117 Sentences With "mock heroic" | Random Sentence Generator

The whole picture creates a scenario that speaks to a kind of mock heroic elegance.

The flashbacks play out in a mock-heroic style with tinges of magic realism — a leopard emerging from the forest at an opportune moment, a gang boss punishing his enemies in a particularly crushing manner.

There's nothing new about it, although the edge on it—both the vinegary peevishness of the response to the shuffling of the rank-and-file and the scalding talk of cowardice or betrayal or some other mock-heroic judgment in the response to Durant's move—is uncomfortably of this moment.

As Persée, the tenor Taehwan Ku dealt stalwartly with a score that sends him almost immediately up to a mock-heroic high C. Ibert was well aware of Ravel — the diaphanous, flickering start of "Persée" pays conscious homage to "Daphnis et Chloé" — so the playful yet profound "L'Enfant et les Sortilèges" made an ideal companion.

Directed by Tamilla Woodard, "Fit for a Queen" tries, with mixed success, to be many things at once: a camp variation on a Cecil B. DeMille-style extravaganza (such as the gender illusionist Charles Busch recently delivered with his "Cleopatra"); a mock-heroic epic; a fiction-filtered parade of historical facts; and, most intriguingly, a subversive speculation on the nature of power.

By the time of Pope, however, the mock- heroic was giving ground to narrative parody, and authors such as Fielding led the mock-heroic novel into a more general novel of parody. The ascension of the novel drew a slow end to the age of the mock-heroic, which had originated in Cervantes's novel. After Romanticism's flourishing, mock-heroics like Byron's Don Juan were uncommon. Finally, the mock-heroic genre spread throughout Europe, in France, in Scotland, in Poland, in Bohemia, in Russia.

A revised arrangement, featuring mock-heroic lyrics, was used for the first series.

Mock-heroic, mock-epic or heroi-comic works are typically satires or parodies that mock common Classical stereotypes of heroes and heroic literature. Typically, mock-heroic works either put a fool in the role of the hero or exaggerate the heroic qualities to such a point that they become absurd.

The parody is not formal, but merely contextual and ironic. (For an excellent overview of the history of the mock-heroic in the 17th and 18th centuries see "the English Mock-Heroic poem of the 18th Century" by Grazyna Bystydzienska, published by Polish Scientific Publishers, 1982.) After Dryden, the form continued to flourish, and there are countless minor mock- heroic poems from 1680 to 1780. Additionally, there were a few attempts at a mock-heroic novel. The most significant later mock-heroic poems were by Alexander Pope. Pope’s The Rape of the Lock is a noted example of the Mock- Heroic style; indeed, Pope never deviates from mimicking epic poetry such as Homer's Iliad and Virgil's Aeneid . The overall form of the poem, written in cantos, follows the tradition of epics, along with the precursory “Invocation of the Muse”; in this case, Pope's Muse is literally the person who prodded him to write the poem, John Caryll: “this verse to Caryll, Muse, is due!” (line 3). Epics always include foreshadowing which is usually given by an otherworldly figure, and Pope mocks tradition through Ariel the sprite, who sees some “dread event” (line 109) impending on Belinda.

He invokes the same Mock-heroic style in The Dunciad which also employs the language of heroic poetry to describe menial or trivial subjects. In this mock-epic the progress of Dulness over the face of the earth, the coming of stupidity and tastelessness, is treated in the same way as the coming of civilization is in the Aeneid (see also the metaphor of translatio studii). John Gay's Trivia and Beggar's Opera were mock-heroic (the latter in opera), and Samuel Johnson's London is a mock-heroic of a sort.

While Cibber's elevation to laureateship in 1730 had further inflamed Pope against him, there is little speculation involved in suggesting that Cibber's anecdote, with particular reference to Pope's "little-tiny manhood", motivated the revision of hero. Pope's own explanation of the change of hero, given in the guise of Ricardus Aristarchus, provides a detailed justification for why Colley Cibber should be the perfect hero for a mock-heroic parody. Aristarchus's "hyper- criticism" establishes a science for the mock heroic and follows up some of the ideas set forth by Pope in Peri Bathous in the Miscellanies, Volume the Third (1727). In this piece, the rules of heroic poetry could be inverted for the proper mock-heroic.

The strained and unexpected rhymes increase the comic effect and heighten the parody. This formal indication of satire proved to separate one form of mock-heroic from the others. After Butler, Jonathan Swift is the most notable practitioner of the Hudibrastic, as he used that form for almost all of his poetry. Poet Laureate John Dryden is responsible for some of the dominance among satirical genres of the mock-heroic in the later Restoration era.

The most noted mock-heroic poems in French were Le Vergile Travesti (The disguised Vergil) by Paul Scarron (1648–52) and The Maid of Orleans by Voltaire (1730). In macaronic Latin enriched with Scottish Gaelic expressions William Drummond of Hawthornden wrote Polemo-Middinia inter Vitarvam et Nebernam in 1684. The main author of mock-heroic poems in Polish was Ignacy Krasicki, who wrote Myszeida (Mouseiad) in 1775 and Monacomachia (The War of the Monks) in 1778. In the same language Tomasz Kajetan Węgierski published Organy in 1775-77.

Hudibrastic is a type of English verse named for Samuel Butler's Hudibras, published in parts from 1663 to 1678.Cox, Michael, editor, The Concise Oxford Chronology of English Literature, Oxford University Press, 2004, For the poem, Butler invented a mock-heroic verse structure.

His first book, Poems on Several Occasions (1729), contains love poems and light verse. The Toilette (1730, in two editions) and his mock-heroic poem The Fall (1732) resemble in form Pope's The Rape of the Lock, but have merits of their own as well.

Burlesque was intentionally ridiculous in that it imitated several styles and combined imitations of certain authors and artists with absurd descriptions. In this, the term was often used interchangeably with "pastiche", "parody", and the 17th and 18th century genre of the "mock- heroic".Sanders, p.

Official Admiral Twin Website/tour journal They signed with Mojo Records, Official Admiral Twin Website/news archives then a subsidiary of MCA/Universal in the fall of 1998, going into the studio to record Mock Heroic, which was released June 20, 2000.[] All Music "Another Day" from Mock Heroic made a subtle appearance in a movie, The In Crowd. IMDB The In Crowd Unfortunately, the fate of Mojo Records was shaky at this time, and after suffering through several months of uncertainty, the Mojo label was dropped from Universal and Admiral Twin became independent artists again with New Pop Revival. The band released a Christmas EP in 2001.

While Dryden's own plays would themselves furnish later mock- heroics (specifically, The Conquest of Granada is satirized in the mock-heroic The Author's Farce and Tom Thumb by Henry Fielding, as well as The Rehearsal), Dryden's Mac Flecknoe is perhaps the locus classicus of the mock-heroic form as it would be practiced for a century to come. In that poem, Dryden indirectly compares Thomas Shadwell with Aeneas by using the language of Aeneid to describe the coronation of Shadwell on the throne of Dullness formerly held by King Flecknoe. The parody of Virgil satirizes Shadwell. Dryden's prosody is identical to regular heroic verse: iambic pentameter closed couplets.

Historically, the mock-heroic style was popular in 17th-century Italy, and in the post-Restoration and Augustan periods in Great Britain. The earliest example of the form is the Batrachomyomachia ascribed to Homer by the Romans and parodying his work, but believed by most modern scholars to be the work of an anonymous poet in the time of Alexander the Great. A longstanding assumption on the origin of the mock-heroic in the 17th century is that epic and the pastoral genres had become used up and exhausted,Griffin,Dustin H. (1994) Satire: A Critical Reintroduction p.135 and so they got parodically reprised.

