See also:

• PARODY (Gr. s-apybia, literally a song sung beside, a comic parallel)

PARODY (Gr. s-apybia, literally a See also:

• SONG

song sung beside, a comic parallel)  , an See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation of the See also:

• FORM (Lat. forma)

form or See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style of a serious See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing in See also:

• MATTER

matter of a meaner See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind so as to produce a ludicrous effect . See also:

• PARODY (Gr. s-apybia, literally a song sung beside, a comic parallel)

Parody is almost as old in See also:

• EUROPEAN

European literature as serious writing . The See also:

• BATRACHOMYOMACHIA

Batrachomyomachia, or " See also:

• BATTLE

Battle of the Frogs and Mice," a See also:

• TRAVESTY (Fr. travestie, from travestir, to disguise, se travestir, to change one's clothes; Lat. trans, across, and vestire, to clothe)

travesty of the heroic epos, was ascribed at one See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time to See also:

• HOMER, WINSLOW (1836-191o)

Homer himself; and it is probably at least as old as the 5th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century B.C . The See also:

• GREAT

great tragic See also:

• POETRY

poetry of See also:

• GREECE

Greece very soon provoked the parodist . See also:

• ARISTOPHANES
• ARISTOPHANES (c. 448–385 B.e.1)

Aristophanes parodied the style of See also:

• EURIPIDES (48o–4o6 B.C.)

Euripides in the Acharnians with a comic See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power that has never been surpassed . The debased See also:

• GRAND

grand style of See also:

• MEDIEVAL

medieval See also:

• ROMANCE

romance was parodied in See also:

• DON
• DON (anc. Tanais)

Don Quixote . See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare parodied the extravagant heroics of an earlier See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage, and was himself parodied by See also:

• MARSTON, JOHN (c. 1575-1634)
• MARSTON, PHILIP BOURKE (1850-1887)

Marston, incidentally in his plays and elaborately in a roughly humorous See also:

• BURLESQUE (Ital. burlesco, from burla, a joke, fun, playful trick)

burlesque of See also:

• VENUS

Venus and See also:

• ADONIS

Adonis . The most celebrated parody of the Restoration was See also:

• BUCKINGHAM
• BUCKINGHAM, EARLS, MARQUESSES AND DUKES OF
• BUCKINGHAM, FIRST DUKE
• BUCKINGHAM, GEORGE VILLIERS, 1ST DUKE 0E1
• BUCKINGHAM, GEORGE VILLIERS, 2ND DUKE 0E1 (1628-1687)
• BUCKINGHAM, HENRY STAFFORD, 2ND DUKE OF3 (1454-1483)
• BUCKINGHAM, JAMES SILK (1786-1855)

Buckingham's See also:

• REHEARSAL (from " rehearse," to say over again, repeat, recount, O.Fr. rehercer, from re, again, and hercer, to harrow, cf. " hearse," the original meaning being to rake or go over the same ground again as with a harrow)

Rehearsal (1672), in which the tragedies of See also:

• DRYDEN, JOHN (1631-1700)

Dryden were inimitably ridiculed . At the beginning of the 18th century The Splendid See also:

• SHILLING

Shilling of See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• PHILIPS, AMBROSE (c. 1675-1749)
• PHILIPS, JOHN (1676-1708)
• PHILIPS, KATHARINE (1631-1664)

Philips (1676–1709), which See also:

• ADDISON, JOSEPH (1672-1719)

Addison said was " the finest burlesque poem in the See also:

• ENGLISH

English See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language," brilliantly introduced a See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion for using the See also:

• SOLEMN (Lat. sollemnis, sollemnis, less correctly solennis, yearly, annual; from sollus = totus, whole, entire, Gr. Mos., and annus, year)

solemn See also:

• MOVEMENT

movement of See also:

• MILTON
• MILTON, JOHN (1608–1674)

Milton's See also:

• BLANK (from the Fr. blanc, white)

blank See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse to celebrate ridiculous incidents . In 1736, See also:

• ISAAC (Hebrew for " he laughs," on explanatory references to the name, see ABRAHAM)

Isaac See also:

