49
The Contested Charm of Dunciad Minor  
by A  D  Hope
Igor Maver
Abstract
How literature is made from literature, what kind of procédés are used in expressing or 
covering a text with the fabric of quotations in it, how a meta-text regulates the recep-
tion of the original text and to what degree it is part of the latter, how a palimpsestic 
superscription unveils the reading and the understanding of tradition? All these questions 
pertaining to intertextuality (e. g. citations, allusions, parody, literary travesty, pastiche, 
etc) are addressed in the article. This is not done purely theoretically, but is applied in the 
examination of literary affiliations between two poets and their satirical works, the Eng-
lish Augustan poet of the 18th century Alexander Pope and a major twentieth-century 
Australian Augustan poet A. D. Hope.
Keywords: intertextuality, Alexander Pope, A. D. Hope, Australian poetry, English 18th 
century poetry
ACTA NEOPHILOLOGICA  UDK: 821.111(94).09-1Hope A. D.
DOI: 10.4312/an.55.1-2.49-60
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50 Igor Maver
Two verse satires are contrasted here, written more than two hundred years 
apart. The analysis employs intertextual reading strategies in relation to Alexander 
Pope‘s mock-epic The Dunciad (1728, 1742), which serves as a pre-text, and A. 
D. Hope‘s Dunciad Minor (1950, 1970) that represents a meta-text. Intertextual 
phenomena cannot be viewed solely from the point of view of chronologically 
earlier texts (e. g. The Dunciad), which are (often) an active impetus for later, ac-
commodating works (in this case Dunciad Minor). On the contrary, particularly 
interesting are the affiliating strategies and the procedures of accommodation of 
the secondary text that somewhat adapts and changes the original‘s signifying 
literary material and codes, thus changing also its role and significance and ulti-
mately emerging as a new, original text. 
Alexander Pope (1688-1744) was a master of the heroic couplet, which he 
used to satiric and philosophical ends and one of the main representatives of the 
Augustan age in Great Britain as a central figure in the Neoclassical movement 
of the early 18th century. His mock epic The Rape of the Lock (1714) derides elite 
society, while An Essay on Criticism (1711) and An Essay on Man (1733–34) artic-
ulate many of the central ideas of 18th-century aesthetic and moral philosophy. 
Pope was known for his involvement in public feuds with the (hack) writers and 
publishers of the low-end Grub Street in London, which led him to write The 
Dunciad (1728), a powerful satirical criticism of what he saw as an English cul-
tural decline. 
On the other hand, a powerful sign of the Australian poet A. D. Hope‘s (1907-
2000) unabashed admiration of the neo-classical poetic ideal, notwithstanding 
his strong Romantic streak, is the satirical work Dunciad Minor (Hope 1970), di-
rectly modelled on Pope‘s original text. Its prose summary can be found in Hope‘s 
programmatic essay ”Literature Versus the Universities,“ published in his book 
of criticism The Cave and the Spring: Essays on Poetry (Hope 1965). Exaggerated 
assertions of Hope‘s exclusive dependence on the English neo-classical Augustan 
tradition are, however, misplaced, despite his clear strong literary interest in the 
18th century poets. A. D. Hope‘s satirical pieces, to be sure, are usually not di-
rected against specific individuals or contemporary events. Dunciad Minor is an 
exception to the rule, insofar as it begins as a sharp attack on the then influential 
literary critic and Melbourne school teacher Arthur A. Phillips (1900-1985), but 
later takes on a more general significance, ridiculing the entire academic literary 
criticism principle sui generis. It can be argued that Hope‘s satire overtly and de-
liberately follows the pattern that had been set by Pope in his famous mock-epic 
verse satire The Dunciad first published in 1728 (Pope).