Nikolay Petrovich Osipov () (1751 in Saint Petersburg – in Saint Petersburg, Russian Empire) was a Russian writer, poet and translator. He is best known for his mock-heroic 1791 poem (). Osipov's Eneida is a parody of Virgil's Aeneid, where the Trojan heroes talk like 18th-century Russians.

The poet published it in 1774 in Zabawy Przyjemne i Pożyteczne (Pastimes Pleasant and Profitable).Jan Zygmunt Jakubowski, ed., Literatura polska od średniowiecza do pozytywizmu (Polish Literature from the Middle Ages to Positivism), p. 246. It subsequently became part of song 9 of his 1775 mock-heroic poem, "Myszeida" (The Mouseiad).

Frederica von Stade sang with power and a tight focus, "quite properly doing [her] mock-heroic music in genuinely heroic style". Alan Titus made up for his occasional hardness of tone with his skill in rapid articulation. Maurizio Mazzieri was "resonant and reasonably secure". Luigi Alva was "as warm and eloquent as ever".

It was during this time that poet James Thomson (1700–1748) produced his melancholy The Seasons (1728–30) and Edward Young (1681–1765) wrote his poem Night Thoughts (1742), though the most outstanding poet of the age is Alexander Pope (1688–1744). It is also the era that saw a serious competition over the proper model for the pastoral. In criticism, poets struggled with a doctrine of decorum, of matching proper words with proper sense and of achieving a diction that matched the gravity of a subject. At the same time, the mock-heroic was at its zenith and Pope's Rape of the Lock (1712–17) and The Dunciad (1728–43) are still considered to be the greatest mock-heroic poems ever written.

Vasily Ivanovich Maykov (Василий Иванович Майков, 1728, Yaroslavl, Russian Empire, - 28 June 1778, Moscow, Russian Empire) — was a Russian poet, fabulist, playwright and translator, an exponent of the mock-heroic poetry genre in Russia.Stennik, Y.V. Майков Василий Иванович Russian Writers of the 18th Century. Biographical dictionary // Словарь русских писателей XVIII века / Vol. 2 (К-П).

Csokonai was a genial and original poet, with something of the lyrical fire of Sándor Petőfi, and wrote a mock-heroic poem called Dorottya or the Triumph of the Ladies at the Carnival, two or three comedies or farces, and a number of love-poems. Most of his works have been published by Schedel (1844–1847).

The Spinners, or, The Fable of Arachne (1644–48) by Velázquez The taxonomical class name Arachnida and the name for spiders in many romance languages are both derived from arachne. The metamorphosis of Arachne in Ovid's telling furnished material for an episode in Edmund Spenser's mock-heroic Muiopotmos, 257–352.Written c. 1590 and published in Complaints, 1591.

"Prasa satyryczna i humorystyczna w XIX i XX wieku" The title literally means "Pins". Motto: Prawdziwa cnota krytyk się nie boi, ("The true virtue is not afraid of criticisms") a quote from Ignacy Krasicki's mock-heroic poem '. Suspended during World War II, it was resumed in 1945. In 1953 Szpilki was merged with another satirical magazine, Mucha.

The Bohemian poet Šebestiàn Hnĕvkovský in 1805 printed two mock-heroic poems: Dĕvin in Czech and Der böhmische Mägderkrieg in German. In 1791 the Russian poet N. P. Osipov published (). Ivan Kotliarevsky's mock-epic poem Eneyida (Ukrainian: Енеїда), written in 1798, is considered to be the first literary work published wholly in the modern Ukrainian language.

Alexander Pope, author of The Dunciad The Dunciad is a landmark mock-heroic narrative poem by Alexander Pope published in three different versions at different times from 1728 to 1743. The poem celebrates a goddess Dulness and the progress of her chosen agents as they bring decay, imbecility, and tastelessness to the Kingdom of Great Britain.

A posthumous comedy of his, The Prophet, was acted for a few nights in 1788. Among Bentley's other writings were Patriotism, a Mock Heroic in five cantos, London, 1763; and A Letter to the Right Hon. C. F. Fox, 1793. He also translated the travels of Paul Hentzner; and verse for tomb inscription by Elizabeth Russell, Lady Russell.

Ottava rima is a rhyming stanza form of Italian origin. Originally used for long poems on heroic themes, it later came to be popular in the writing of mock-heroic works. Its earliest known use is in the writings of Giovanni Boccaccio. The ottava rima stanza in English consists of eight iambic lines, usually iambic pentameters.

There is scarcely any species of poetry, epic, dramatic, pastoral, lyric or burlesque, which Bracciolini did not attempt; but he is principally noted for his mock-heroic poem Lo Scherno degli Dei published in 1618, similar but confessedly inferior to the contemporary work of Alessandro Tassoni, La secchia rapita. Of his serious heroic poems the most celebrated is La Croce Racquistata.

It has been suggested that Henry Rosewell was the model for the main character of Hudibras, a mock heroic narrative poem from the 17th century written by Samuel Butler. However, Isaac D'Israeli refutes this in his 'Curiosities of Literature'. In 1636, his brother-in-law, Sir John Drake (c. 1590-1636), died leaving Sir Henry as one of the executors in the will.

The first appearance of a distinct Romagnol literary work is "Sonetto romagnolo" by Bernardino Catti, from Ravenna, printed 1502. It is written in a mixture of Italian and Romagnol. The first Romagnol poem dates back to the end of 16th century: E Pvlon matt. Cantlena aroica (Mad Nap), a mock-heroic poem based on Orlando Furioso and written by an anonymous author from .

Also in Italian dialects were written mock-heroic poems. For example, in Neapolitan dialect the best known work of the form was La Vaiasseide by Giulio Cesare Cortese (1612). While in Romanesco Giovanni Camillo Peresio wrote Il maggio romanesco (1688), Giuseppe Berneri published Meo Patacca in 1695, and, finally, Benedetto Micheli printed La libbertà romana acquistata e defesa in 1765.

" In her review for The New York Times, Janet Maslin wrote that "Mr. Campbell's manly, mock-heroic posturing is perfectly in keeping with the director's droll outlook." Desson Howe, in his review for The Washington Post praised the film's style: "Bill Pope's cinematography is gymnastic and appropriately frenetic. The visual and make-up effects (from artist- technicians William Mesa, Tony Gardner and others) are incredibly imaginative.

His other writings included Żywoty Królów polskich (1591); Spitamegeranomachia (1595), a mock-heroic work about the wars of Stefan Batory; and a prefatory poem in Simon Syrenius's Zielnik (1613). Kmita served in Stefan Bathory's Livonian Wars, and later in life was a member of the Babin Republic.Cytowska and Wojas, 94. In addition to his literary activities, Kmita served as podżupnik (administrator) of the Bochnia Salt Mine.

The new mock-heroic poem accepted the same metre, vocabulary, rhetoric of the epics. However, the new genre turned the old epic upside down about the meaning, setting the stories in more familiar situations, to ridiculize the traditional epics. In this context was created the parody of epic genre. Lo scherno degli dèi (The Mockery of Gods) by Francesco Bracciolini, printed in 1618 is often regarded as the first Italian poema eroicomico. Girolamo Amelonghi, 1547 However, the best known of the form is La secchia rapita (The rape of the Bucket) by Alessandro Tassoni (1622). Other Italian mock-heroic poems were La Gigantea by Girolamo Amelonghi (1566), the Viaggio di Colonia (Travel to Cologne) by Antonio Abbondanti (1625), L'asino (The donkey) by Carlo de' Dottori (1652), La Troja rapita by Loreto Vittori (1662), Il malmantile racquistato by Lorenzo Lippi (1688), La presa di San Miniato by Ippolito Neri (1764).

