By Ruben Quintero
This number of twenty-nine unique essays, surveys satire from its emergence in Western literature to the present.
- Tracks satire from its first appearances within the prophetic books of the outdated testomony during the Renaissance and the English culture in satire to Michael Moore’s satirical motion picture Fahrenheit 9/11.
- Highlights the $64000 effect of the Bible within the literary and cultural improvement of Western satire.
- Focused typically 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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Extra resources for A companion to satire : ancient to modern
Proverbs can reinforce its catechism of avoidable shame with humor, as for example, in dramatizing the hallucinations of the drunkard as part of its endorsement of sobriety (23: 29–35). The writer of Ecclesiasticus is so convinced of the efficacy of shame as a spur to righteous behavior that he carefully and extensively delineates ‘‘proper shame’’ so that his attentive and presumably obedient listener ‘‘will be popular with everyone’’ (Ecclesiasticus 41: 14–24). No biblical writing speaks more powerfully of the power of shame than the story of Job, who, like his friends, believes that he has been cursed by God, but who, unlike his friends, feels that the curse and shame of misfortune are undeserved.
Indeed, the sanctions cited for misbehavior on the part of the just highlight, and sometimes keenly, the humiliation, ridicule, and embarrassment that will be felt by those who misbehave or whose misfortune, as in the Book of Job, is seen to be a deserved punishment for wrongdoing. The Book of Psalms is a particularly useful source for bringing out the power and pain of humiliation and ridicule because the psalms, as passed on and as written, span at least a millennium of Israel’s history and testify throughout that time to the power of shame and ridicule.
Iambography, personal abuse in verse, was one of the poetic genres practiced in the poleis (city-states) of the Aegean region in the seventh and sixth centuries bce. Although their work survives only in fragments, Archilochos Classical Satire 35 and Hipponax were celebrated throughout antiquity as the masters and symbols of the iambic genre. Their style ranges from riddling and oblique to bluntly obscene. The iambographers combine the aggression of Thersites with the status and the coercive abusive strategy of Odysseus.
A companion to satire : ancient to modern by Ruben Quintero