The time is late seventeenth century, the reign of William and Mary. The book is a bare-knuckled satire of humanity at large and the grandiose costume romance, done with meticulous skill in imitation of such eighteenth-century picaresque novelists as Fielding, Smollett and Sterne. For all the vigor of these models, we have to go back to Rabelais to match its unbridled bawdiness and scatalogical mirth. But the book is not pornographic. Rather than arousing to venery, Barth reduced human sexuality to a raucous pest and occasion of folly, employing a variety of fresh, vivid verbs for its functions. He does sometimes cross the line to the simply ugly in both act and attitude.
The plot itself is a parody in its incalculable complexity; a tissue of intrigue and counter-intrigue, ludicrous mock-heroic adventure, masquerades and confusions of identity. Its three major figures among a huge gallery are Ebenezer Cooke, his twin sister, Anna, and one Henry Burlingame, once tutor to both and, in a manner of speaking, suitor to both.
Ebenezer, self-styled poet and virgin, whose Hudibrastic couplets subjected to much solemn analysis are among Barth's triumphs, goes to Maryland to be proprietor of his father's tobacco plantation on the Choptank River. He supposes himself commissioned by the third Lord Baltimore as poet and laureate of Maryland to write an epic "Marylandiad." He finds life and limb in constant danger from political intrigues. Burlingame, intricately involved in the plotting, constantly helps or saves Ebenezer, but anybody having Burlingame for a friend doesn't need an enemy.