One of his last works was a collaboration with Carol Dunlop, The Autonauts of the Cosmoroute, which relates, partly in mock-heroic style, the couple's extended expedition along the autoroute from Paris to Marseille in a Volkswagen camper nicknamed Fafner. As a translator, he completed Spanish-language renderings of Robinson Crusoe, Marguerite Yourcenar's novel Mémoires d'Hadrien, and the complete prose works of Edgar Allan Poe.Biblioteca Julio Cortázar, Fundación Juan March.

In 1807, he published the epic Columbiad, an extended edition of his Vision of Columbus. It added to his reputation in some quarters, but on the whole it was not well received. It has subsequently been much ridiculed. The poem for which he is now best known is his mock heroic The Hasty-Pudding (1793), first published in New York Magazine and now a standard item in literary anthologies.

The knight hails from Flanders, which earlier had been a favourite haunt of errant knights but in Chaucer's time was better known for prosaic merchants. In the only scene of derring-do that Chaucer tells in the two and a half chapters he gets in, Sir Thopas flees the battle, pelted by stones. The poem thus contains many suggestions that it was intended in a mock-heroic sense.

Fist fights and disorder between rival groups of fans broke out in the audience and the two sopranos exchanged insults and came to blows onstage. The rest of the opera was cut, the performers going straight to the short final chorus. The scandal was gleefully repeated in the newspapers, in satirical skits on other stages, and in mock-heroic verse, bringing the entire form of Italian opera into a certain amount of disrepute in London.

John Dryden (1631–1700) was an influential English poet, literary critic, translator, and playwright who dominated the literary life of Restoration England to such a point that the period came to be known in literary circles as the Age of Dryden. He established the heroic couplet as a standard form of English poetry. Dryden's greatest achievements were in satiric verse in works like the mock-heroic MacFlecknoe (1682).John Dryden, Major Works, ed.

Karl Fredrik Dahlgren. Karl Fredrik Dahlgren (1791–1844), Swedish poet At a time when literary partisanship ran high in Sweden, and the writers divided themselves into Goths and Phosphorists, Dahlgren made himself indispensable to the Phosphorists by his polemical activity. In the mock-heroic poem of Markall's somnlosa nutter (Markall's "Sleepless Nights"), in which the Phosphorists ridiculed the academician Per Adam Wailmark and others, Dahlgren, who was a genuine humorist, took a prominent part.

After the translation of Don Quixote, by Miguel de Cervantes, English authors began to imitate the inflated language of Romance poetry and narrative to describe misguided or common characters. The most likely genesis for the mock-heroic, as distinct from the picaresque, burlesque, and satirical poem is the comic poem Hudibras (1662–1674), by Samuel Butler. Butler's poem describes a "trew blew" Puritan knight during the Interregnum, in language that imitates Romance and epic poetry.

Cambridge's major work was the Scribleriad (1751), a mock epic poem, the hero of which is the Martinus Scriblerus of Alexander Pope, John Arbuthnot and Jonathan Swift. The poem is preceded by a dissertation on the mock heroic, in which he avows Miguel de Cervantes as his master. It is full of literary in-jokes. The Account of the War in India on the Coast of Coromandel (1761) from the year 1750 to 1760.

Retrieved 17 April 2008 The series used the first incarnation of the Blackadder theme by Howard Goodall (with the exception of the unaired pilot, which featured a different arrangement).The Black Adder theme at Howard Goodall's official website. Retrieved 17 April 2008 For the opening theme, a trumpet solo accompanied by an orchestra was used. For the end titles, the theme gained mock-heroic lyrics sung by a baritone (Simon Carrington, a member of the King's Singers).

According to Aristotle (Poetics, ii. 5), Hegemon of Thasos was the inventor of a kind of parody; by slightly altering the wording in well-known poems he transformed the sublime into the ridiculous. In ancient Greek literature, a parodia was a narrative poem imitating the style and prosody of epics "but treating light, satirical or mock-heroic subjects".(Denith, 10) Indeed, the components of the Greek word are παρά para "beside, counter, against" and ᾠδή oide "song".

In his "Essay on Criticism", Pope describes some critics of a witless nature. In his various Moral Epistles, Pope likewise constructs characters of contemporary authors of poor taste. The general structure owes its origins to the communal project of the Scriblerians and other similar works such as the mock-heroic "MacFlecknoe" by John Dryden and Pope's own "The Rape of the Lock". The Scriblerian club most consistently comprised Jonathan Swift, John Gay, John Arbuthnot, Robert Harley, and Thomas Parnell.

The Malmantile Racquistato is a mock-heroic romance, mostly compounded out of a variety of popular tales; its principal subject matter is an expedition for the recovery of a fortress and territory whose queen had been expelled by a female usurper. It is full of graceful or racy Florentine idioms, and is counted by Italians as a testo di lingua. Lippi is remembered more for this poem than by his paintings. It was published posthumously in 1688.

17th-century Italian poet Alessandro Tassoni composed the mock- heroic epic La secchia rapita on the events of the War of the Bucket. After the war, Ghibelline power had risen once again, but the wars were not over. In 1447, the Ghibellines encountered failures when the Ambrosian Republic was created and broke down. The wars of the Guelphs and Ghibellines continued until 1529 when Charles I of Spain seized imperial power in Italy during the Italian Wars.

The sculptor Aktol, with his studio in the Baths of Diocletian, is based on Moses Jacob Ezekiel. It was translated into French, German, Belarusian, and an English translation was published in 1884. Vosmaer undertook the gigantic task of translating Homer into Dutch hexameters, and he lived just long enough to see this completed and revised. In 1873 he came to London to visit his lifelong friend, Lawrence Alma-Tadema, and on his return published Londinias, an exceedingly brilliant mock-heroic poem in hexameters.

Alessandro Tassoni monument, below the Ghirlandina Besides the above- mentioned "Filippiche", Tassoni is known for other works, some of poetry and some of literary criticism. The latter includes the ("Diverse meditations by A.T."), and (1609), a piece of criticism showing independence of traditional views. However, Tassoni is best known as the author of the mock-heroic poem La secchia rapita (The Rape of the Pail); it is by virtue of this work that he is remembered as Modena's poet laureate.

Kinderman, on the other hand, whose researches among the Beethoven sketchbooks discovered that Variation 1 was inserted late into the work, deems it a "structural variation", echoing Diabelli more clearly than the non-structural variations and, in this case, parodying the weaknesses of the theme. Its character is, for Kinderman, "pompous" and "mock-heroic". Alfred Brendel takes a view similar to Kinderman's, characterizing this variation as "serious but slightly lacking in brains". The title he offers is March: gladiator, flexing his muscles.

The first edition of Kotlyarevsky's Eneyida, 1798. Ivan Kotlyarevsky's mock-heroic 1798 poem Eneyida (), is considered to be the first literary work published wholly in the modern Ukrainian language. It is a loose translation of an earlier poem () published in 1791 by the Russian poet N. P. Osipov, but his text is absolutely different. Although Ukrainian was an everyday language to millions of people in Ukraine, it was officially discouraged from literary use in the area controlled by Imperial Russia.

In English, ottava rima first appeared in Elizabethan translations of Tasso and Ariosto. The form also became popular for original works, such as Michael Drayton's The Barons' Wars, Thomas Heywood's Troia Britannica, or Emilia Lanier's Salve Deus Rex Judaeorum. William Browne's Britannia's Pastorals also contains passages in ottava rima. The first English poet to write mock-heroic ottava rima was John Hookham Frere, whose 1817-8 poem Prospectus and Specimen of an Intended National Work used the form to considerable effect.

Krasicki's literary writings lent splendor to the reign of Poland's King Stanisław August Poniatowski, while not directly advocating the King's political program. Krasicki, the leading representative of Polish classicism, debuted as a poet with the strophe-hymn, "Święta miłości kochanej ojczyzny" ("O Sacred Love of the Beloved Country"). He was then nearing forty. It was thus a late debut that brought the extraordinary success of this strophe, which Krasicki would incorporate as part of song IX in his mock-heroic poem, Myszeida (Mouseiad, 1775).