It should be pointed out from the outset that it is ironical that Hope, an influ-
ential Australian poet and critic, should, in some way or other, draw inspiration 
from Pope‘s satire, which in its turn mocks the then literary life in London and 
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51The Contested Charm of Dunciad Minor by A. D. Hope
England, namely the decline of its intellectual values and art, employing most of 
Pope’s poetic ”machinery“. For A. D. Hope, to be sure, values most highly the tra-
ditional, Augustan characteristics of poetry. However, in this satire he, with great 
intellectual wit and gusto, attacks the ”exaggerated“ increase of literary criticism in 
English and its influence. In other words, he aims at the academic „sterility“ of the 
post-World War Two era, as embodied in the critical contentions of A. A. Phillips 
(Arthur Angell Phillips).
For Hope himself is an active literary persona, as well as an importantliterary 
critic. He knows both worlds well, because he is an integral part of them. Hence, 
his condition somewhat sets him asunder, for he makes fun of himself, of his 
alter ego. He mocks, not his poetic vocation, but rather his professional career as 
a university teacher and an influential literary critic. The conflict between the ”ac-
ademic“ and the ”creative“ literary principle, in his view, is deftly depicted in the 
form of the attack on, in his view, irrational contemporary academic criticism and 
its pedantic pettishness, as well as self-projection.
It is noteworthy in this regard to examine Hope’s Preface to the verse satire.
After pointing out what he considers the besetting sin of all academic critics – that 
they regard themselves as ”judges standing above the storm,“ he continues:
Having spent most of my life in this academic pursuit, I suppose in the last 
resort my poem is the protest of a poet against the arrogance of the professor 
who shares his body. (Hope 1970, Preface x)
Like any satire, Hope’s Dunciad Minor too, achieves its paradoxical effect of rid-
icule through the emergence of a sort of ”humbleness“ on the part of the reader, 
who is supposed to come to terms with and to consequently accept the human 
(and possibly his or her own) limitations. The poet bitterly describes the reasons 
for his decision:
If I had any choice I should not be a professor but a poet But the damn truth is 
that if I tried to earn my living at poetry ... should sumolv starve to death there 
is something uncommonly odd about a world in which thousands of academic 
persons are able to make more or less comfortable livings out of unsaleable 
verse. (Hope 1952, 3)
In the Preface to his verse satire A. D. Hope gives an exhaustive account of the 
cause which gave rise to Dunciad Minor, of its genesis and intentions. Both 
Hope and A. A. Phillips (in the text appearing as Ambrose Philips), in 1950 
took part in literary talks on the Australian radio, entitled ”Standard Works I’d 
Like to Burn.“ A number of other well-known literary critics were also invit-
ed to express their opinions. A. A. Phillips was then known as an outstanding 
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52 Igor Maver
teacher of English literature at Wesley College in Melbourne, while A. D. Hope 
lectured at the University of Melbourne. Hope chose Matthew Arnold as his 
butt, Phillips, on the other hand, the works of Alexander Pope as the Object of 
his ridicule, particularly certain passages from Pope’s ”An Essay on Man“. Since 
Hope regards Pope as one of the greatest English poets, his ”blood very natu-
rally began to boil,“ as he writes, especially after hearing the opening passages 
describe Pope as:
an industrious enough craftsman, if not always a very good one, who chose to 
earn his living in one of the only ways open to an educated English century 
... a moderately skilful purveyor of Catholic in the early eignteenth spite and 
platitudes…. (Hope, 1970, Preface, v)
Indignant, Hope immediately sent to Phillips by mail the following couplet.
Phillips, I heard you talk on Pope tonight,
O that The Dunciad were again to write!? (Preface, vi)
A jeering reply brought the final decision. Hope further admits in the Preface 
that he had long felt the desire to try his hand at the art of mock-epic. And so 
he embarked on the forbidding project. The four books of the work, originally 
titled Dunciad Minimus, published in the University of Melbourne Magazine in 
1950, were later revised by the author, because the satire was primarily directed to 
answer the attack on Pope and was mainly concerned with Phillips as a critic of 
Pope. It seems that Hope still did not want to go too far in his ridicule of Phillips, 
because, he admits, he generally appreciated him as a critic. Hope stresses that he 
added the two books of Funeral Games, published as Dunciad Minor in 1970 to-
gether with the earlier written books from 1950, in order to turn the main attack 
against certain famous literary critics of our time. Their influence on literature has 
been, in his view, pernicious indeed (Preface, viii). 
