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 Another Random Document on
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The Project Gutenberg eBook of Burlesque Plays and
Poems
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Title: Burlesque Plays and Poems

Editor: Henry Morley

Release date: November 26, 2016 [eBook #53606]

Most recently updated: October 23, 2024

Language: English

Credits: Produced by Susan Skinner, Jane Robins and the Online

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*** START OF THE PROJECT GUTENBERG EBOOK BURLESQUE PLAYS AND

POEMS ***
 Note:
Table of Contents added by Transcriber.

THE RIME OF SIR THOPAS

THE KNIGHT OF THE BURNING PESTLE
THE_REHEARSAL
THE_SPLENDID_SHILLING
TWO ODES
NAMBY PAMBY
A WORD UPON PUDDING.
THE TRAGEDY OF TRAGEDIES: OR, THE LIFE AND DEATH OF TOM THUMB
THE GREAT
CHRONONHOTONTHOLOGOS
THE ROVERS
BOMBASTES FURIOSO.
REJECTED ADDRESSES.
LOYAL EFFUSION.
THE BABY'S DEBUT.
AN ADDRESS WITHOUT A PHOENIX.
CUI BONO?
TO THE SECRETARY OF THE MANAGING COMMITTEE OF DRURY LANE
PLAYHOUSE.
IN THE CHARACTER OF A HAMPSHIRE FARMER.
THE LIVING LUSTRES.
THE REBUILDING.
DRURY'S DIRGE.
A TALE OF DRURY LANE.
JOHNSON'S GHOST.
THE BEAUTIFUL INCENDIARY.
FIRE AND ALE.
PLAYHOUSE MUSINGS.
DRURY LANE HUSTINGS.
ARCHITECTURAL ATOMS.
THEATRICAL ALARM BELL.
THE THEATRE.
THE THEATRE.
TO THE MANAGING COMMITTEE OF THE NEW DRURY LANE THEATRE.
CASE NO. I.
CASE NO. II.
CASE NO. III.
PUNCH'S APOTHEOSIS.
ODES AND ADDRESSES TO GREAT PEOPLE.
ODE TO MR. GRAHAM.
ODE TO MR. M'ADAM.
ODE TO THE GREAT UNKNOWN.
TO SYLVANUS URBAN, ESQUIRE,
AN ADDRESS TO THE STEAM WASHING COMPANY.
LETTER OF REMONSTRANCE
ODE TO R. W. ELLISTON, ESQUIRE,
ODE TO RICHARD MARTIN, ESQUIRE,
ODE TO W. KITCHENER, M.D.
ROUTLEDGE'S EXCELSIOR SERIES
 Fifteen Volumes in an Oak Bookcase.

Price One Guinea.

"Marvels of clear type and general neatness."—Daily Telegraph.

In Monthly Volumes, ONE SHILLING

Each.
READY ON THE 25th OF EACH MONTH.
 Ballantyne Press
BALLANTYNE, HANSON AND CO., EDINBURGH
CHANDOS STREET, LONDON

BURLESQUE PLAYS AND POEMS

CHAUCER'S HENRY CAREY'S
RIME OF THOPAS. NAMBY PAMBY and
CHRONONHOTONTHOLOGOS.
BEAUMONT & FLETCHER'S
KNIGHT OF THE BURNING
CANNING, FRERE & ELLIS'S
PESTLE.
ROVERS.
GEORGE VILLIERS, Duke of
Buckingham's
REHEARSAL. W. B. RHODES'S
BOMBASTES FURIOSO.
JOHN PHILIPS'S HORACE & JAMES SMITH'S
SPLENDID SHILLING. REJECTED ADDRESSES.
and some of

