Recently I, and several of my poet friends, have been writing parodies. I think because with the pandemic and feelings about the UK government’s handling of the crisis running high, they provide a way for people to vent their feelings and lighten a dark mood with humour. There’s been a parody boom on all social networking platforms.
I discovered parody as a teenager in the early 1960s, when my father brought home a copy of Arnold Silcock’s Verse and Worse that was about to be pulped in the paper mill where he worked. It was full of the most amazing poems and had a big, fat section featuring parodies.
One of my favourites was Sellar and Yeatman’s version of Browning’s poem – How I brought the Good News from Ghent to Aix. The original line is:
I sprang to the stirrup, and Joris, and he; I galloped, Dirk galloped, we galloped all three;
in their version it becomes:
As I galloped, you galloped, he galloped, we galloped,
Ye galloped, they two shall have galloped: let us trot.
There were parodies of nursery rhymes. One I liked was:
Doctor Bell fell down the well
And broke his collar bone
Doctors should attend the sick
And leave the well alone.
And a real eye-opener was discovering that the poems I so loved in one of my favourite books, Alice in Wonderland, were themselves parodies. The Victorians, it seems, loved writing them.
Thomas Moore’s Lalla Rookh was a popular work to satirize, not only by Lewis Carroll. There have been many versions over the years. This, by James Payn (1830-1898):
I never had a piece of toast
Particularly long and wide,
But fell upon the sanded floor,
And always on the buttered side.
Even Charles Dickens had a go:
I never nursed a dear Gazelle,
to glad me with its soft black eye,
but when it came to know me well, and love me,
it was sure to marry a market gardener.
Dickens uses parody not just for humour (I love the comedic device of the unexpected non-rhyming ending) but also to make a comment about market gardeners. What was that all about? Presumably readers of the time knew.
So parody has been popular for many years. Pompous people whose views are overblown have always been targeted for taking down a peg or two. Things that are just wrong sometimes need the spotlight of ridicule shone on them. Witness the satire boom in the 1960s and later with programmes like Spitting Image and impressionist Rory Bremner’s TV shows.
Parody has been a life-long preoccupation of mine, both in verse and in music. And I’ve written so many over the years. I remember referencing William Blake as a young teenager with:
Hedgehog, hedgehog burning bright
In the hedgerows of the night…
So when my career as a children’s poet began, in the late 1990s, parody was bound to find its way into my work. I think the first was in The Monster That Ate the Universe (Macmillan), my second solo collection, a poem by Coleridge:
It is an ancient mariner
And he stoppeth one of three –
He stopped the person just in front
Why didn’t he stop me?
Later, I found many poems and verses to parody, such as Kipling’s If, Wordsworth’s Daffodils, Carroll’s Jabberwocky and, of course, nursery rhymes. I don’t think parody will ever go out of fashion, there are so many wonderful poems are out there just waiting to be recycled into something differently meaningful, topical, insightful or downright funny. There is something about knowing the original and then being confronted with it in a different context that is just so satisfying.
Roger Stevens is a National Poetry Day Ambassador, a founding member of the Able Writers scheme with Brian Moses and runs the award-winning website PoetryZone for children and teachers, which has just celebrated its 20th anniversary. He has published forty books for children. A Million Brilliant Poems (Bloomsbury) was shortlisted for the CLPE prize and his book Apes to Zebras – an A to Z of shape poems (Bloomsbury) won the prestigious NSTB award.
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