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Encyclopedia Britannica



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

This article appears in Volume V20, Page 860 of the Encyclopedia Britannica.

Encyclopedia Britannica - Main :: PAI-PAS
PARODY (Gr. s-apybia, literally a song sung beside, a comic parallel) , an imitation of the form or style of a serious writing in matter of a meaner kind so as to produce a ludicrous effect. Parody is almost as old in European literature as serious writing. The Batrachomyomachia, or " Battle of the Frogs and Mice," a travesty of the heroic epos, was ascribed at one time to Homer himself; and it is probably at least as old as the 5th century B.C. The great tragic poetry of Greece very soon provoked the parodist. Aristophanes parodied the style of Euripides in the Acharnians with a comic power that has never been surpassed. The debased grand style of medieval romance was parodied in Don Quixote. Shakespeare parodied the extravagant heroics of an earlier stage, and was himself parodied by Marston, incidentally in his plays and elaborately in a roughly humorous
burlesque
  of Venus and Adonis. The most celebrated parody of the Restoration was Buckingham's
Rehearsal
  (1672), in which the tragedies of Dryden were inimitably ridiculed. At the beginning of the 18th century The Splendid Shilling of John Philips (16761709), which
Addison
  said was " the finest
burlesque
  poem in the English language," brilliantly introduced a fashion for using the solemn
movement
  of Milton's blank verse to celebrate ridiculous incidents. In 1736, Isaac Hawkins Browne (1705176o) published a volume, A Pipe of Tobacco, in which the poetical styles of Colley Cibber,
Ambrose
  Philips, James Thom-son, Edward
Young
  and Jonathan Swift were delightfully reproduced. In the following century, Shelley and John Hamilton Reynolds almost simultaneously produced cruel imitations of the naivete and baldness of Wordsworth's Peter Bell (1819). But in that generation the most celebrated parodists were the brothers
Smith
 , whose Rejected Addresses may be regarded as classic in this kind of artificial production. The Victorian age has produced a plentiful crop of parodists in
prose
  and in verse, in dramatic poetry and in lyric poetry. By common consent, the most subtle and dexterous of these was C. S. Calverley, who succeeded in reproducing not merely tricks of phrase and metre, but even manneristic turns of thought. In a later day, Mr Owen Seaman has repeated; and sometimes surpassed, the agile feats of Calverley.


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