To be sure, the nature of a mock-epic as a variant of satire is not essentially 
the holding of individual persons up to ridicule, but aiming at ideas and various 
theories. Because of its comic and narrative mode, however, it has to make its 
point through persons and their actions by exaggeration and burlesque. Hope 
achieved all that, and more. It is appropriate to give a short outline of A. A. 
Phillips’s critical standpoints (1901-1986) in order to be able to understand 
Hope’s attack on him. Phillips was one of the central figures of the ”nationalist“ 
tradition in contemporary twentieth-century Australian literary Criticism. His 
essay ”Provincialism and Australian Culture“ (Phillips 1958) is indicative and 
epitomizes the aspirations of this tradition/school. In it he set up an opposition 
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53The Contested Charm of Dunciad Minor by A. D. Hope
between the ”metropolitan“ centres of culture and ”provincial“ communities, 
and furthermore asserted:
… I am advocating the acceptance of the provincial status
typical gadfly statement, aimed at stinging orthodox notions of the necessary 
superiority of metropolitan culture. (qtd in Bennett 39)
Arthur A. Phillips was a teacher by profession and conveyed his interest in Eng-
lish literature to the generations of schoolboys at Wesley College Melbourne. 
Schoolmastering was Phillips’s prime activity, and much of his early published 
work consisted of anthologies and textbooks. His 1932 anthology with Ian 
Maxwell,  In Fealty to Apollo, was the first that added Australian verse to the 
standard English poetry selections. When Clem Christesen arrived from Bris-
bane in 1945, bringing Meanjin with him, Phillips helped to give the magazine 
a distinctive Australian voice. The short essay was his métier: erudite, terse, and 
enlivened by a wry wit. Over the years Meanjin published most of his impor-
tant pieces, including ”The Cultural Cringe“ (1950), a term which was quickly 
taken to summarise Australian deference to English taste. Literary criticism, 
however, remained incidental to his teaching. He also reviewed new books in 
newspapers and for the Australian Broadcasting Commission. The Australian 
Tradition, Phillips’s first published collection, was widely acclaimed when it ap-
peared in 1958. ”I was deliberately flying a skull-and-crossbones“, he said of the 
title, challenging the view that no such heritage existed. In 1970 his monograph 
on Henry Lawson appeared—an author for whom he held no particular esteem, 
but whom he saw, along with Joseph Furphy, as best expressing a distinctively 
Australian democratic, egalitarian, even proletarian perspective. According to 
John McLaren (McLaren 23-4), his essay ”Three Schoolmasters“ is both a no-
table piece of autobiography, and the record of his own career as a teacher. It 
is also significant that Phillips always worked on the margin of ”professional“ 
literary activity in Australia, but he was published and broadcast as a freelance 
critic, receiving some academic recognition only after his retirement. Hope, to 
his satirical ends, has taken full advantage of his position as an ”outsider“, al-
though he retained enough respect for Phillips as a critic, apart from his (to 
Hope’s mind) unjustifiedly sharp attack on Pope.