• HAWKINS, CAESAR HENRY (1798-1884)
• HAWKINS, or HAWKYNS, SIR JOHN (1532-1595)
• HAWKINS, or HAWKYNS, SIR RICHARD (c. 1562-1622)
• HAWKINS, SIR JOHN (1719-1789)

Hawkins See also:

• BROWNE
• BROWNE, EDWARD HAROLD (18,1–1891)
• BROWNE, ISAAC HAWKINS (1705-1760)
• BROWNE, JAMES (1793–1841)
• BROWNE, MAXIMILIAN ULYSSES, COUNT VON, BARON DE CAMUS AND MOUNTANY (1705-1757)
• BROWNE, PETER (?1665-1735)
• BROWNE, ROBERT (1550-1633)
• BROWNE, SIR JAMES (1839–1896)
• BROWNE, SIR THOMAS (1605-1682)
• BROWNE, WILLIAM (1591–1643)
• BROWNE, WILLIAM GEORGE (1768-1813)

Browne (1705–176o) published a See also:

• VOLUME

volume, A See also:

• PIPE

Pipe of See also:

• TOBACCO

Tobacco, in which the poetical styles of See also:

• COLLEY, SIR GEORGE POMEROY (1835-1881)

Colley See also:

• CIBBER (or CIBERT), CAIUS GABRIEL (163o-1700)
• CIBBER, COLLEY (1671-1757)

Cibber, See also:

• AMBROSE (AMBROISE), AUTPERT (d.' 778)
• AMBROSE (ANDREY SERTIS-KAMENSKIY) (1708-1771)
• AMBROSE (fl. 119o)
• AMBROSE, ISAAC (1604-1663/4)
• AMBROSE, SAINT (c. 340-307)

Ambrose Philips, See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James Thom-son, See also:

• EDWARD

Edward See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

Young and See also:

• JONATHAN
• JONATHAN (Heb. " Yah [weh] gives ")

Jonathan See also:

• SWIFT
• SWIFT, JONATHAN (1667—1745)

Swift were delightfully reproduced . In the following century, See also:

• SHELLEY, MARY WOLLSTONECRAFT (1797-1851)
• SHELLEY, PERCY BYSSHE (1792-1822)

Shelley and John See also:

• HAMILTON
• HAMILTON (GRAND or ASHUANIPI)
• HAMILTON, ALEXANDER (1757-1804)
• HAMILTON, ANTHONY, or ANTOINE (1646-1720)
• HAMILTON, ELIZABETH (1758–1816)
• HAMILTON, EMMA, LADY (c. 1765-1815)
• HAMILTON, JAMES (1769-1831)
• HAMILTON, JAMES HAMILTON, 1ST DUKE OF (1606-1649)
• HAMILTON, JOHN (c. 1511–1571)
• HAMILTON, MARQUESSES AND DUKES OF
• HAMILTON, PATRICK (1504-1528)
• HAMILTON, ROBERT (1743-1829)
• HAMILTON, SIR WILLIAM
• HAMILTON, SIR WILLIAM (1730-1803)
• HAMILTON, SIR WILLIAM ROWAN (1805-1865)
• HAMILTON, THOMAS (1789-1842)
• HAMILTON, WILLIAM (1704-1754)
• HAMILTON, WILLIAM GERARD (1729-1796)

Hamilton See also:

• REYNOLDS, JOHN FULTON (182o-1863)
• REYNOLDS, SIR JOSHUA (1723-1792)
• REYNOLDS, WALTER (d. 1327)

Reynolds almost simultaneously produced cruel imitations of the naivete and baldness of See also:

• WORDSWORTH, CHARLES (1806–1892)
• WORDSWORTH, CHRISTOPHER (1774–1846)
• WORDSWORTH, CHRISTOPHER (1807–1885)
• WORDSWORTH, DOROTHY (1771-1855)
• WORDSWORTH, WILLIAM (1770-185o)

Wordsworth's See also:

• PETER
• PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
• PETER (PEDRO)
• PETER, EPISTLES OF
• PETER, ST

Peter See also:

