|1.||(of a literary work, esp a poem) imitating the style of heroic poetry in order to satirize an unheroic subject, as in Pope's The Rape of the Lock|
|2.||burlesque imitation of the heroic style or of a single work in this style|
|a chattering or flighty, light-headed person.|
|a children's mummer's parade, as on the Fourth of July, with prizes for the best costumes.|
form of satire that adapts the elevated heroic style of the classical epic poem to a trivial subject. The tradition, which originated in classical times with an anonymous burlesque of Homer, the Batrachomyomachia (Battle of the Frogs and the Mice), was honed to a fine art in the late 17th- and early 18th-century Neoclassical period. A double-edged satirical weapon, the mock-epic was sometimes used by the "moderns" of this period to ridicule contemporary "ancients" (classicists). More often it was used by "ancients" to point up the unheroic character of the modern age by subjecting thinly disguised contemporary events to a heroic treatment. The classic example of this is Nicolas Boileau's Le Lutrin (1674-83; "The Lectern"), which begins with a quarrel between two ecclesiastical dignitaries about where to place a lectern in a chapel and ends with a battle in a bookstore in which champions of either side hurl their favourite "ancient" or "modern" authors at each other. Jonathan Swift's "Battle of the Books" (1704) is a variation of this theme in mock-heroic prose. The outstanding English mock-epic is Alexander Pope's brilliant tour de force The Rape of the Lock (1712-14), which concerns a society beau's theft of a lock of hair from a society belle; Pope treated the incident as if it were comparable to events that sparked the Trojan War.
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