Samuel Johnson pronounced it the greatest translation ever achieved in the English language.Garry Wills, "On Reading Pope's Homer" New York Times Review (1 June 1997), 22 Over time, Pope became the greatest poet of the age, the Augustan Age, especially for his mock-heroic poems, Rape of the Lock and The Dunciad. Around this time, in 1720, Clement XI proclaimed Anselm of Canterbury a Doctor of the Church. In 1752, mid-century, Great Britain adopted the Gregorian calendar decreed by Pope Gregory XIII in 1582.

291 Burlesque depended on the reader's (or listener's) knowledge of the subject to make its intended effect, and a high degree of literacy was taken for granted.Speaight, George. "All froth and bubble", The Times Literary Supplement, 1 October 1976, p. 1233 17th and 18th century burlesque was divided into two types: High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter as, for example, in the literary parody and the mock-heroic.

He received a ticket of leave in 1847 and his freedom in 1849, after which there is little record of his life. His verse suggests he was an educated person with strong political convictions.Jose, Nicholas (general editor) Macquarie PEN Anthology of Australian Literature Allen & Unwin, Crows Nest NSW, 2009 p. 83. He versified from the start of his convict career: treating the court to an extempore epigram about being sent to Botany Bay, and composing a mock-heroic poem about his case during the voyage out.

"The Ascent of the North Face" is a story written by Ursula K. Le Guin. The story is mock-heroic in character.Richard Erlrich, Study Guide for the Stories Collected in Ursula K. Le Guin's Fisherman Of The Inland Sea, p84. Told in the style of Victorian Boys Own Ripping Yarns, the joke is in the fact the north face is not of some Himalayan mountain being scaled by westerners but Indian climbers and that the north face refers to the north face of a suburban house in Portland Oregon near where Le Guin lived.

King thought himself badly treated in the course of his Irish lawsuit, and attacked his enemies in a mock-heroic poem, in two books, called The Toast (alleged to have been originally composed in Latin by a Laplander, "Frederick Scheffer", and translated into English, with notes and observations, by "Peregrine O'Donald, Esq.") The heroine, "Mira", is the Countess of Newburgh, who had secretly married as her third husband Sir Thomas Smyth, King's uncle. King portrayed her as a lesbian.Rictor Norton (Ed.), "The Toast, 1732," Homosexuality in Eighteenth-Century England: A Sourcebook.

Moriomachia – featuring a bull-turned-man engaging in mock-heroic battle over his armour at the court of Moropolis – was "one of the earliest English responses to Don Quixote".Colin Burrow, ‘Anton, Robert (fl. 1606–1618)’, Oxford Dictionary of National Biography, online edn, Oxford University Press, Sept 2004, accessed 18 September 2010 Anton was also the author of a quarto volume of satires, published in 1616, under the title of The Philosophers Satyrs. A second edition appeared in the following year, bearing the title Vices Anatomic Scourged and Corrected in New Satires.

He was born at Anstruther, Fife. He was lame from childhood. His father sent him to the University of St Andrews, where he remained for two years, and on his return he became clerk to one of his brothers, a corn factor. In his leisure time he mastered Hebrew as well as German and Italian. His study of Italian verse bore fruit in the mock-heroic poem of Anster Fair (1812), which gave an amusing account of the marriage of "Maggie Lauder," the heroine of the popular Scottish ballad.

Orestes is instead recognized from a scar he received on the forehead while chasing a doe in the house as a child (571-74). This is a mock- heroic allusion to a scene from Homer's Odyssey. In Odyssey 19.428-54, the nurse Eurycleia recognizes a newly returned Odysseus from a scar on his thigh that he received as a child while on his first boar hunt. In the Odyssey, Orestes' return to Argos and taking revenge for his father's death is held up several times as a model for Telemachus' behavior (see Telemachy).

The Rape of the Lock, perhaps the poet's most famous poem, appeared first in 1712, followed by a revised and enlarged version in 1714. When Lord Petre forcibly snipped off a lock from Miss Arabella Fermor's head (the "Belinda" of the poem), the incident gave rise to a high-society quarrel between the families. With the idea of allaying this, Pope treated the subject in a playful and witty mock-heroic epic. The narrative poem brings into focus the onset of acquisitive individualism and conspicuous consumption, where purchased goods assume dominance over moral agency.

Two months later he bought it again to try to find what he was missing. He still found nothing funny about it, due to his finding its treatment of Puritans too vicious and being insensitive to the humour of the rhymes. The mock heroic epic and its jaunty verse form known as Hudibrastic became the standard of satire for some time after that with at least twenty- seven direct imitations being produced. Of the most famous was Ned Ward and his Hudibras Redivivus with Samuel Wesley father of John Wesley emulating the work.

Verse narratives are as old as the Epic of Gilgamesh, the Iliad, and the Odyssey, but the verse novel is a distinct modern form. Although the narrative structure is similar to that of a novella, the organisation of the story is usually in a series of short sections, often with changing perspectives. Verse novels are often told with multiple narrators, potentially providing readers with a view into the inner workings of the characters' minds. Some verse novels, following Byron's mock-heroic Don Juan (1818–24) employ an informal, colloquial register.

The group met during the spring and summer of 1714. One group project was to write a satire of contemporary abuses in learning of all sorts, in which the authors would combine their efforts to write the biography of the group's fictional founder, Martin Scriblerus, through whose writings they would accomplish their satirical aims. The resulting The Memoirs of Martin Scriblerus contained a number of parodies of the most lavish mistakes in scholarship. For the mock-heroic structure of the Dunciad itself, however, the idea seems to have come most clearly from MacFlecknoe.

Second, civil society rallied to Marcos' and the Zapatistas' defense, organizing three massive demonstrations in Mexico City in one week. One of these rallies was attended by 100,000 people, some of whom chanted "We Are All Marcos" as they marched. Third, Marcos himself capitalized on this sudden, hostile action, issuing some eloquent communiques in which he lambasted the government's treachery, or at least duplicity, and portrayed himself as self-effacing mock heroic guerrilla. Marcos would later tell an interviewer: "It's after the betrayal of '95 that people remember us: Then the [Zapatista] movement took off".

A mock-heroic poem in five cantos, where the lyric meter and the heroic themes are lowered to the level of the protagonists: a group of vaiasse, common Neapolitan women who express themselves in dialect. Its writing is comic and transgressive, where much importance is given to the participation of the plebeian choir in the mechanics of the action. The reader is literally catapulted into the day-to-day life of the vaiasse where the main element is the investigation of the world through which Cortese makes into a world which is not his own and which he describes with irony and tragedy.

The poem begins in the tone of an epic masterpiece, presenting Shadwell's defining characteristic as dullness, just as every epic hero has a defining characteristic: Odysseus's is cunning; Achilles's is wrath; the hero of Spenser's The Faerie Queene is of holiness; whilst Satan in Paradise Lost has the defining characteristic of pride. Thus, Dryden subverts the theme of the defining characteristic by giving Shadwell a negative characteristic as his only virtue. Dryden uses the mock-heroic through his use of the heightened language of the epic to treat the trivial subjects such as poorly written and largely dismissible poetry.

The work consists of three parts about an African-American girl, Annie, growing into womanhood. The first part, titled "Notes from the Childhood and Girlhood", includes 11 poems giving glimpses into Annie's birth, her mother, and her reaction to racism, killing, and death. "The Anniad", a mock heroic poem divided into 43 stanzas and three "Appendix" poems, tells of Annie's dreams of a lover who goes to war, returns to her, marries her, leaves her, and comes back home to die. The last section, "The Womanhood", shows Annie's outlook on a world she would like to change.

