By Ruben Quintero
This selection 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 throughout 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 more often than not on significant classical and ecu affects on and works of English satire, but in addition explores the advanced and fertile cultural cross-semination in the culture of literary satire.
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Extra resources for A Companion to Satire: Ancient and Modern
Ancient biblical satire is satire, but not intentionally so. It is not a deliberately designed literary artifact. While it can amuse and entertain those who share, say, the prophet’s viewpoint, it discomfits those who do not. The laughter of the Hebrew Scriptures is frequently hostile and aggressive toward those who stand outside of or neglect the faith of Israel or, as in the Psalms and in wisdom writings, feel the humiliation directed at them by enemies or by the consequence of their own misbehavior.
1) Satire, prophecy, conduct books, sermon, editorial – what do they have in common? A content comprised of criticism or judgment. As Northrop Frye observes in his analysis of satire in the Anatomy of Criticism: ‘‘essential to satire . . ’’ What distinguishes satire from the attack or judgment that might appear in an editorial or the like is a second essential feature: ‘‘wit or humor founded on fantasy or a sense of the grotesque or absurd’’ (1968: 224). Satire seeks to make its criticism funny and does so by employing the empirically impossible or unlikely.
At first glance, Frye’s analysis is very off-putting: the terminology is Ancient Biblical Satire 23 cumbersome and inconsistent (for example, irony is also a device of comedy, romance, and tragedy); not all of the phases are descriptively titled. ) But Frye focuses on satire as a literary artifact, as a verbal construct designed to amuse. Used flexibly, with no suggestion of mutual exclusion – that is, no assignment to a ‘‘slot,’’ as Eagleton dismissively calls it (1983: 93) – and with some addition of descriptive phraseology, Frye’s patterning of satire provides a useful paradigm for describing the various kinds of ancient biblical satire.
A Companion to Satire: Ancient and Modern by Ruben Quintero