The main fabula of A. D. Hope’s Dunciad Minor is in the desire of Arthur An-
gell Phillips (also called Great Arthur) to succeed Ambrose Philips at the throne 
of Dullness, which is in Pope’s The Dunciad occupied by the poet- laureate Colley 
Cibber. Phillip’s request is considered by the ”immortals“ Pope, Swift and a few 
other literati. Phillips’s success depends largely on his capacity to prove he is dull 
enough that he deserves mentioning in The Dunciad. Since he is inspired by the 
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54 Igor Maver
Goddess Dullness herself, he succeeds and is granted the right to ascend the 
throne. Before that, however, the Goddess decides that Funeral Games be held in 
his honour at which his successor shall be chosen. These ”games“ were, as we have 
already pointed Out, added by Hope later in books IV and V. Among the main 
figures of the crities attacked can be found, for example, G. W. Knight, F. R. Leav-
is (Leavsites are under attack here), R. P. Blackmur, W. Empson, D. Daiches, etc., 
who in turn all express their claims to the throne of Dullness. The abstract notion 
of  ”Pure Criticism“ finally becomes Phillips’s heir-apparent. The following lines 
are indicative enough of Hope’s bitter scorn for the academically sterile modern 
critical stance:
Pure criticism triumphs over all
Without resort to Raw Material.
The last Age, primitive although it was
Produced Pure Poetry, eschewed the dross
Of subject, narrative, connective themes;
Now ours at last evolves the Dream of Dreams:
Pure Criticism, without thought or fuss;
Pure Theory formed, with nothing to discuss! (Hope 1970, 76)
Comparing these events with Alexander Pope’s satire, it can first be noticed that 
in Book I the poet Bayes is chosen by the Goddess Dullness as her poeta laureatus, 
Book II brings the depiction of the ancient Greek Olympic Games (like Hope‘s 
Funeral Games), and in Book III the poet falls asleep in the lap of Dullness, who 
has visions of her future ”empire.“ These are only realized in the final Book IV. 
Pope also uses Dunce (a jester/fool) as the embodiment of Foolishness and four 
guardian Virtues: Fortitude, Temperance, Prudence and Justice:
Still Dunce the second reigns like Dunce the first;
Say how the goodness made Britannia sleep, ..
Thou Cibber! thou, his laurel shalt support,
Folly, my son, has still a friend at court. (Pope 330)
Pope attacks everyone in a row, regardless of literary or critical chronology: Cow-
ley, Wycherley, Fletcher, Shakespeare, Congreve, Addison, Milton, etc. Book IV 
is the most biting of all. It shows a contemplation of the vision and prophecies 
expressed in the preceding book. It shows the Goddess Dullness in all her majes-
ty, coming to destroy art, science and order in general. The first to speak in Book 
IV are the ”Geniuses of the Schools“ (in Hope’s case literary critics). They try to 
assure the grateful Goddess of their support in her advancement. Then the uni-
versities appear, confirming that the method of ”keeping the real knowledge of 
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55The Contested Charm of Dunciad Minor by A. D. Hope
words from the young people“ shall be observed in education too. The restoration 
of Night and Chaos conclude the poem with grim echoes of Milton:
Indulge, dread Chaos, and eternal Night!
Of darkness visible so much be lent. ...
Tyrant supreme! shall three estates command
And make one mighty Dunciad of the Land! (Pope 373, 391)
The ending of Hope’s Dunciad Minor is decidedly less majestic. Moreover, it does 
not have the same Popean undertone of tragic horror, which probably was not 
Hope’s intention in the first place.
Looking at Dunciad Minor, one cannot but first note that Hope’s satire is more 
(structurally) self-contained than Pope’s. It is also more self-explanatory, since the 
helpful footnotes form an integral part of the humorous and comic effects. Pope 
uses too many obscure references in which, quite clearly, contemporary readers 
do not take the slightest interest and his footnotes are far from being helpful to 
understand them. And, of course, there is a big cultural horizon gap between the 
twentieth and eighteenth century readers. A. D. Hope’s deft usage of the heroic 
couplet deserves to be praised. Sometimes, even, the idea comes with the rhyme 
itself. Satire is at its best in Book V, which, unlike Pope’s commences with an in-
vocation of the Muse of the Southern Seas (for the Muse, too, according to Hope, 
has her Antipodes)
Now Muse assist me, aptly to describe
Mechanic contrasts of the Critic tribe;
Let me shed light on things both dark and dense
Yet never move them into common sense. (Hope 1970, 58)
The first one to feel Hope’s biting epigrammatic arrows in view of his analysis of 
The Tempest is the famous Shakespearean scholar G. W. Knight, ”a double boiler 
fixed on fiery wheels,“ who ”hisses hysteric or ecstatic squeals:“
Where are the plot, the actor and the stage?