FIELDING'S THOMAS HOOD'S

ODES AND ADDRESSES TO GREAT
TOM THUMB THE GREAT.
PEOPLE.
WITH AN INTRODUCTION BY HENRY MORLEY

LL.D., PROFESSOR OF ENGLISH LITERATURE AT

UNIVERSITY COLLEGE, LONDON

LONDON

GEORGE ROUTLEDGE AND SONS

BROADWAY, LUDGATE HILL
NEW YORK: 9 LAFAYETTE PLACE
1885
 MORLEY'S UNIVERSAL LIBRARY.
——♦——
VOLUMES ALREADY PUBLISHED.
SHERIDAN'S PLAYS.
PLAYS FROM MOLIÈRE. By English Dramatists.
MARLOWE'S FAUSTUS & GOETHE'S FAUST.
CHRONICLE OF THE CID.
RABELAIS' GARGANTUA and the HEROIC DEEDS OF PANTAGRUEL.
THE PRINCE. By Machiavelli.
BACON'S ESSAYS.
DEFOE'S JOURNAL OF THE PLAGUE YEAR.
LOCKE ON CIVIL GOVERNMENT & FILMER'S "PATRIARCHA."
SCOTT'S DEMONOLOGY and WITCHCRAFT.
DRYDEN'S VIRGIL.
BUTLER'S ANALOGY OF RELIGION.
HERRICK'S HESPERIDES.
COLERIDGE'S TABLE-TALK.
BOCCACCIO'S DECAMERON.
STERNE'S TRISTRAM SHANDY.
CHAPMAN'S HOMER'S ILIAD.
MEDIÆVAL TALES.
VOLTAIRE'S CANDIDE & JOHNSON'S RASSELAS.
PLAYS and POEMS by BEN JONSON.
LEVIATHAN. By Thomas Hobbes.
HUDIBRAS. By Samuel Butler.
IDEAL COMMONWEALTHS.
CAVENDISH'S LIFE OF WOLSEY.
DON QUIXOTE. In Two Volumes.
BURLESQUE PLAYS and POEMS.
"Marvels of clear type and general neatness."
Daily Telegraph.
 INTRODUCTION.
——♦——
The word Burlesque came to us through the French from the Italian
"burlesco"; "burla" being mockery or raillery, and implying always an object.
Burlesque must, burlarsi di uno, mock at somebody or something, and when
intended to give pleasure it is nothing if not good-natured. One etymologist
associates the word with the old English "bourd," a jest; the Gaelic "burd," he
says, means mockery, and "buirleadh," is language of ridicule. Yes, and
"burrail" is the loud romping of children, and "burrall" is weeping and wailing
in a deep-toned howl. Another etymologist takes the Italian "burla," waggery
or banter, as diminutive from the Latin "burra," which means a rough hair, but
is used by Ausonius in the sense of a jest. That etymology no doubt fits
burlesque to a hair, but, like Launce's sweetheart, it may have more hair than
wit.
The first burlesque in this volume—Chaucer's "Rime of Sir Thopas," written
towards the close of the fourteenth century—is a jest upon long-winded story-
tellers, who expatiate on insignificant detail; for in his day there were many
metrical romances written by the ancestors of Mrs. Nickleby. Riding to
Canterbury with the other pilgrims, Chaucer good-humouredly takes to
himself the part of the companion who jogs along with even flow of words,
luxuriating in all trivial detail until he brings Sir Thopas face to face with an
adventure, for he meets a giant with three heads. But even then there is the
adventure to be waited for. The story-teller finds that he must trot his knight
back home to fetch his armour, and when he "is comen again to toune," it
takes so many words to get him his supper, get his armour on, and trot him
out again, that the inevitable end comes, with rude intrusion of some faint-
hearted lording who has not courage to listen until the point of the story can
be descried from afar. So the best of the old story-tellers, in a book full of
examples of tales told as they should be, burlesqued misuse of his art, and
the "Rime of Sir Thopas" became a warning buoy over the shallows. "I
cannot," said Sir Thomas Wyatt, in Henry VIII.'s reign,
 "say that Pan
Passeth Apollo in music manyfold;
Praisé Sir Thopas for a noble tale,
And scorn the story that the Knighté told."