The band evolved an elaborate and theatrical stage show, involving "bandsmen's uniforms, make-up, Sarah's music stand, (and) Tim's mile-wide grin". The finale included sprayed champagne, confetti cannons, appearances by The Consultant and Miss Swift (on behalf of the Alphabet Business Concern) and a mock-heroic/distressed exit for Tim Smith. Between 5 November – 21 December 1984, Cardiacs performed their first major British support tour, supporting Marillion at the personal invitation of Marillion’s vocalist, Fish. Whilst the tour afforded the band a new level of publicity, generally they were not well received by Marillion's fanbase.

But in other ways the poem disrupts the generality of pastoral convention by insisting on local particularities. In place of "purling streams" there are the "rine" and "moory sink" found in local place names. Again, the Somerset Levels, undrained as yet, were subject to severe inundations from the sea, of which those of 1696 and 1703 fell during Diaper's lifetime. These too, dressed in suitably mock- heroic garb, find their place in the poem, ::As when of late enraged Neptune sware, ::Brent was his own Part of his lawful Share; ::He said, and held his Trident o’er the Plain.

Burwin-Fosselton > returns on several evenings in full "Irving" costume; Mr Pooter confides to > his diary that "... one can have even too much imitation of Irving." In the 1963 West End musical comedy Half a Sixpence the actor Chitterlow does an impression of Irving in The Bells. Percy French's burlesque heroic poem "Abdul Abulbul Amir" lists among the mock-heroic attributes of Abdul's adversary, the Russian Count Ivan Skavinsky Skavar, that "he could imitate Irving". In the 1995 film A Midwinter's Tale by Kenneth Branagh, two actors discuss Irving, and one of them, Richard Briers does an imitation of his speech.

In 1697 he delivered the Harveian Oration, in which he advocated a scheme dating from some ten years back for providing dispensaries for the relief of the sick poor, as a protection against the greed of the apothecaries. In 1699 he published a mock-heroic poem, The Dispensary, in six cantos, which had an instant success, passing through three editions within a year. In this he ridiculed the apothecaries and their allies among the physicians. Garth’s work is a satirical take on the traditional epic poem, and is perhaps one of the better examples of the “medical poetry” genre.

Boccaccio used ottava rima for a number of minor poems and, most significantly, for two of his major works, the Teseide (1340) and the Filostrato (c. 1335). These two poems defined the form as the main one to be used for epic poetry in Italian for the next two centuries. For instance, ottava rima was used by Poliziano and by Boiardo in his 1486 epic poem Orlando Innamorato. The following year, Luigi Pulci published his Morgante Maggiore in which the mock-heroic, half-serious, half-burlesque use of the form that is most familiar to modern English- language readers first appeared.

In satire, Pope achieved two of the greatest poetic satires of all time in the Augustan period. The Rape of the Lock (1712 and 1714) was a gentle mock-heroic. Pope applies Virgil's heroic and epic structure to the story of a young woman (Arabella Fermor) having a lock of hair snipped by an amorous baron (Lord Petre). The structure of the comparison forces Pope to invent mythological forces to overlook the struggle, and so he creates an epic battle, complete with a mythology of sylphs and metempsychosis, over a game of Ombre, leading to a fiendish appropriation of the lock of hair.

Towneley was a great admirer of the 17th-century English mock-heroic narrative poem Hudibras written by Samuel Butler. Voltaire had described it as untranslatable except in the fashion in which he himself compressed four hundred lines into eighty. The poem had been turned into German verse in 1737, and in 1755 Jacques Fleury published the first canto in French prose, offering to issue the remainder if the public wished for it. Towneley began translating passages from it for the amusement of the other salon members and John Needham, the tutor of his grand- nephew Charles Townley, ultimately induced him to complete the translation.

The mock-heroic Bibliomania; or Book Madness,“excit[ed] a general curiosity in rare and precious volumes” upon its appearance (272). Dibdin also speaks of the book’s impact on the Roxburghe sale’s prices: “[T]here can be no doubt of the [Bibliomania’s] having been largely instrumental to the increase of the prices of this sale” (336). The book was in fact well known. His bestselling production, it continues to be the work by which Dibdin is best remembered. New editions appeared in 1811, 1842, 1856, 1876, and 1903, and the subscription list for the 1809 edition includes King George III, 233 others and 18 libraries.

Pope's edition of Shakespeare claimed to be textually perfect (although it was corrupt), but his desire to adapt led him to injudicious attempts at "smoothing" and "cleaning" Shakespeare's lines. In satire, Pope achieved two of the greatest poetic satires of all time in the Augustan period, and both arose from the imitative and adaptive demands of parody. The Rape of the Lock (1712 and 1714) was a gentle mock-heroic, but it was built upon Virgil's Aeneid. Pope applied Virgil's heroic and epic structure to the story of a young woman (Arabella Fermor) having a lock of hair snipped by an amorous baron (Lord Petre).

Holdsworth's most famous production was the Muscipula sive Cambro-muo-machia (anonymous, London 1709), a mock-heroic satire on the Welsh people. It appeared first without his consent, and without a printer's name. It was then republished in a corrected form by its author, with a dedication to Robert Lloyd, a fellow-commoner of Magdalen College; and also was immediately reproduced by Edmund Curll, all three editions being dated 1709. Thomas RichardsWelsh Biography Online, Richards, Thomas (1687?–1760). of Jesus College, Oxford retaliated against this ridicule of his Welsh fellow-countrymen, and issued the same year Χοιροχωρογραφία, sive Hoglandiæ descriptio, a satire on Hampshire, Holdsworth's native county.

Another idea is that it is a satire on the idea of taking stories of classical origin and twisting them to give them contemporary moral meanings. This would suggest that the poem is not only an early use of heroic couplets but also one of the first mock-heroic works in English. The nature of the poem with its separate legends makes dating it difficult but it is clearly placed between Troilus and the Tales around 1386/1388. Chaucer seems to have returned to the work a decade later to rewrite the prologue, but the latter text, which survives in only one manuscript, is generally considered inferior to the original.

It depicts the city with photographic accuracy, but also acts as a guide to the upper-class and upper-middle-class walkers of society. By taking a mock-heroic form, Gay's poem was able to poke fun at the notion of complete reformation of street civility while also proposing an idea of reform in terms of the attitude towards walking. In January 1717 he produced a comedy, Three Hours After Marriage, which was thought to be grossly indecent (without being amusing) and a failure. He had assistance from Pope and John Arbuthnot, but they allowed it to be assumed that Gay was the sole author.

Other literary works, such as Edmund Spenser's The Faerie Queene and Alexander Pope's mock-heroic The Rape of the Lock have been cited as contributing influences as well. Innovations in stage production helped bring these works to the public eye, as the development of gaslight and improvements in wire-work led to increasingly elaborate special effects. Although once described by Douglas Jerrold as "a fairy creation that could only be acted by fairies", productions of A Midsummer Night's Dream became more common, eventually leading to an 1863 spectacle featuring Ellen Terry as Titania astride a mechanical mushroom. Cultural changes were also an important factor during this period.

Boxer's profile drawings of celebrated personalities, usually commissioned to accompany a feature profile article, appeared in the New Statesman between 1970 and 1978, and in The Observer between 1982 and 1987. Many are now in the archives of the National Portrait Gallery (London). They also appeared as illustrations to mock-heroic poems written by Clive James. The Fate of Felicity Fark in the Land of the Media (1975) and Britannia Bright's Bewilderment in the Wilderness of Westminster (1976). Boxer also produced a series of drawings of characters to illustrate the covers of Anthony Powell’s 12-volume novel, A Dance to the Music of Time.

