Download A Companion to Satire: Ancient and Modern PDF

This choice 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 in the course of the Renaissance and the English culture in satire to Michael Moore's satirical motion picture "Fahrenheit 9/11."
Highlights the $64000 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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Extra info for A Companion to Satire: Ancient and Modern

Sample text

Even Thersites’ simian appearance prefigures that of other agents of mockery and exposure in Greek literature (Lowry 1991). Homer’s characterization of Thersites as an irrepressible joker brings to mind the portrait of the buffoon in the ancient rhetorical treatises that advocate a more selective and refined style of humor (Grant 1924: 26–8, 91–6). Thersites’ approach is spontaneous, oppositional, and enhanced by his ridiculous appearance and lowly status. But Thersites quickly learns that there is more than one way of practicing humorous abuse when he becomes a target himself.

Satire of the low norm seeks no displacement of the satirized society. Here the satire emphasizes discretion or an unillusioned central character who recognizes the limitations of the context but works perceptively and shrewdly within them. Jane Austen’s Elizabeth Bennett will not allow her mother’s ga-ga attitude toward any suitor to become her own. This shrewd, cheeky, early-twenties heroine turns down two proposals of marriage before finally, and only at the second bidding, accepting Darcy. She will not allow desperation to dictate her choice, as it does in the case of her best friend, Charlotte Lucas.

235); it is typical of later satire, too, to cast blame on more than one party. Even Thersites’ simian appearance prefigures that of other agents of mockery and exposure in Greek literature (Lowry 1991). Homer’s characterization of Thersites as an irrepressible joker brings to mind the portrait of the buffoon in the ancient rhetorical treatises that advocate a more selective and refined style of humor (Grant 1924: 26–8, 91–6). Thersites’ approach is spontaneous, oppositional, and enhanced by his ridiculous appearance and lowly status.

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