The second burlesque in this volume, Beaumont and Fletcher's "Knight of the
Burning Pestle," written in eight days, appeared in 1611, six years after the
publication of the First Part, and four years earlier than the Second Part, of
Don Quixote. The first English translation of Don Quixote (Shelton's) appeared
in 1612. The Knight of the Burning Pestle is, like Don Quixote, a burlesque
upon the tasteless affectations of the tales of chivalry. Francis Beaumont and
John Fletcher worked together as playwrights in the reign of James I. All their
plays were produced during that reign. Beaumont died in the same year as
Shakespeare, having written thirteen plays in fellowship with Fletcher. Forty
more were written by Fletcher alone, but the name of Beaumont is, by
tradition of a loving fellowship, associated with them all. "The Knight of the
Burning Pestle" is all the merrier for being the work of men who were
themselves true poets. It should be remembered that this play was written for
a theatre without scenery, in which gentlemen were allowed to hire stools on
the stage itself for a nearer view of the actors; and it is among this select part
of the audience that the citizen intrudes and the citizen's wife is lifted up,
when she cries, "Husband, shall I come up, husband?" "Ay, cony; Ralph, help
your mistress up this way; pray, gentlemen, make her a little room; I pray
you, sir, lend me your hand to help up my wife.... Boy, let my wife and I have
a couple of stools, and then begin."
The next burlesque in our collection is "The Rehearsal," which was produced
in 1671 to ridicule the extravagance of the "heroic" plays of the Restoration.
The founder of this school in England was Sir William Davenant who was
living and was Poet Laureate—and wearer of the bays, therefore, was Bayes—
when the jest was begun by George Villiers, Duke of Buckingham, and other
wits of the day. The jest was so long in hand that, in 1668, when Davenant
died, and Dryden succeeded him as Laureate, the character of Bayes passed
on to him. The plaster on the nose pointed at Davenant, who had lost great
part of his nose. The manner of speaking, and the "hum and buzz," pointed at
Dryden, who was also in 1671 the great master of what was called heroic
drama. Bold rhodomontade was, on the stage, preferred to good sense at a
time when the new French criticism was enforcing above all things "good
sense" upon poets, as a reaction against the strained ingenuities that had
come in under Italian influence. Let us leave to Italy her paste brilliants, said
Boileau, in his Art Poétique, produced at the same time as "The Rehearsal," all
should tend to good sense. But Dryden in his plays (not in his other poems)
boldly translated Horace's serbit humi tutus, into

"He who servilely creeps after sense

Is safe, but ne'er will reach an excellence."

The particular excellence attained by flying out of sight of sense is burlesqued

in the Duke of Buckingham's "Rehearsal."
John Philips, the delicate and gentle son of a vicar of Bampton, read Milton
with delight from his boyhood and knew Virgil almost by heart. At college he
wrote, for the edification of a comrade who did not know how to keep a
shilling in his pocket, "The Splendid Shilling," a poem first published in 1705—
which set forth, in Miltonic style applied to humblest images, the comfort of
possessing such a coin. The Miltonic grandeur of tone John Philips happily
caught from a long and loving study of the English poet whom he reverenced
above others, and "The Splendid Shilling" has a special charm as a burlesque
in which nobody is ridiculed.
The burlesque poem called "Namby Pamby," of which the title has been added
to the English vocabulary, was written by Henry Carey, in ridicule of the little
rhymes inscribed to certain babies of distinguished persons by Ambrose
Philips, or, as he is translated into nursery language, "Namby Pamby Pilli-pis."
Ambrose Philips was a friend and companion of Addison's, and a gentleman
who prospered fairly in Whig government circles. Pope's annoyance at the
praise given to Ambrose Philips's pastorals which appeared in the same
Miscellany with his own, and Addison's praise in the Spectator of his friend's
translation of Racine's Andromache as "The Distrest Mother," have caused
Ambrose Philips to be better remembered in the history of literature than
might otherwise have been necessary. When he wrote no longer of

"Mammy
Andromache and her lammy
Hanging panging at the breast
Of a matron most distrest."