Alessandro Tassoni praised him in a verse of his mock-heroic poem La secchia rapita. On 27 January 1629 Pallavicino became a Member of the Accademia dei Lincei , together with Lucas Holstenius and Pietro della Valle.The Art of Religion: Sforza Pallavicino and Art Theory in Bernini's Rome, Maarten Delbeke, Routledge, 2016, When his friend Giovanni Ciampoli, the secretary of briefs, fell into disfavour, Pallavicino's standing at the papal court was also seriously affected. He was sent in 1632 as governatore to Jesi, Orvieto, and Camerino, where he remained for a considerable time. Over his father's objections, he entered the Society of Jesus on 21 June 1637.

The poem makes a human and existential drama out of a simple act of animal predation and ultimately can only be comic or absurd. The first known example of this narrative idea, exploited for full ironic effect in the genre, is Chaucer's mock heroic Nun's Priest's Tale which Henryson almost certainly used as a source. Chaucer also featured in his poem a long and profoundly comic set of excursuses on dream prediction delivered by the (well-read) victim of the farmyard crime. Henryson's version, which is shorter and more concise, sticks chiefly to the main action but still maintains the complexity of effect which Chaucer demonstrated was possible.

Drummond was called "the Scottish Petrarch"; and his sonnets, which are the expression of a genuine passion, stand far above most of the contemporary Petrarcan imitations. A remarkable burlesque poem Polemo Middinia inter Vitarvam et Nebernam (printed anonymously in 1684) has been persistently, and with good reason, ascribed to him. It is a mock-heroic tale, in macaronic Latin enriched with Scottish Gaelic expressions, of a country feud on the Fife lands of his old friends the Cunninghams. English composer Gerald Finzi's Three Short Elegies Op. 5 (1926) consists of musical settings for unaccompanied chorus of three of Drummond's poems: "Life a Right Shadow Is", "This World A Hunting Is" and "This Life, Which Seems So Fair".

Boileau himself, a great, though, by no means infallible critic in verse, cannot be considered a great poet. He rendered the utmost service in destroying the exaggerated reputations of the mediocrities of his time, but his judgment was sometimes at fault. The Lutrin, a mock heroic poem, of which four cantos appeared in 1674, is sometimes said to have furnished Alexander Pope with a model for the Rape of the Lock, but the English poem is superior in richness of imagination and subtlety of invention. The fifth and sixth cantos, afterwards added by Boileau, rather detract from the beauty of the poem; the last canto in particular is quite unworthy of his genius.

He also wrote a successful mock-heroic poem (Siege de Caderousse) travesties of Homer and Virgil, a prose novel depicting the country manners of the time (Histoire de Jean lont pris), and two comedies, which likewise give a vivid picture of the village life he knew so well. In the opinion of Oelsner the two genuine poets are the brothers Rigaud of Montpellier: Augustes (1760–1835) description of a vintage is deservedly famous; and Cyrille (1750—1820s) produced an equally delightful poem in the Amours de Mounpeïé. Pierre Hellies of Toulouse (d. 1724) a poet of the people, whose vicious life finds an echo in his works, has a certain rude charm, at times distantly recalling Villon.

Although parody is a long-standing literary genre, the mock heroic of Augustan 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.Gregory G. Colomb, Designs on Truth: The Poetics of the Augustan Mock-Epic, Penn State Press, 1992, pp. 44-7 A later humorous tactic, in place of a connected narrative in the mock-epic manner, was to apply poems in the style of varied authors to a single deflationary subject. The ultimate forerunner of this approach has been identified with Isaac Brown's small work, A Pipe of Tobacco, in Imitation of Six Several Authors, first published in 1736.

Thalestris is also the name of a character in Mary Renault's historical novel The King Must Die, set in the time of the mythological Theseus, who lived - if he existed at all - a thousand years or more before Alexander. The Thalestris character is depicted by Renault as a skilled Amazonian bull-dancer and valiant warrior - which is presumably why the writer gave her the name of an Amazon queen. In Alexander Pope’s mock heroic poem The Rape of the Lock, Thalestris is the name of a ‘fierce’ supporter of Belinda, whose lock of hair is stolen - a ‘Virago’ who urges Belinda into combat to regain the lock. There is also a brief reference to the courtship between Alexander and Thalestris in Beaumarchais' Le Mariage De Figaro.

The relatively informal Velázquez royal portraits in hunting clothes, and mock-heroic portraits of court dwarves and jesters, were painted for it, and also a huge series of 60 mythological subjects by Rubens and his workshop, from which 40 of the paintings and over 50 of Rubens' oil sketches survive (Prado)."Rubens y la Torre de la Parada", by Alejandro Vergara, Prado. See also Svetlana Alpers, The Decoration of the Torre de la Parada, Phaidon Press, 1971, summary The palace was mostly destroyed by fire when taken in 1714 by Austrian troops in the War of Spanish Succession, remaining only as ruins.Aerial photo from El Pardo site But much of the portable art had already been removed to other palaces.

Of these the most important was the Arcadia Ulisiponense established in 1756 by the poet Cruz e Silva--"to form a school of good example in eloquence and poetry"—and it included the most considered writers of the time. Pedro Correia Garção composed the "Cantata de Dido", a classic gem, and many excellent sonnets, odes, and epistles. The bucolic verse of Quita has the tenderness and simplicity of that of Bernardin Ribeiro, while in the mock-heroic poem, "Hyssope", Cruz e Silva satirizes ecclesiastical jealousies, local types, and the prevailing gallomania with real humour. Intestine disputes led to the dissolution of the Arcadia in 1774, but it had done good service by raising the standards of taste and introducing new poetical forms.

Based in Paris, where he married, since the age of twenty, he published in 1781 l'Allégresse villageoise, an entertainment mingled with singing and dancing, on the occasion of the birth of the Dauphin. Then he published La Vanité est bonne à quelque chose, a mock-heroic poem, in 1782, le Dieu Mars désarmé, entertainment in verse on the occasion of the treaty of Versailles of 1783. Author of numerous theater plays, he also was a publisher, publishing with Leprince la Petite bibliothèque des Théâtres, whose project was to bring together all plays of the comic and lyrical tragic scene with portrait of authors and records on their lives, judgments and anecdotes about each book and analytical catalog of all documents excluded from the collection.

However, Cibber was an even better King in these respects, more high-profile both as a political opportunist and as the powerful manager of Drury Lane, and with the crowning circumstance that his political allegiances and theatrical successes had gained him the laureateship. To Pope this made him an epitome of all that was wrong with British letters. Pope explains in the "Hyper-critics of Ricardus Aristarchus" prefatory to the 1743 Dunciad that Cibber is the perfect hero for a mock- heroic parody, since his Apology exhibits every trait necessary for the inversion of an epic hero. An epic hero must have wisdom, courage, and chivalric love, says Pope, and the perfect hero for an anti-epic therefore should have vanity, impudence, and debauchery.

Apotheosis of George Washington The Apotheosis of Homer Alphonse Mucha's The Slav Epic cycle No.20: The Apotheosis of the Slavs, Slavs for Humanity (1926) Apotheosis of Gdańsk by Isaak van den Blocke. Later artists have used the concept for motives ranging from genuine respect for the deceased (Constantino Brumidi's fresco The Apotheosis of Washington on the dome of the United States Capitol Building in Washington, D.C.), to artistic comment (Salvador Dalí's or Ingres's The Apotheosis of Homer), to mock-heroic and burlesque apotheoses for comedic effect. Many modern leaders have exploited the artistic imagery if not the theology of apotheosis. Examples include Rubens's depictions of James I of England at the Banqueting House (an expression of the Divine Right of Kings) or Henry IV of France, or Appiani's apotheosis of Napoleon.