These are irrelevant, explains the sage;
Damn action and discourse; the play’s no more
Than drifts of an extended metaphor
Who think The Tempest tells a tale perhaps
And not a long-drawn metaphor, poor chaps;
In three Did simple Shakespeare think: ”The play’s the thing?“
short hours how could they hope to judge.
What takes a critic twenty years of drudge? (Hope 1970, 58-9)
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56 Igor Maver
It is at this point that F. R. Leavis takes over and cries out in an appropriating and 
most uncourteous fashion:
What, infringe my patent, thievish swine!
The ”extended metaphor“ conceit is mine,
Mine the ”dramatic poem“ device, I say,
By which I demonstrate a play’s no play. (Hope 1970, 60)
Further, the ”psychoanalytic“ critical attitudes become the objective of Hope’s 
ridicule:
Ur-hamlets? Fudge! Old Saxo? Tush and Pish!
Castration Fantasies, the dark Death Wish,
Oedipus Complex, narcissistic blocks:
This Key and this alone his heart unlocks. (Hope 1970, 64)
Shakespearean scholars do not get away with it easily in the satire. A. D. Hope in 
the following lines masterfully and with great humor directs his satirical attack 
on them:
Now fetch me Hamlet - handle him with care
Now press this button and let in your clutch:
The play which Shakespeare wrote in Double Dutch,
Which lay dissolved in endless Wilson Knight,
Behold! Let Freud appear and all is light!
Was Hamlet mad or indecisive? Come,
He simply longed to go to bed with Mum;
And so did Shakespeare:
”to avoid worse rape.“
He found this mechanism of escape
Good-night, Sweet Prince; to dream, perchance to skid
Between your Super-ego and your Id! (Hope 1970, 65)
Hope freely moves back and forth in time in choosing his literary (critical) tar-
gets. Among them are, for instance, David Daiches, William Empson, Northrop 
Frye, R. P. Blackmur, Herbert Read, Christopher Caudwell, Maud Bodkin, and 
scores of other critics. Occasionally he goes so far as to directly borrow the 
names of A. Pope’s The Dunciad in order to establish a greater degree of satirical 
”inter-textuality“ between the two works and a greater emphasis. He uses, for 
example, Pope’s names of Merdament and Cloacina, who are two ”nymphs“ but 
whose etymological origin speaks for itself, thereby creating a comic effect in 
contrast. Pope wrote:
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57The Contested Charm of Dunciad Minor by A. D. Hope
In office here fair Cloacina stands,
And ministers to Jove with purest hands ... (Pope 331)
Hope, in turn, writes:
An altar of the critic’s works she builds
Which Merdament with bilge-and-bitters gilds;
Sweet Cloacina lights the sullen flame, ... (Hope 1970, 78)
Apart from literary issues, Hope’s Dunciad Minor also picks at certain typical 
Australian features, such as, for example, the importance of horse-racing in Aus-
tralian everyday life. It describes the inhabitants of New Holland in Book I as 
Swift’s ”Yahoos,“ who are slaves to the horse:
For in the South, beyond the burning line,
Where Gulliver that much-wrecked mariner
Described their customs, such as they were,
And found them, like their manners, somewhat coarse,
The Yahoos live in slavery to the horse. (Hope 1970, 50)
The readers’ enjoyment of the superb comic effects and technical virtuosity of 
Dunciad Minor seems indisputable. Nevertheless, in the first books there is a cer-
tain academic aloof ”superiority“ of A. D. Hope and his Augustan poetic credo 
(of a critic) over the Romantic principles (of an artist) that he satirizes. Dorothy 
Green in her review points to the fact that, although ridiculing them, Hope made 
the same ”mistakes“ himself, which is in keeping with the already mentioned con-
tention of the author’s precarious paradoxical position of a critic and artist in 
personal. Green writes:
Delightful as these speculations may be in themselves, they provide aparticu-
larly clear example of scholarly criticism making use of poetry for its own end. 
