published, professing in the preface that it "owes its existence to
151:
58:
863:
272:
176:
702:
A Sequel to the "Rejected
Addresses" Or, the Theatrum Poetarum Minorum
645:". Apostrophised in its opening lines, in the same position as in the
38:
700:
Further imitations of the work of the Smiths quickly followed in
728:
obligingly identified the victims in its dismissive critique.
717:
117:
712:, the champion of such work (pp.6-26); a poem for children by
892:, (ed. Leslie A. Marchand), Harvard University Press 1973,
904:
Quoted from The
Edinburgh Review, November 1812 in the
794:
Designs on Truth: The Poetics of the Augustan Mock-Epic
733:
The Rejected Addresses: Or, The Triumph of the Ale-king
57:
Although parody is a long-standing literary genre, the
978:
A Sequel to the "Rejected Addresses" by Another Author
162:
The widened parodic focus from poetry to drama in the
72:
A Pipe of Tobacco, in Imitation of Six Several Authors
720:(pp. 75-9); a sequence of sonnets of sensibility by
810:
Kinds of Parody from the Medieval to the Postmodern
74:, first published in 1736. In that case the poets
890:"Famous in my time", Byron's letters and journals
255:S. T. P. : a genuine rejected address by -
185:Rejected Addresses: Or, The New Theatrum Poetarum
1060:
708:, followed by a defence of "Plebeian Talent" by
654:Still must I hear? -shall hoarse Fitzgerald bawl
746:At the other end of the century, the scholarly
731:In the same year, William Stanley's farce,
468:"A new halfpenny ballad by a Pic-Nic Poet"
716:(p.61); a prose poem by the much imitated
877:, Fairleigh Dickinson University, 1992,
20:
938:, Vol. 39, No. 4 (Oct., 2000), p. 422.
864:Rejected Addresses at Project Gutenberg
658:His creaking couplets in a tavern hall?
187:, the book’s contents were as follows:
25:James and Horace Smith, authors of the
1061:
1036:and the Image of the Magazine Market"
157:
16:1812 book by James and Horace Smith
13:
643:English Bards and Scotch Reviewers
14:
1100:
1040:
1024:
1009:
995:
983:
970:
955:
941:
928:
913:
848:This was also the subject of a
691:of decasyllabic dullness", the
936:The Journal of British Studies
898:
883:
868:
857:
842:
831:
818:
802:
786:
636:The Poetry of the Anti-Jacobin
504:"By the Editor of the M. P." (
166:was taken even further in the
110:The Poetry of the Anti-Jacobin
1:
853:cartoon illustrating the text
779:
138:The Progress of Civil Society
52:
875:Romantic Parodies, 1797-1831
838:An annotated edition of 1854
7:
824:Third edition available on
251:An Address Without a Phœnix
10:
1105:
1089:Theatres completed in 1812
1051:American edition with crib
796:, Penn State Press, 1992,
681:
620:Childe Harold's Pilgrimage
287:Hampshire Farmer’s Address
580:George Barnwell Travestie
217:William Thomas Fitzgerald
1020:7 January 1871, pp.15-16
766:William Frederick Deacon
484:"Translated by Dr. B." (
404:The Beautiful Incendiary
992:LXX (1813), pp. 187-189
920:The Works of Lord Byron
450:Samuel Taylor Coleridge
147:The Loves of the Plants
1079:Parodies of literature
1003:The Rejected Addresses
714:Anna Laetitia Barbauld
410:William Robert Spencer
29:
737:The Theatrum Poetarum
500:Theatrical Alarm-Bell
430:Matthew Gregory Lewis
24:
758:Peter George Patmore
722:William Lisle Bowles
631:The Edinburgh Review
366:A Tale of Drury Lane
150:(1791) mingled with
134:Richard Payne Knight