• BELL
• BELL, ALEXANDER MELVILLE (1819—1905)
• BELL, ANDREW (1753—1832)
• BELL, GEORGE JOSEPH (1770-1843)
• BELL, HENRY (1767-1830)
• BELL, HENRY GLASSFORD (1803-1874)
• BELL, JACOB (1810-1859)
• BELL, JOHN (1691-178o)
• BELL, JOHN (1763-1820)
• BELL, JOHN (1797-1869)
• BELL, ROBERT (1800-1867)
• BELL, SIR CHARLES (1774—1842)

Bell (1819) . But in that See also:

• GENERATION (from Lat. generare, to beget, procreate; genus, stock, race)

generation the most celebrated parodists were the See also:

• BROTHERS, RICHARD (1757-1824)

brothers See also:

• SMITH
• SMITH, ADAM (1723–1790)
• SMITH, ALEXANDER (183o-1867)
• SMITH, ANDREW JACKSON (1815-1897)
• SMITH, CHARLES EMORY (1842–1908)
• SMITH, CHARLES FERGUSON (1807–1862)
• SMITH, CHARLOTTE (1749-1806)
• SMITH, COLVIN (1795—1875)
• SMITH, EDMUND KIRBY (1824-1893)
• SMITH, G
• SMITH, GEORGE (1789-1846)
• SMITH, GEORGE (184o-1876)
• SMITH, GEORGE ADAM (1856- )
• SMITH, GERRIT (1797–1874)
• SMITH, GOLDWIN (1823-191o)
• SMITH, HENRY BOYNTON (1815-1877)
• SMITH, HENRY JOHN STEPHEN (1826-1883)
• SMITH, HENRY PRESERVED (1847– )
• SMITH, JAMES (1775–1839)
• SMITH, JOHN (1579-1631)
• SMITH, JOHN RAPHAEL (1752–1812)
• SMITH, JOSEPH, JR
• SMITH, MORGAN LEWIS (1822–1874)
• SMITH, RICHARD BAIRD (1818-1861)
• SMITH, ROBERT (1689-1768)
• SMITH, SIR HENRY GEORGE WAKELYN
• SMITH, SIR THOMAS (1513-1577)
• SMITH, SIR WILLIAM (1813-1893)
• SMITH, SIR WILLIAM SIDNEY (1764-1840)
• SMITH, SYDNEY (1771-1845)
• SMITH, THOMAS SOUTHWOOD (1788-1861)
• SMITH, WILLIAM (1769-1839)
• SMITH, WILLIAM (c. 1730-1819)
• SMITH, WILLIAM (fl. 1596)
• SMITH, WILLIAM FARRAR (1824—1903)
• SMITH, WILLIAM HENRY (1808—1872)
• SMITH, WILLIAM HENRY (1825—1891)
• SMITH, WILLIAM ROBERTSON (1846-'894)

Smith, whose Rejected Addresses may be regarded as classic in this kind of artificial See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production .

The Victorian See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age has produced a plentiful See also:

• CROP (a word common. in various forms, such as Germ. Kropf, to many Teutonic languages for a swelling, excrescence, round head or top of anything; it appears also in Romanic languages derived from Teutonic, in Fr. as troupe, whence the English " crupper "

crop of parodists in See also:

• PROSE

prose and in verse, in dramatic poetry and in lyric poetry . By See also:

• COMMON

common consent, the most subtle and dexterous of these was C . S . See also:

• CALVERLEY, CHARLES STUART (1831–1884)

Calverley, who succeeded in reproducing not merely tricks of phrase and See also:

• METRE ((terpuc?, sc. rFxvf, from Gr. Or poi', measure)

metre, but even manneristic turns of thought . In a later See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day, Mr See also:

• OWEN, JOHN (1616-1683)
• OWEN, JOHN [OVENUS Or AUDOENUS] (c. 1560-1622)
• OWEN, ROBERT (1771-1858)
• OWEN, SIR HUGH (1804-1881)
• OWEN, SIR RICHARD (1804–1892)

Owen See also:

• SEAMAN, OWEN (1861– )

Seaman has repeated; and sometimes surpassed, the agile feats of Calverley .