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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.
The novel embodies a fusion of two competing aesthetics of 18th-century literature: the mock-heroic and neoclassical (and, by extension, aristocratic) approach of Augustans such as Alexander Pope and Jonathan Swift, and the popular, domestic prose fiction of novelists such as Daniel Defoe and Samuel Richardson. The novel draws on various ...
The Anarchiad (1786–87) is an American mock-epic poem that reflected Federalist concerns during the formation of the United States. The Anarchiad, or American Antiquities: A Poem on the Restoration of Chaos and Substantial Night was penned by four members of the Hartford Wits: David Humphreys, John Trumbull, Joel Barlow, and Lemuel Hopkins.
A mock-epic, it satirises a high-society quarrel between Arabella Fermor (the "Belinda" of the poem) and Lord Petre, who had snipped a lock of hair from her head without permission. The satirical style is tempered, however, by a genuine, almost voyeuristic interest in the "beau-monde" (fashionable world) of 18th-century society. [17]
Epic of Bamana Segu, oral epic of the Bambara people, composed in the 19th century and recorded in the 20th century; Epic of Darkness, tales and legends of primeval China; Epic of Jangar, poem of the Oirat people; Epic of Köroğlu, Turkic oral tradition written down mostly in 18th century; Epic of Manas (18th century)
Mac Flecknoe (full title: Mac Flecknoe; or, A satyr upon the True-Blue-Protestant Poet, T.S. [1]) is a verse mock-heroic satire written by John Dryden. It is a direct attack on Thomas Shadwell, another prominent poet of the time. It opens with the lines: Bust of Mac Flecknoe, from an 18th-century edition of Dryden's poems
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In this, the term was often used interchangeably with "pastiche", "parody", and the 17th and 18th century genre of the "mock-heroic". [11] 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.