and took to nursery lyrics, he gave Henry Carey an opportunity of putting a

last touch to his monument for the instruction of posterity. The two specimens
here given of the original poems that suggested "Namby Pamby" are
addressed severally to two babes in the nursery of Daniel Pulteney, Esq.
Another of the babies who inspired him was an infant Carteret, whose name
Carey translated into "Tartaretta Tartaree." Some lines here and there, seven
in all, which are not the wittier for being coarse, have been left out of "Namby
Pamby." This burlesque was first published in 1725 or 1726; my copy is of the
fifth edition, dated 1726, and was appended to "A Learned Dissertation on
Dumpling; its Dignity, Antiquity, and Excellence, with a Word upon Pudding,
and many other Useful Discoveries of great Benefit to the Publick. To which is
added, Namby Pamby, A Panegyric on the new Versification address'd to A——
P——, Esq."
Henry Fielding produced his "Tom Thumb" in 1730, and added the notes of
Scriblerus Secundus in 1731, following the example set by the Dunciad as
published in April 1729, with the "Prolegomena of Scriblerus and Notes
Variorum." Paul Whitehead added notes of a Scriblerus Tertius to his
"Gymnasiad" in 1744. Fielding was twenty-four years old when he added to
his "Tom Thumb" the notes that transmit to us lively examples of the stilted
language of the stage by which, as a gentleman's son left to his own
resources, he was then endeavouring to live. This was four years before his
marriage, and ten years before he revealed his transcendent powers as a
novelist.
Henry Carey's "Chrononhotonthologos," three years later, in 1734, carried on
the war against pretentious dulness on the stage. The manner of the great
actors was, like the plays of their generation, pompous and rhetorical, full of
measured sound and fury signifying nothing. Garrick, who made his first
appearance as an actor in 1741, put an end to this. "If the young fellow is
right," said Quin, "We are all in the wrong;" little suspecting that they really
were all in the wrong. Henry Carey, a musician by profession, played in the
orchestra and also supplied the stage with ballad and burlesque farces and
operas. But also he wrote "Namby Pamby." It was said of him that "he led a
life free from reproach, and hanged himself October 4th, 1743."
"The Rovers, or the Double Arrangement," was a contribution to "The Anti-
Jacobin," by George Canning, and his friends George Ellis and John Hookham
Frere. Canning had established "The Anti-Jacobin," of which the first number
was published on the 20th of November, 1797. Its poetry, generally levelled
through witty burlesque at the false sentiment of the day, was collected in
1801 into a handsome quarto. This includes "The Rovers," which is a lively
caricature of the sentimental German drama. Goethe's "Stella," as read in the
translation used by the caricaturists, is not less comical than the caricature. I
have a copy of the "Poetry of the Anti-Jacobin," in which one of the original
writers has, for the friend to whom he gave the book, marked with his pen
and ink details of authorship. From this it appears that the description of the
dramatis personæ in "The Rovers" was by Frere, the Prologue by Canning and
Ellis, the opening scene by Frere as far as Rogero's famous song, which was
by Canning and Ellis. All that follows to the beginning of the fourth act was by
Canning, except that Frere wrote the scene in the second act on the delivery
of a newspaper to Beefington and Puddingfield. The fourth act and the final
stage directions were by Frere, except the Recitative and Chorus of
Conspirators. These were by George Ellis.
"Bombastes Furioso," first produced in 1810, was by William Barnes Rhodes,
who had published a translation of Juvenal in 1801 and "Epigrams" in 1803.
He formed a considerable dramatic library, of which there was a catalogue
printed in 1825.
Next comes in this collection the series of burlesques of the styles of poets
famous and popular in 1812, published in that year as "Rejected Addresses,"
by Horace and James Smith. Of these brothers, sons of an attorney, one was
an attorney, the other a stockbroker, one aged thirty-seven, the other thirty-
three, when the book appeared which made them famous, and of which the
first edition is reprinted in this volume. The book went through twenty-four
editions. James Smith wrote no more, but Horace to the last amused himself
with literature. "Is it not odd," Leigh Hunt wrote of him to Shelley, "that the
only truly generous person I ever knew, who had money to be generous with,
was a stockbroker! And he writes poetry too; he writes poetry, and pastoral
dramas, and yet knows how to make money, and does make it, and is still
generous." The Fitzgerald who is subject of the first burlesque used to recite
his laudatory poems at the annual dinners of the Literary Fund, and is the
same who was referred to in the opening lines of Byron's "English Bards and
Scotch Reviewers:"

"Still must I hear?—shall hoarse Fitzgerald bawl

His creaking couplets in a tavern hall,
And I not sing."

This Miscellany closes with some of the "Odes and Addresses to Great
People," with which Thomas Hood, at the age of twenty-six, first made his
mark as a wit. The little book from which these pieces are taken was the joint
work of himself and John Hamilton Reynolds, whose sister he had married. It
marks the rise of the pun in burlesque writing through Thomas Hood, who,
when dying of consumption, suggested for his epitaph, "Here lies one who
spat more blood and made more puns than any other man."
H. M.
June, 1885.
Burlesque Plays and Poems.
——♦——
 The Rime of Sir Thopas.

PROLOGUE TO SIR THOPAS.

When said was this mirácle, every man

As sober was, that wonder was to see,
Till that our host to japen he began,
And then at erst he lookéd upon me,
And saidé thus: "What man art thou?" quod he.
Thou lookest, as thou wouldest find an hare,
For ever upon the ground I see thee stare.

"Approché near, and look up merrily.

Now ware you, sirs, and let this man have place.
He in the waist is shapen as well as I:
This were a popet in an arm to embrace
For any woman, small and fair of face.
He seemeth elvish by his countenance,
For unto no wight doth he dalliance.

"Say now somewhat, sin other folk han said;

Tell us a tale of mirth, and that anon."
"Hosté," quod I, "ne be not evil apaid,
For other talé certes, can I none,
But of a Rime I learnéd yore agone."
"Yea, that is good," quod he, "we shullen hear
Some dainty thing, me thinketh by thy cheere."
THE RIME OF SIR THOPAS.
Listeneth, lordings, in good entent,
And I wol tell you verament
Of mirth and of solás,
All of a knight was fair and gent
In battle and in tournamént,
His name was Sir Thopás.

