ABSTRACT
Arthur Duck's very public rise to fame arid fortune engendered an almost instantaneous critical response from established writers and fellow labouring-class poets alike. Given Duck's social background, his connection to the queen, and his surname, much of the establishment criticism took the form of satire. The labouring-class response, however, was more complex. Most eschewed satire for what turn out to be interesting forms of panegyric and imitation. The labouring-class response, however, was more complex. Most eschewed satire for what turn out to be interesting forms of panegyric and imitation. But both John Frizzle and Robert Tatersal thought they could write as well or better than Duck, and Mary Collier engaged in playful parody in her occupation-specific poem, The Woman's Labour. John Frizzle stands out as the only known Irish voice in the cacophony of early responses to Duck.