37:was an 1812 book of
964:, Vol. LXX (1813),
812:, Peter Lang 2009,
792:Gregory G. Colomb,
628:, writing later in
566:August von Kotzebue
546:William Shakespeare
480:Architectural Atoms
464:Drury Lane Hustings
126:Elizabeth Brownrigg
124:cell of a drunken "
1030:David G. Stewart,
962:The Monthly Review
908:Rejected Addresses
754:Rejected Addresses
741:Rejected Addresses
726:The Monthly Review
676:Rejected Addresses
665:Rejected Addresses
647:Rejected Addresses
600:Punch’s Apotheosis
560:Stranger Travestie
353:Della Cruscan poet
307:The Living Lustres
237:William Wordsworth
173:Drury Lane Theatre
168:Rejected Addresses
158:Rejected Addresses
144:’s verse treatise
34:Rejected Addresses
30:
27:Rejected Addresses
1084:Theatre in London
1034:Rejected Articles
924:vol. 1, pp.291 ff
762:Rejected Articles
749:Notes and Queries
706:Robert Bloomfield
615:
614:
540:Macbeth Travestie
444:Playhouse Musings
351:Laura Matilda, a
278:James and Horace
199:Pretended Author
1096:
1053:
1044:
1038:
1032:"P.G. Patmore's
1028:
1022:
1018:, 4th series 7,
1013:
1007:
999:
993:
987:
981:
974:
968:
959:
953:
945:
939:
932:
926:
917:
911:
906:1875 reprint of
902:
896:
887:
881:
872:
866:
861:
855:
846:
840:
835:
829:
822:
816:
806:
800:
790:
774:blacking product
659:
655:
231:The Baby’s Debut
190:
189:
41:by the brothers
1104:
1103:
1099:
1098:
1097:
1095:
1094:
1093:
1059:
1058:
1057:
1056:
1045:
1041:
1029:
1025:
1014:
1010:
1000:
996:
988:
984:
975:
971:
960:
956:
946:
942:
933:
929:
918:
914:
903:
899:
888:
884:
873:
869:
862:
858:
847:
843:
836:
832:
823:
819:
807:
803:
791:
787:
782:
684:
670:Lyrical Ballads
661:
657:
656:
653:
626:Francis Jeffrey
386:Johnson’s Ghost
293:William Cobbett
160:
80:Ambrose Philips
70:'s small work,
55:
17:
12:
11:
5:
1102:
1092:
1091:
1086:
1081:
1076:
1071:
1055:
1054:
1039:
1023:
1008:
994:
990:Monthly Review
982:
969:
954:
940:
927:
912:
897:
882:
867:
856:
841:
830:
817:
801:
784:
783:
781:
778:
694:Monthly Review
683:
680:
651:
613:
612:
609:
602:
597:
593:
592:
589:
584:Momus Medlar (
582:
577:
573:
572:
569:
564:Momus Medlar (
562:
557:
553:
552:
549:
544:Momus Medlar (
542:
537:
533:
532:
529:
522:
517:
513:
512:
509:
502:
497:
493:
492:
489:
482:
477:
473:
472:
469:
466:
461:
457:
456:
453:
446:
441:
437:
436:
433:
426:
421:
417:
416:
413:
406:
401:
397:
396:
393:
391:Samuel Johnson
388:
383:
379:
378:
375:
368:
363:
359:
358:
355:
349:
344:
340:
339:
336:
333:Robert Southey
329:
327:The Rebuilding
324:
320:
319:
316:
309:
304:
300:
299:
296:
289:
284:
280:
279:
276:
269:
264:
260:
259:
256:
253:
248:
244:
243:
240:
233:
228:
224:
223:
220:
213:
211:Loyal Effusion
208:
204:
203:
200:
197:
194:
159:
156:
142:Erasmus Darwin
122:Newgate Prison
114:Robert Southey
96:Jonathan Swift
92:Alexander Pope
54:
51:
15:
9:
6:
4:
3:
2:
1101:
1090:
1087:
1085:
1082:
1080:
1077:
1075:
1074:British books
1072:
1070:
1067:
1066:
1064:
1052:
1048:
1043:
1037:
1035:
1027:
1021:
1017:
1012:
1006:
1004:
998:
991:
986:
980:
979:
973:
967:
963:
958:
952:
951:, London 1812
950:
944:
937:
931:
925:
921:
916:
910:
909:
901:
895:
894:vol. 2, p.228
891:
886:
880:
876:
871:
865:
860:
854:
851:
850:James Gillray
845:
839:
834:
827:
821:
815:
811:
805:
799:
795:
789:
785:
777:
775:
771:
767:
763:
759:
755:
751:
750:
744:
742:
738:
734:
729:
727:
724:(pp. 80-82).