The term catfight was recorded by the Oxford English Dictionary as the title and subject of an 1824 mock heroic poem by Ebenezer Mack. In the United States, it was first recorded as being used to describe a fight between women in an 1854 book written by Benjamin G. Ferris who wrote about Mormon women fighting over their shared husband. Their houses, according to Ferris, were designed to keep women “as much as possible, apart, and prevent those terrible catfights which sometimes occur, with all the accompaniments of billingsgate [vulgar and coarse language], torn caps, and broken broomsticks.” The word cat was originally a contemptuous term for either sex, but eventually came to refer to a woman considered loose or sexually promiscuous, or one regarded as spiteful, backbiting, and malicious.

James Barr Walker published an expanded version in 1871. David Claypoole Johnston illustration for Mack's "The Cat-Fight" (1824) Ebenezer Mack's 1824 poem "The Cat-Fight" is a stage Irish mock-heroic dialogue in which Jemmy O'Kain tells Pat M'Hone or Mahone that none of the great battles from myth and history compare to the one he witnessed "in Kilkenny, down the mole" between "two Grimalkins", at the end of which "... not the tip end of a tail, / Was there / Left for a token." ; In Cruikshank's Omnibus in 1841 was printed "The Terrific Legend Of The Kilkenny Cats" by "C.B."; a 24-line poem in which there are six tomcats, owned and underfed by a drunk woman named O'Flyn; they resolve to kill and eat her, then turn on each other.

The story portrays some "innocent" Scottish rustics making a living by throwing trains off the lines and then charging the passengers for services and, in parallel, romance being gladly thrown over in favour of monetary gain. A New York Times reviewer wrote in 1879, "Mr Gilbert, in his best work, has always shown a tendency to present improbabilities from a probable point of view, and in one sense, therefore, he can lay claim to originality; fortunately this merit in his case is supported by a really poetic imagination. In [Engaged] the author gives full swing to his humor, and the result, although exceedingly ephemeral, is a very amusing combination of characters – or caricatures – and mock-heroic incidents.""Dramatic and Musical", The New York Times, 18 February 1879, p.

But the added, structural variations recall Diabelli's waltz, not Bach or Mozart or Cramer, and clearly highlight its most unimaginative aspects, especially its repetition of the C major tonic chord with G emphasized as the high note and the static harmony thus created. The first of the three added variations is No. 1, a "mock- heroic" march which immediately follows Diabelli to open the set dramatically, echoing in the right hand the tonic triad of the theme while the left hand simply walks down in octaves Diabelli's descending fourth. No. 2 even maintains the repeated root-position triad, demonstrating the intent to keep the beginning of the set somewhat anchored. Afterwards however, Diabelli is barely recognizable until Variation 15, the second structural variation, a brief, lightweight piece conspicuously inserted between several of the most powerful variations (Nos. 14, 16 and 17).

The two prima donnas had appeared in continental European countries in operas together without incident, but in London they developed rival groups of fans that interrupted the performances with rowdy displays of partisanship for one lady or another. This came to a climax on 6 June 1727 during a performance at the King's Theatre of Astianatte by Giovanni Bononcini with both singers onstage and royalty in the audience. Fist fights and disorder between rival groups of fans broke out in the audience and the two sopranos exchanged insults and came to blows onstage. The rest of the opera was cut, the performers going straight to the short final chorus, and the scandal was gleefully repeated in the newspapers, in satirical skits on other stages, and in mock-heroic verse, bringing the entire form of Italian opera into a certain amount of disrepute in London.

Cover of the first edition of La Secchia rapita by Tassoni, printed in the maps Ronciglione in 1624 La secchia rapita (The stolen bucket) is a mock- heroic epic poem by Alessandro Tassoni based on the real life event, the War of the Bucket which was first published in 1622 (see 1622 in poetry); it tells of a war between the Italian cities of Modena and Bologna over the possession of a wooden bucket that later influenced Alexander Pope's The Rape of the Lock. John Ozell translated the poem as The Trophy Bucket in 1710: seeing his opportunity, Edmund Curll reprinted this item in June 1713 after the success of Alexander Pope's work. "La secchia rapita" is also the name of a comic opera by Salieri, first performed in Vienna in 1772; two of the arias from the work was recorded by Cecilia Bartoli on her Salieri album.

The Dunciad Variorum, 1729 The derogatory allusions to Cibber in consecutive versions of Pope's mock-heroic Dunciad, from 1728 to 1743, became more elaborate as the conflict between the two men escalated, until, in the final version of the poem, Pope crowned Cibber King of Dunces. From being merely one symptom of the artistic decay of Britain, he was transformed into the demigod of stupidity, the true son of the goddess Dulness. Apart from the personal quarrel, Pope had reasons of literary appropriateness for letting Cibber take the place of his first choice of King, Lewis Theobald. Theobald, who had embarrassed Pope by contrasting Pope's impressionistic Shakespeare edition (1725) with Theobald's own scholarly edition (1726), also wrote Whig propaganda for hire, as well as dramatic productions which were to Pope abominations for their mixing of tragedy and comedy and for their "low" pantomime and opera.

7 A flowery Latin version of the Greek poem was made by Andrea Alciato for his book of emblems(1531), where it figures as a picture of greed.Emblem 95 He was followed in this interpretation by the English emblematist Geoffrey Whitney, who turns it into a health warning: :::The Gluttons fatte, that daintie fare devoure, :::And seeke about, to satisfie theire taste: :::And what they like, into theire bellies poure, :::This justlie blames, for surfettes come in haste: ::::And biddes them feare, their sweete, and dulcet meates, ::::For oftentimes, the same are deadlie baites.A Choice of Emblemes, 1586, Emblem 128 The Frome physician Samuel Bowden reads the same lesson into it in his mock-heroic poem 'occasion'd by a Mouse caught in an Oyster-Shell' (1736) that concludes with the lines :::Instructed thus — let Epicures beware, :::Warn'd of their fate — nor seek luxurious fare.Reely's Audio Poems Bowden's poem was a popular one and anthologised for a century afterwards.

In many of the numbers his neatly polished libretto has more than mere verbal ingenuity, and his musical score, though by this time its conventions are familiar, shows a wide and diverting range both in parody and in construction... an acid Anglo-Indian scene with a chorus of sahibs declaiming that 'no matter how much we sozzle and souse, the sun never sets upon Government House', leads to a swinging mock-heroic number with the refrain 'But mad dogs and Englishmen go out in the midday sun' that has a true Gilbertian flavour.""New Coward Revue", A.S.W. The Manchester Guardian 26 August 1932, p. 11 The Times wrote, "Mr. Coward has the gift of attack... he had the audience cheering before the opening chorus was spent.... Mr. Coward has, above all else, the gift of satire, and this revue, being primarily satirical, is his best work in the musical kind... the active fierceness which is the distinction between genuine satire and empty sneering.

Hogarth's The Bathos Bathos as Pope described it may be found in a grandly rising thought that punctures itself: Pope offers one "Master of a Show in Smithfield, who wrote in large Letters, over the Picture of his Elephant: :"This is the greatest Elephant in the World, except Himself." Several decades before Pope coined the term, John Dryden had described one of the breath-taking and magically extravagant settings for his Restoration spectacular, Albion and Albanius (1684–85): :"The cave of Proteus rises out of the sea, it consists of several arches of rock work, adorned with mother of pearl, coral, and abundance of shells of various kinds. Through the arches is seen the sea, and parts of Dover pier." Pope himself employed this type of figure intentionally for humor in his mock-heroic Rape of the Lock, where a lady would be upset at the death of a lover "or lapdog.

