By Ruben Quintero
This number of twenty-nine unique essays, surveys satire from its emergence in Western literature to the current.
- Tracks satire from its first appearances within the prophetic books of the previous testomony during the Renaissance and the English culture in satire to Michael Moore’s satirical motion picture Fahrenheit 11th of September .
- Highlights the real impact of the Bible within the literary and cultural improvement of Western satire.
- Focused almost always on significant classical and eu impacts on and works of English satire, but additionally explores the advanced and fertile cultural cross-semination in the culture of literary satire.
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Additional resources for A Companion to Satire: Ancient and Modern
This man’s low status is only one of his disadvantages: Thersites is also ugly, a poor orator, and a reputed clown – always saying ‘‘whatever he thought would get a laugh from the Argives’’ (215–16). But he is also bold enough to denounce Agamemnon for using the army’s labor to pile up his own wealth. When the powerful Achilles delivers a similar attack in Book 1, he is left free to withdraw from the war, but the lowly Thersites meets a very different fate. He earns a prompt lecture and a beating from Agamemnon’s right-hand man Odysseus, followed by mockery from the assembled soldiers, who forget their own troubles (‘‘though they were grieved,’’ 270) to laugh at Thersites’ bloodied head.
The improbabilities and impossibilities of satire call to mind the unbroken, empirically improbable sequence of catastrophes in Candide; the unbroken sameness of the cycle of disappointment in Rasselas; the stripping away of any certainties in the Howard Campbell of Kurt Vonnegut’s Mother Night. Satire’s humor, however disturbing it might be, derives from fantasy: from the weird, the improbable, the grotesque, or the impossible. This fantasy-like quality of criticism that is satire finds frequent expression in the Hebrew Scriptures whose mocking is often couched in the fantastic or the grotesque.
127) – that is, while he fucks her ( futuo having no polite translation). In Frye’s terminology this would be an exception to Horace’s pervasive use of first-phase satire, a laughing at avoidable human folly, with this emphatic burst of third-phase satire: namely, the use of scatological and obscene language and associations most often banished from polite conversations, as pervasively present in Swift and Juvenal and, by the way, in Jeremiah and Ezekiel. At issue here is the critical stance taken by the text, the degree to which the text allows for accommodations within an admittedly flawed context, social, political, or what have you, or the degree to which such adaptations, as in Juvenal or in Jeremiah, are not morally possible.
A Companion to Satire: Ancient and Modern by Ruben Quintero