(Green 429)
However, Hope’s intentions are perhaps more complex and complicated than they 
appear, but such complexity is a general problem of satirical works and cannot be 
the subject of this study. The object of ridicule in Hope’s satire Dunciad Minor, 
A. A. Phillips, in his reply to Hope ”Popeful Hope“ published in The Bulletin 
(December 5, 1970) stresses the fact that his view of modernist critics is close to 
Hope’s, namely that he loathes their pedantries, their ”abominable“ vocabulary, 
”with its indigestible lumps of abstract verbiage.“ However, he concludes by de-
fending himself and saying it is ”a pity Hope should have wasted so much ammu-
nition against the invulnerability of one of the Goodies“ (Phillips 1970).
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58 Igor Maver
The visionary quality of Alexander Pope’s satire The Dunciad arises from his 
conception of the desolation of English culture of the period, which saw the 
triumph of low aesthetic literary standards, corrupt personal ambitions and gen-
eral deterioration of the mind. In this connection, Hope’s often anthologized 
poem ”Australia“ that has become something of a myth comes immediately 
into mind. In the poem he criticizes the Australian cultural scene, but like-
wise expresses his dissatisfaction with the European ”chatter of cultured apes“, 
whereas in Australia ”second-hand Europeans pullulate/timidly on the edge of 
alien shores.“ However, using a Biblical parallel, he feels that from Australian 
deserts a new ”prophet“ and culture may emerge. The effect of his mock-epic 
satire, in which contemptible objects or persons are endowed with majestic and 
heroic qualities, is one of a powerful caricature. The wit, subtle humour and 
the liveliness of his literary allusions make an interesting reading. The satire is 
certainly underrated within the extant Australian literary criticism and it has 
remained practically unknown to the general readership. Patrick Deane wrote 
in his monograph on Hope about the objects of attack in the following manner: 
”The attack that is mounted has, beyond the person of A. A. Phillips, an unclear 
object – the assault is dispersed and generalized – and it seems to be waged in 
the name of nothing so much as a system of exclusively literary or poetic values 
embodied in the style of the piece“ (Deane 145). Kevin Hart believes Hope may 
have had more propagandistic and political concerns behind writing his satire, 
however, ”when one looks at the objects Hope chooses or commends for satire 
they turn about to be not as straightforwardly political …. Rather, one finds at-
tacks on contemporary literary criticism, marriage, psychoanalysis, radio, sport, 
suburban life and tourism“ (Hart 51).
In examining the genesis and the critical mixed response to Dunciad Minor 
which has been insufficient and unsatisfactory, we have shown Hope’s literary af-
finities and possible models of literary influence trough his attitudes and the treat-
ment of individual literary and cultural figures. In this case, the direct model was 
Pope’s satire The Dunciad, with which some parallels were established here: Hope’s 
meta-text is undoubtedly very witty and humorous, but less sharp and direct than 
Pope’s pre-text, because the mock-epic element is more unobtrusive and its sub-
ject at times somewhat unclear. This mock-epic satire in the eighteenth-century 
manner is really a comic burlesque upon the pretentious pedantry of contempo-
rary literary criticism during much of A. D. Hope’s lifetime. It was provoked by a 
contemporary critic’s attack on the poetry of Alexander Pope. In his fable, Hope 
shows the Goddess Dullness urging the critic on to his attack, inspiring him by 
the promise of elevation to the Throne of Dunces. Many leading critics make an 
appearance, among them David Daiches, F. R. Leavis and Northrop Frye etc. This 
polished, entertaining poem attacks the barren ”absurdities“ of Leavisite criticism 
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59The Contested Charm of Dunciad Minor by A. D. Hope
under which literature is, in his (today somewhat dated) view, buried ever deeper, 
until finally ”one vast snore seals the eclipse of mind“. 