P. G. Wodehouse, esteemed humorous writer employed the phrase often, sometimes with a slight nod to the phrase's dual-edge. Originally, however, "sweetness and light" had a special use in literary and cultural criticism meaning "pleasing and instructive", which in classical theory was considered to be the aim and justification of poetry.English for dulce et utile (literally "sweet and useful") from Horace's Ars Poetica (18 B.C.E.) Jonathan Swift first used the phrase in his mock-heroic prose satire, "The Battle of the Books" (1704), a defense of Classical learning, which he published as a prolegomenon to his A Tale of a Tub. It gained widespread currency in the Victorian era, when English poet and essayist Matthew Arnold picked it up as the title of the first section of his 1869 book Culture and Anarchy: An Essay in Political and Social Criticism, where "sweetness and light" stands for beauty and intelligence, the two key components of an excellent culture.

Although in the Middle Ages religious subjects were often treated with broad humour in a "low" manner, especially in medieval drama, the churches policed carefully the treatment in more permanent art forms, insisting on a consistent "high style". By the Renaissance the mixture of revived classical mythology and Christian subjects was also considered to fall under the heading of decorum, as was the increasing habit of mixing religious subjects in art with lively genre painting or portraiture of the fashionable. The Catholic Council of Trent specifically forbade, among other things, the "indecorous" in religious art. Concepts of decorum, increasingly sensed as inhibitive and stultifying, were aggressively attacked and deconstructed by writers of the Modernist movement, with the result that readers' expectations were no longer based on decorum, and in consequence the violations of decorum that underlie the wit of mock-heroic, of literary burlesque, and even a sense of bathos, were dulled in the twentieth-century reader.

Steele, Setting All the Captives Free, 66. Additionally, it is unlikely that Braam was involved in a French affair, more likely are that the weather conditions hampered the conditions of the document and perhaps hampered Van Braam's (Already questionable) ability to translate; see further: Culm Villiers, "Washington's Capitulation at Fort Necessity, 1754," The Virginia Magazine of History and Biography 6, no. 3 (January 1899), 268-270 The terms agreed to at Fort Necessity provided a nascent notion of Jumonville as an innocent Frenchman, killed brutally (and unnecessarily) by the British. Early research by Marcel Trudel and Donald Kent in the 1950s has demonstrated how the notion of Jumonville's brutal killing by the British gained currency in France, with Bishop de Pontbriand in a pastoral letter (1756) declaring: Trudel and Kent go on to demonstrate how pamphleteer Francois-Antoine Chevrier's 1758 mock-heroic poem L'Acadiade; Ou, Prouesses Angloises En Acadie, Canada and Antoine-Leonard Thomas' epic 1759 poem Jumonville further lamented the noble Jumonville's death at the hands of the brutal British.

Two sources provide evidence of crested chickens in Europe in Roman times: the two marble statuettes of crested chickens noticed in the Sala degli Animali ("animal hall") of the Vatican Museums in 1927 by Alessandro Ghigi date from the 1st or 2nd century AD; a chicken skull excavated at West Hill, Uley, Gloucestershire in England shows the typical cerebral hernia of the crested breeds and dates from the 4th century. The first reference to the chickens of Polverara is from Bernardino Scardeone (1478–1554), who writes of the Saccisica: "this area is ... famous for the abundance of chickens of remarkable size, particularly in the village of Polverara". Alessandro Tassoni (1565–1635), in his mock-heroic poem La Secchia Rapita ("The Stolen Bucket", 1622) speaks of "... Polverara, which is the kingdom of cocks". A painting by Giovanni Agostino Cassana (1658–1720) in the Musei Civici degli Eremitani, the city museums of Padova, shows a woman spinning thread in a rural landscape, surrounded by a number of domestic animals, including a crested white hen that closely resembles the Polverara breed.

These epic introductory tendencies give way to the main portion of the story, usually involving a battle of some kind (such as in the Iliad) that follows this pattern: dressing for battle (description of Achilles shield, preparation for battle), altar sacrifice/libation to the gods, some battle change (perhaps involving drugs), treachery (Achilles ankle is told to be his weak spot), a journey to the Underworld, and the final battle. All of these elements are followed eloquently by Pope in that specific order: Belinda readies herself for the card game (which includes a description of her hair and beauty), the Baron makes a sacrifice for her hair (the altar built for love and the deal with Clarissa), the “mock” battle of cards changes in the Baron’s favor, Clarissa’s treachery to her supposed friend Belinda by slipping the Baron scissors, and finally the treatment of the card game as a battle and the Baron’s victory. Pope’s mastery of the Mock-Heroic is clear in every instance. Even the typical apotheosis found in the epics is mimicked in The Rape of the Lock, as “the stars inscribe Belinda’s name!” (line 150).

This came to a climax on 6 June 1727 during a performance at the King's Theatre of Astianatte by Giovanni Bononcini with both singers onstage and royalty (thirteen-year-old Princess Caroline) in the audience. Fist fights and disorder between rival groups of fans broke out in the audience and the two sopranos exchanged insults and came to blows onstage. The rest of the opera was cut, the performers going straight to the short final chorus, and the scandal was gleefully repeated in the newspapers, in satirical skits on other stages, and in mock-heroic verse, bringing the entire form of Italian opera into a certain amount of disrepute in London. Faustina Bordoni, who created the role of Emira Handel continued to supply operas for the trio of star singers, Senesino, Cuzzoni and Faustina (as she was known) however, even though these singers received astronomical fees, much more than he received for composing the works, which combined with declining audience numbers caused at least in part by the ridicule brought upon Italian opera by the rival sopranos' public spat, was causing severe financial difficulty for the Royal Academy of Music.

Tradition has it that Krasicki's mock- heroic poem, Monachomachia (War of the Monks, 1778), was inspired by a conversation with Frederick II at the palace of Sanssouci, where Krasicki was staying in an apartment that had once been used by Voltaire. At the time, the poem's publication caused a public scandal. The most enduring literary monument of the Polish Enlightenment is Krasicki's fables: Bajki i Przypowieści (Fables and Parables, 1779) and Bajki nowe (New Fables, published posthumously in 1802). The poet also set down his trenchant observations of the world and human nature in Satyry (Satires, 1779). Other works by Krasicki include the novels, Pan Podstoli (Lord High Steward, published in three parts, 1778, 1784 and posthumously 1803), which would help inspire works by Mickiewicz, and Historia (History, 1779); the epic, Wojna chocimska (The Chocim War, 1780, about the Khotyn War); and numerous others, in homiletics, theology and heraldry. In 1781–83 Krasicki published a two-volume encyclopedia, Zbiór potrzebniejszych wiadomości (A Collection of Essential Information), the second Polish-language general encyclopedia after Benedykt Chmielowski's Nowe Ateny (The New Athens, 1745–46). Krasicki wrote Listy o ogrodach (Letters about Gardens) and articles in the Monitor, which he had co- founded, and in his own newspaper, Co Tydzień (Each Week).

No one claimed the reward. Dryden's greatest achievements were in satiric verse: the mock-heroic Mac Flecknoe, a more personal product of his laureate years, was a lampoon circulated in manuscript and an attack on the playwright Thomas Shadwell. Dryden's main goal in the work is to "satirize Shadwell, ostensibly for his offenses against literature but more immediately we may suppose for his habitual badgering of him on the stage and in print."Oden, Richard, L. Dryden and Shadwell, The Literary Controversy and 'Mac Flecknoe' (1668–1679) It is not a belittling form of satire, but rather one which makes his object great in ways which are unexpected, transferring the ridiculous into poetry.Eliot, T.S., 'John Dryden', in Selected Essays, (London: Faber and Faber, 1932), 308 This line of satire continued with Absalom and Achitophel (1681) and The Medal (1682). His other major works from this period are the religious poems Religio Laici (1682), written from the position of a member of the Church of England; his 1683 edition of Plutarch's Lives Translated From the Greek by Several Hands in which he introduced the word biography to English readers; and The Hind and the Panther, (1687) which celebrates his conversion to Roman Catholicism.