By John Strachan
Ads, which built within the past due eighteenth century as an more and more refined and common kind of model advertising, would appear a separate international from that of the 'literature' of its time. but satirists and parodists have been stimulated through and replied to ads, whereas copywriters borrowed from the broader literary tradition, particularly via poetical ads and comedian imitation. This 2007 research to will pay sustained recognition to the cultural resonance and literary impacts of advertisements within the overdue eighteenth and early 19th centuries. John Strachan addresses the various ways that literary figures together with George Crabbe, Lord Byron and Charles Dickens answered to the industrial tradition round them. With its many desirable examples of latest ads learn opposed to literary texts, this research combines an interesting method of the literary tradition of the day with an exam of the cultural impression of its advertisement language.
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Additional resources for Advertising and Satirical Culture in the Romantic Period
What is happening in an advertisement for Robert Warren’s shoe-blacking which employs a Petrarchan sonnet, or a puff for the barber J. R. D. Huggins which imitates Paradise Lost, is a subtle variant on the tradition of English burlesque, notably that part of the burlesque tradition initiated by John Philips’s The Splendid Shilling (1701)80 and Isaac Hawkins Browne’s A Pipe of Tobacco (1736). Hawkins Browne uses idiomatic parody of the likes of Milton and Thomson to salute the pleasures of smoking, exploiting the comic differential between a trivial subject matter and an elevated poetic form and describing mundanities in an elaborate and highly wrought fashion.
As so often in the Romantic period, here wit is used as a marketing device; Tanner self-consciously parodies the addiction to hard words evident in much contemporary advertising copy, using quack language in a knowing and ironic fashion. The best of the period’s advertising has a playful edge, with comic modes and genres highly visible. 43 However, where Peacock uses sesquipedalianism in a wry lampoon of Coleridgean obscurantism, Tanner’s use of the practice directs its wit to more commercial ends.
And, similarly, the late Georgian emphasis upon brands and their proprietors has eighteenth-century antecedents. Though it has been argued35 that the pioneer of brand advertising was the potter Josiah Wedgwood, the true innovators were quack doctors (a fact that partially explains the air of the disreputable which surrounds advertising in much early nineteenth-century middle-class opinion). Advertisers of proprietorial medicines might be said to be the principal progenitors of modern advertising.