Each Part may be purchased separately.
| Volume I. | ||
| Part 1. | Alfred Tennyson’s | Early Poems. |
| Part 2. | Alfred Tennyson’s | Early Poems. |
| Part 3. | Alfred Tennyson’s | Later Poems. |
| Part 4. | Page 49 to 62. | Tennyson’s Poems. |
| Page 62 to 64. | H. W. Longfellow. | |
| Part 5. | Page 65. | A Parody of William Morris. |
| Page 65 to 80. | H. W. Longfellow. | |
| Part 6. | Page 81 to 96. | H. W. Longfellow. |
| Part 7. | Page 97 to 105. | H. W. Longfellow. Hiawatha. |
| Page 105 to 112. | Rev. C. Wolfe. Not a Drum was heard. | |
| Part 8. | Page 113. | Not a Drum was heard. |
| Page 113 to 128. | The Song of the Shirt. | |
| Part 9. | Page 129 to 135. | Thomas Hood. |
| Page 135 to 140. | Bret Harte. | |
| Pages 140 & 141. | Not a Drum was heard. | |
| Page 142 to 144. | Alfred Tennyson. | |
| Part 10. | Page 145 to 160. | Alfred Tennyson. |
| Part 11. | Page 161 to 176. | Alfred Tennyson. |
| Part 12. | Page 177 to 186. | Alfred Tennyson. |
| Page 187 to 190. | Not a Drum was heard. | |
| Page 190 to 192. | Song of the Shirt. | |
| ——:o:—— | ||
| Volume II. | ||
| Part 13. | Page 1 to 4. | Bret Harte. |
| Pages 4 and 5. | Thomas Hood. | |
| Page 6 to 16. | H. W. Longfellow. | |
| Part 14. | Page 17 to 24. | H. W. Longfellow. |
| Page 25 to 40. | Edgar Allan Poe. | |
| Part 15. | Page 41 to 64. | Edgar Allan Poe. |
| Part 16. | Page 65 to 88. | Edgar Allan Poe. |
| Part 17. | Page 89 to 103. | Edgar Allan Poe. |
| Pages 103, 4 & 5. | The Art of Parody. | |
| Page 106 to 112. | My Mother, by Miss Taylor. | |
| Part 18. | Page 113 to 135. | My Mother. |
| Page 136 | The Vulture, (After “The Raven.”) | |
| Page 136 | A Welcome to Battenberg. | |
| Part 19. | Page 137 to 141. | Tennyson’s The Fleet, etc. |
| Page 141 to 143. | My Mother. | |
| Page 144 to 160. | Hamlet’s Soliloquy. | |
| Part 20. | Page 161 to 184. | W. Shakespeare. The Seven Ages of Man, etc. |
| Part 21. | Page 185 to 206. | W. Shakespeare. Account of the Burlesques of his Plays. |
| Page 206 to 208. | Dr. Isaac Watts. | |
| Part 22. | Page 209 to 217. | Dr. Isaac Watts. |
| Page 217 to 232. | John Milton. | |
| Part 23. | Page 233 | John Milton. |
| Page 233 to 236. | Dryden’s Epigram on Milton. | |
| Page 236 to 238. | Matthew Arnold. | |
| Page 239 to 244. | W. Shakespeare. | |
| Page 244 to 246. | Bret Harte. | |
| Page 246 to 255. | H. W. Longfellow. | |
| Pages 255 and 256 | Thomas Hood. | |
| Part 24. | Page 257 to 259. | Thomas Hood. |
| Page 260 to 280. | Alfred Tennyson. | |
| ——:o:—— | ||
| Volume III. | ||
| Part 25. | A Chapter on Parodies, by Isaac D’Israeli. | |
| Page 3 to 16. | Oliver Goldsmith. | |
| Part 26. | Page 17 to 20. | Oliver Goldsmith. |
| Page 20 to 40. | Thomas Campbell. | |
| Part 27. | Page 41 to 47. | Thomas Campbell. |
| Page 48 to 64. | Robert Burns. | |
| Part 28. | Page 65 to 71. | Robert Burns. |
| Page 71 to 88. | Sir Walter Scott. | |
| Part 29. | Page 89 to 99. | Sir Walter Scott. |
| Page 99 to 105. | Scotch Songs. | |
| Page 106 to 109. | Robert Burns. | |
| Page 109 to 112. | Thomas Campbell. | |
| Part 30. | Page 113 to 116. | Coronation Lays. |
| Page 117 to 129. | Charles Kingsley. | |
| Page 129 to 136. | Mrs. Hemans. | |
| Part 31. | Page 137 to 140. | Mrs. Hemans. |
| Page 140 to 160. | Robert Southey. | |
| Part 32. | Page 161 to 181. | Robert Southey. |
| Page 181 to 184. | The Anti-Jacobin. | |
| Part 33. | Page 185 to 186. | The Anti-Jacobin. |
| Page 187 to 189. | A. C. Swinburne. | |
| Page 189 to 208. | Lord Byron. | |
| Part 34. | Page 209 to 229. | Lord Byron. |
