Mac Flecknoe as a Mock-Heroic Epic Poem

The term "mock-heroic poetry, as the name suggests, is a burlesque of the heroic poetry or epic poetry. A classical epic is a narrative in poetry of some heroic action of a heroic character, written in a langauge which corresponds to the elevated theme. It has serious beginning and conveys universal truth.There is also  an intensity of feeling and the expression is dignified. Some examples of the classical epic are Homer's Iliad and Odyssey., Virgil's Aeneid and Milton's Pardise Lost. A mock-epic parodies the style and conventions and characters of a serious epic. The parody is not meant as a mockery of the epic, but is a means to ridicule some object which the poet disapproves of or wishes to satirize.

The epic is a grand style of writing  which suggests nobility and grandeur. When these conventions are applied to trivial objects, it  results in ridiculous effect. Thus the mock-heroic technique is suitable for satiric purposes. Seriousness of style forces one's attention all the more on the triviality of subject. The manner is exalted but the thing described is insignificant. The discrepancy between manner and matter produces satiric effect.

One can assign to Dryden's Mac Flecknoe the position of heralding the mock-heroic tradition in English poetry. Dryden considered the mock-heroic technique as a very suitable form for satiric purposes. He took inspiration from the French poet Nicolas Boleu's Le Lutrin in which he found a fine mixture of the majesty of the heroic and the bite of the satire. Mac Flecknoe is thus a satire in the mock-heroic technique. Finding himself with the task of having to demolish Thomas Shadwell, the poet laureate and his rival poet of that time.

Mac Flecknoe has a mock-heroic form. The basic action, though it is not a great complex one, could easily fit heroic poetry. It deals with the choice of a successor to a kingdom and a coronation. The mockery is evident when we realise that the Kingdom is that of Nonsense and the coronation is that of a Prince of Dullness.

The very opening of Mac Flecknoe is characterised by epic exaltation with the resulting comic effect:

 All human thigns are subject to decay

And, when Fate summons monarchs must obey

 
The opening lines have the ponderous ring of noble heroic poetry. It is in the sixth line that the relentless mockery comes. Flecknoe had ruled unopposed - in the "realms of Nonsense absolute." An aged monarch, he now sought to resign and find a suitable heir to his throne. The exalted tone contrasts ludicrously with the fact that Flecknoe was a symbol of inferior versifiers. He indeed is a typical poetaster as dryden depicts him. .

Dryden's manner of depicting the sequences are highly remarkable as he implemented serious diction for trivial matters. He was a great master at mixing and balancing the majesty of heroic poetry and the venom of satiric verse. What high-flown words are used to achieve the very opposite effect, ie, the mockery of the victim.

He shows ability at using "magnificient abuse". Flecknoe's speech is brimming with ironical praise.

" Thy Tragic Muse gives smiles, thy Comic sleep."

The direct abuse is expressed in smooth politeness with the help of the polished heroic idiom. All the expressions undoubtedly glorify the absolute stupidity of Shadwell.
Dryden makes a clever use of diction. The mock-heroic idiom makes use of irony in an effective manner. Laughter arises out of the discrepancy between the elevated words and the meaning that convey.

 
Flecknoe's speeches seem to praise Shadwell, but they contain a series of deflating epigrams. Shadwell is "Mature in Dullness from his tender years." And never deviates into sense. His tragic scenes are amusing, and his comic scenes so dull, that audiences go to sleep. His satires are inoffensive and never 'bite'. He is sterile' as far as creativity is concerned. All the time, flattering terms are used to deflate the unfortunate victim. Dryden does not belittle Shadwell; his method is to praise his defects in grandiloquent words. Shadwell's "goodly fabric fills the eye", but seems designed for "thoughtless majesty" The combination of "thoughtless" and "majesty" is a master-piece of ironic politeness.

Ironical politeness is the basic aspect of the mock-heroic technique and is used with a  satirical brilliance  in Mac Flecknoe. Mac Flecknoe is Thomas Shadwell and he is chosen as fit heir to the throne of Nonsense. The degrading situation is spoken in terms of great achievement.

 
The polite tone of praise is devastating in its satiric effect when Flecknoe declares that Shadwell alone of all his sons was "mature in dullness from his tender years and stood confirmed in full stupidity." Others might sometimes allow a ray of intelligence into the darkness of their stupidity, but not so Shadwell. He was supreme in his dullness, and 'rising fogs' ensured an eternal lack of wit. The words in the opening passage, such as "empire", "governed" "prince", "realms", "the succession of the state', "to reign", etc., are all exalted in tone or elevated expression to follow the tradition of epic.

The ironic and ludicrous effect comes up when they are applied to the situation, namely, the coronation of a Prince of Dullenss over the realms of Nonsense. The manner is often like Milton's, but the effect is satirical. Flattering language is used to pour ridicule over the victim.

The aim of the mock-heroic form is to deflate a victim by enhancing him. Dryden never denigrates Shadwell. He constantly enhances his victim - he calls him Prince, monarch, mature, etc. It is the context in which these words are used which literally harms  the victim to collapse into insignificance. By using elevated words, ideas and images for Shadwell, Dryden reduces him to a helplessly ridiculous level. The basic joke of Mac Flecknoe is that Shadwell was fit to be described in heroic style. A small man is not ridiculous by himself, he becomes ridiculous when dressed up in a suit of armour meant for a hero.

 
Mac Flecknoe is a "pseduo-hero", heroic only in bulk. The comparison of Shadwell with the "monarch oaks" which "shade the plain and supinely reign" is intended to expose the hollowness of Shadwell He is bulky like the oak and equally devoid of thinking power. The phrase "thoughtless majesty" is replete with ironical suggestion. The terms "fabric" and "goodly suggest massive structure; "swelled with pride" and "big with hymn" similarly suggest intellectual grossness.

 
Much of the degradation in mock-heroic poetry is achieved through the clever device of drawing parallels between the satiric object and lengendary heroes. It is the joyful business of comparing small men to giants and making them laughing stock. Flecknoe is solemnly compared to Augustus, the great Emperor of Rome. The comparison does not enhance Flecknoe; it deflates him Similar is the effect when Shadwell is compared to Arion, the legendary Greek musician Arion jumped out of his ship when threatened by murderous sailors. His music charmed even the dolphins, one of which carried him on its back safely to the shore. Shadwell, however, can only attract "little fishes" as he travels along the Thames.

  Shadwell is compared to Ascanius, Rome's other hope and pillar of the state. He is compared to Hannibal, the hero of Carthage (ancient city in Africa).

This is how Dryden intermingle ridiculous elements and serious description in order to intensify the poetic effect also provides a complete comic feast to the readers.