Yborn he was in far countree,

In Flanders, all beyond the sea,
At Popering in the place,
His father was a man full free,
And lord he was of that countree,
As it was Goddés grace.

Sir Thopas was a doughty swain,

White was his face as paindemaine
His lippés red as rose.
His rudde is like scarlét in grain,
And I you tell in good certain
He had a seemly nose.

His hair, his beard, was like saffroun,

That to his girdle raught adown,
His shoon of cordewaine;
Of Bruges were his hosen brown;
His robé was of ciclatoun,
That costé many a jane.

He could hunt at the wildé dere,

And ride on hawking for the rivere
With grey goshawk on hand:
Thereto he was a good archere,
Of wrestling was there none his peer,
Where any ram should stand.

Full many a maiden bright in bower

They mournéd for him par amour,
When them were bet to slepe;
But he was chaste and no lechóur,
And sweet as is the bramble flower,
That beareth the red hepe.
 That beareth the red hepe.

And so it fell upon a day,

Forsooth, as I you tellen may,
Sir Thopas would out ride;
He worth upon his stedé gray,
And in his hand a launcegay,
A long sword by his side.

He pricketh through a fair forést,

Therein is many a wildé beast,
Yea bothé buck and hare,
And as he prickéd North and Est,
I tell it you, him had almest
Betid a sorry care.

There springen herbés great and smale,

The liquorice and the setewale,
And many a clove gilofre,
And nutémeg to put in ale,
Whether it be moist or stale,
Or for to lain in cofre.

The birdés singen, it is no nay,

The sparhawk and the popingay,
That joy it was to hear,
The throstel cock made eke his lay,
The wodé dove upon the spray
He sang full loud and clear.

Sir Thopas fell in love-longíng

All when he heard the throstel sing,
And pricked as he were wood;
His fairé steed in his prícking
So swatté, that men might him wring,
His sidés were all blood.

Sir Thopas eke so weary was

For pricking on the softé gras,
So fierce was his couráge,
That down he laid him in that place
To maken his stedé som solace,
And gave him good foráge
 And gave him good foráge.

Ah, Seinte Mary, benedicite,

What aileth this love at me
To bindé me so sore?
Me dreaméd all this night pardé,
An elf-queen shal my leman be,
And sleep under my gore.

An elf-queen will I love ywis,

For in this world no wóman is
Worthy to be my make
In town,—
All other women I forsake,
And to an elf-queen I me take
By dale and eke by down.

Into his saddle he clomb anon,

And prickéd over stile and stone
An elf-queen for to espie,
Till he so long had ridden and gone,
That he found in a privee wone
The contree of Faerié.

Wherein he soughté North and South,

And oft he spiéd with his mouth
In many a forest wild,
For in that contree n'as ther non,
That to him durst ride or gon,
Neither wife ne child.

Till that there came a great geaunt,

His namé was Sir Oliphaunt,
A perilous man of deed,
He saidé, Childe by Termagaunt,
But if thou prick out of mine haunt,
Anon I slay thy stede
With mace.
Here is the Queen of Faerie,
With harp, and pipe, and symphonie,
Dwelling in this place.

Th Child id All t I th
The Childe said, All so mote I thee,
To morrow wol I meten thee,
When I have min armóur,
And yet I hopé par ma fay,
That thou shalt with this launcegay
Abien it full soure;
Thy mawe
Shal I perce, if I may,
Or it be fully prime of the day,
For here thou shalt be slawe.

Sir Thopas drew aback full fast;

This geaunt at him stonés cast
Out of a fell staff sling:
But faire escapéd Childe Thopás,
And all it was through Goddes grace,
And through his fair bearíng.

Yet listeneth, lordings, to my tale,

Merrier than the nightingale,
For now I will you roune,
How Sir Thopás with sidés smale,
Pricking over hill and dale,
Is comen again to toune.

His merry men commandeth he,

To maken him bothe game and glee,
For needés must he fight,
With a geaunt with heades three,
For paramour and jolitee
Of one that shone full bright.

Do come, he said, my minestrales

And gestours for to tellen tales
Anon in mine armíng,
Of romauncés that ben reáles,
Of popés and of cardináles,
And eke of love-longíng.

They fet him first the sweté wine,

And mead eke in a maseline,
And regal spicerie,
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