| Page 230 to 232. | Thomas Moore. | |
| Part 35. | Page 233 to 256. | Thomas Moore. |
| Part 36. | Page 257 to 278. | Thomas Moore. |
| Page 278. | Lord Byron. | |
| Pages 279 & 280. | Charles Kingsley. | |
| ——:o:—— | ||
| Volume IV. | ||
| Part 37. | On Parodies of Popular Songs. Page 2 to 16. Modern Songs. | |
| Part 38. | Songs by Henry Carey, A. Bunn, J. H. Payne, and Robert Herrick. | |
| Part 39. | Songs by R. Herrick, T. H. Baily, and Lewis Carroll. | |
| Part 40. | Songs by C. and T. Dibdin, T. Campbell, and David Garrick. | |
| Part 41. | The Bilious Beadle, The Old English Gentleman, Rule Britannia, and God Save the King. | |
| Part 42. | Songs in W. S. Gilbert’s Comic Operas. | |
| Part 43. | W. S. Gilbert’s Songs, Tennyson’s Jubilee Ode, Swinburne’s Question, and the Answer. | |
| Part 44. | The Vicar of Bray, Old King Cole, Lord Lovel, and Old Simon the Cellarer. | |
| Part 45. | Chevy-Chace, Lord Bateman, Songs by R. B. Sheridan, Charles Mackay, and B. W. Proctor (Barry Cornwall). | |
| Part 46. | Parodies of various old Songs and Ballads. | |
| Part 47. | Parodies of Scotch, Irish, and Welsh Songs. | |
| Part 48. | Songs by the Hon. Mrs. Norton, and various old English Songs. Tennyson’s Jubilee Ode. | |
“There is no talent so universally entertaining as that of mimickry, even when it is confined to the lively imitation of the air, manner, and external deportment of ordinary individuals.
It rises in interest, however, and in dignity, when it succeeds in expressing, not merely the visible and external characteristics of its objects, but those also of their taste, their genius and temper. A vulgar mimic repeats a man’s known stories, with an exact imitation of his voice and gestures; but he is an artist of a far higher description, who can make stories or reasonings in his manner, and represent the features and movements of his mind, as well as the accidents of his body. The same distinction applies to the mimickry, if it may be so called, of an author’s style and manner of writing.
It is another matter, however, to be able to borrow the diction and manner of a celebrated writer to express sentiments like his own—to write as he would have written on the subject proposed to his imitator—to think his thoughts in short, as well as to use his words—and to make the revival of his style appear a natural consequence of the strong conception of his peculiar ideas. To do this in all the perfection of which it is capable, requires talents, perhaps, not inferior to those of the original on whom they are employed—together with a faculty of observation, and a dexterity of application, which that original might not always possess; and should not only afford nearly as great pleasure to the reader, as a piece of composition,—but may teach him some lessons, or open up to him some views, which could not have been otherwise disclosed.
The exact imitation of a good thing, it must be admitted, promises fair to be a pretty good thing in itself; but if the resemblance be very striking, it commonly has the additional advantage of letting us more completely into the secret of the original author, and enabling us to understand far more clearly in what the peculiarity of his manner consists, than most of us should ever have done without this assistance. The resemblance, it is obvious, can only be rendered striking by exaggerating a little, and bringing more conspicuously forward, all that is peculiar and characteristic in the model.”
Lord Jeffrey on The Rejected Addresses.