A Companion to Satire: Ancient and Modern by Ruben Quintero

By Ruben Quintero

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 Sep 11 .
  • Highlights the real impact of the Bible within the literary and cultural improvement of Western satire.
  • Focused normally on significant classical and ecu affects on and works of English satire, but additionally explores the complicated and fertile cultural cross-semination in the culture of literary satire.

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Sample text

The art of blame risks seeming partisan and dangerous if it is too unbridled and fierce; on the other hand, retreat, refinement, or alignment with traditional authority can dilute its critical power (cf. Rosen and Baines 2002: 126–7). In the reception history of satire, much of the modern scholarly debate concerning satiric literature has been shaped by readers’ different conceptions about the true priorities of the criticizing figure (Griffin 1994: 6–34). The uncertainty stems largely from the ambivalence of the ancient authors themselves.

Here, in a nutshell, we find the double audience of satire: the target, whose reformation the critic (the wife) might genuinely desire, and the friend who agrees with the wife’s point of view. The wife’s remark discomfits one hearer and amuses another. In the Book of Amos, for example, Amos utters judgments against the nations of Damascus, Tyre, Edom, Ammon, Moab, and the Northern Kingdom. Amos’ targets there were not amused. Amos’ supporters, on the other hand, those whose faith Amos sought to reinforce, were amused.

The art of blame risks seeming partisan and dangerous if it is too unbridled and fierce; on the other hand, retreat, refinement, or alignment with traditional authority can dilute its critical power (cf. Rosen and Baines 2002: 126–7). In the reception history of satire, much of the modern scholarly debate concerning satiric literature has been shaped by readers’ different conceptions about the true priorities of the criticizing figure (Griffin 1994: 6–34). The uncertainty stems largely from the ambivalence of the ancient authors themselves.

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