723:
719:
715:
711:
707:
703:
698:
696:
695:
690:
679:
677:
672:
671:
666:
660:
650:
648:
644:
639:
637:
633:
632:
627:
622:
621:
610:
607:
606:Theodore Hook
603:
601:
598:
595:
594:
590:
587:
583:
581:
578:
575:
574:
570:
567:
563:
561:
558:
555:
554:
550:
547:
543:
541:
538:
535:
534:
530:
527:
526:George Crabbe
523:
521:
518:
515:
514:
510:
507:
503:
501:
498:
495:
494:
490:
487:
483:
481:
478:
475:
474:
470:
467:
465:
462:
459:
458:
454:
451:
447:
445:
442:
439:
438:
434:
431:
427:
425:
422:
419:
418:
414:
411:
407:
405:
402:
399:
398:
394:
392:
389:
387:
384:
381:
380:
376:
373:
369:
367:
364:
361:
360:
356:
354:
350:
348:
347:Drury’s Dirge
345:
342:
341:
337:
334:
330:
328:
325:
322:
321:
317:
314:
310:
308:
305:
302:
301:
297:
294:
290:
288:
285:
282:
281:
277:
274:
270:
268:
265:
262:
261:
258:Horace Smith
257:
254:
252:
249:
246:
245:
241:
238:
234:
232:
229:
226:
225:
222:Horace Smith
221:
218:
214:
212:
209:
206:
205:
201:
198:
195:
192:
191:
188:
186:
181:
178:
174:
169:
165:
155:
153:
149:
148:
143:
139:
135:
130:
127:
123:
119:
115:
111:
107:
106:
100:
97:
93:
89:
85:
84:James Thomson
81:
77:
76:Colley Cibber
73:
69:
64:
60:
50:
48:
44:
40:
36:
35:
28:
23:
19:
1046:
1042:
1033:
1026:
1015:
1011:
1002:
997:
989:
985:
977:
972:
961:
957:
948:
943:
935:
930:
919:
915:
907:
900:
889:
885:
874:
870:
859:
844:
833:
826:Google Books
820:
809:
808:Nil Korkut,
804:
793:
788:
769:
761:
753:
747:
745:
740:
736:
732:
730:
725:
710:Capell Lofft
701:
699:
692:
688:
685:
675:
668:
664:
662:
652:
646:
640:
635:
629:
618:
616:
599:
586:George Lillo
579:
559:
539:
524:Rev. G. C. (
519:
506:Morning Post
499:
486:Thomas Busby
479:
463:
443:
424:Fire and Ale
423:
408:Hon. W. S. (
403:
385:
372:Walter Scott
365:
346:
326:
313:Thomas Moore
306:
286:
266:
250:
242:James Smith
230:
210:
184:
182:
167:
164:Anti-Jacobin
163:
161:
146:
137:
131:
109:
105:Anti-Jacobin
103:
101:
88:Edward Young
71:
56:
47:Horace Smith
33:
32:
31:
26:
18:
756:are noted.
520:The Theatre
202:Written by
68:Isaac Brown
59:mock heroic
1069:1812 books
1063:Categories
1047:Warreniana
780:References
770:Warreniana
448:S. T. C. (
428:M. G. L. (
273:Lord Byron
215:W. T. F. (
177:Lord Byron
152:gallophile
53:Precursors
1016:N & Q
271:Lord B. (
267:Cui Bono?
1005:, London
966:pp.184-7
922:(1903),
798:pp. 44-7
63:Augustan
39:parodies
689:mélange
682:Sequels
611:Horace
604:T. H. (
491:Horace
435:Horace
415:Horace
395:Horace
377:Horace
370:W. S. (
357:Horace
331:R. S. (
318:Horace
311:T. M. (
291:W. C. (
235:W. W. (
183:Titled
718:Ossian
591:James
571:James
551:James
536:XVIII
531:James
511:James
471:James
455:James
338:James
298:James
196:Title
118:bathos
814:p. 50
516:XVII
440:XIII
343:VIII
43:James
879:p.39
596:XXI
556:XIX
496:XVI
460:XIV
420:XII
323:VII
247:III
193:No.
94:and
45:and
768:'s
760:'s
638:".
576:XX
476:XV
400:XI
362:IX
303:VI
263:IV
227:II
136:’s
61:of
1065::
1049:,
608:)
588:)
568:)
548:)
528:)
508:)
488:)
452:)
432:)
412:)
382:X
374:)
335:)
315:)
295:)
283:V
275:)
239:)
219:)
207:I
90:,
86:,
82:,
78:,
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