If it were true that from deserts prophets come (cf. Hope’s famous poem ”Aus-
tralia“), then Alec Derwent Hope with his poetry, which deals not only with pure-
ly Australian issues but with literary, cultural, philosophical and aesthetic consid-
erations of literary art at large, can, indeed, be hailed as a prophet himself.
ACKNOWLEDGEMENTS
The author acknowledges the financial support from the Slovenian Research 
Agency (research core funding No. P6-0265).
BIBLIOGRAPHY
Bennet, Bruce. ”Provincial and Metropolitan“, Overland, No. 86, 1981: 39.
Deane, Patrick. At Home in Time: Forms of Neop-Augustanism in Modern English 
Poetry. Montreal: McGill-Queen’s University Press, 1994.
Green, Dorothy. ”A Mark for the Arrow? A. D. Hope’s Dunciad Minor“, Meanjin 
Quarterly, December 1970: 429.
Hart, Kevin. A. D. Hope. Oxford UP, 1993.
Hope, A. D. Dunciad Minor: An Heroick Poem. Melbourne: Melbourne UP, 1970. 
All the subsequent references in this paper will be to this edition. This volume 
contains the Preface by the A. D. Hope (V-XI), Dedication with the Foreword 
by Ambrose Philips, which is the same as the Preface in Hope’s Dunciad Min-
imus (University of Melbourne Magazine, 1950) Argument, and Books I-VI. 
Books I-III and VI are the revised versions of the books in Dunciad Minimus, 
whereas the Books IV and V were added by the author in 1970. The extant 
bibliographies generally disregard to note that extracts from Dunciad Minimus 
were published prior to the emergence of Dunciad Minor in Southerly, 24/ 2, 
1964: 104-115.
_____. The Cave and the Spring: Essays on Poetry, 2nd ed. Adelaide: Rigby, 1965.
_____. ”The Study of English“, Inaugural lecture delivered at the Canberra Uni-
versity College on 7 May, 1952, Canberra, 1952: 3.
McLaren, John. ”Vale: A. A. Phillips a Man of Letters,“ ABR, No. 77, 1986: 23-24.
Phillips, Arthur A. The Australian Tradition. Melbourne: Cheshire, 1958; rev. ed., 
Melbourne: Lansdowne, 1966. The quoted essay was printed in Responses: 
Selected Writings by A. A. Phillips. Melbourne: Australia International Press, 
1979.
Phillips, A. A. ”Popeful Hope“, The Bulletin, 5 December 1970.
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60 Igor Maver
Pope, Alexander. The Dunciad, published in The Poetical Works of Alexander Pope. 
London: Bradbury and Evans, 1849 [1728]. All the references in the text are 
to this edition.
Igor Maver 
University of Ljubljana
igor.maver@ff.uni-lj.si
Kontroverzni šarm satire v verzih satire Dunciad Minor A  D  Hopa
V članku je intertekstualna metoda uporabljena na primeru literarnih povezav med dvema 
pesnikoma, Angležu Alexandru Popu iz 18. stoletja ter Avstralcu A. D. Hopu iz druge 
polovice dvajsetega stoletja. Slednji je napisal sodobno verzijo Popove znamenite satire v 
verzih in jo naslovil Dunciad Minor (1970).
Ključne besede: intertekstualnost, Alexander Pope, A. D. Hope, avstralska poezija, ang-
leška poezija 18. stoletja
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