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- Tracks satire from its first appearances within the prophetic books of the outdated testomony in the course of the Renaissance and the English culture in satire to Michael Moore’s satirical motion picture Fahrenheit September 11 .
- Highlights the real effect of the Bible within the literary and cultural improvement of Western satire.
- Focused often on significant classical and eu 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 info for A Companion to Satire: Ancient and Modern
In ancient biblical satire, no artistic conventions are ridiculed. ’’ he taunts. ’’ (Amos 4: 4). Isaiah provides a lengthy mock-lamentation for the departed King of Babylon (14: 12–21). ’’ In a culminating indignity, the shades describe the king’s dishonorable burial and the slaughter of his sons. ’’ Throughout this passage, the text of Isaiah ironically and mockingly uses the form of the funeral lament. Elijah, as noted, makes fun of a busy Baal, defecating or urinating, and hence too busy to answer the call of his priests.
Jemielity, Thomas (1992) Satire and the Hebrew Prophets. Louisville: Westminster/John Knox Press. Rosenheim, Jr, Edward W. (1963) Swift and the Satirist’s Art. Chicago: University of Chicago Press. ) (1976) The New English Bible with the Apocrypha. Oxford Study Edition. New York: Oxford University Press. ) Van Doren, Mark and Samuel, Maurice (1975) The Book of Praise: Dialogues on the Psalms, ed. Edith Samuel. New York: John Day. 2 Defining the Art of Blame: Classical Satire Catherine Keane Many ancient Greek and Roman literary works, bearing a range of generic labels, contain hints of what a modern audience would call satire.
Hosea’s recapitulation of Israel’s history is not a reassuring courtship by Yahweh but a record of infidelity and even the ritual murder of children. Hosea is replete with unpleasant and seamy reversals of Yahweh’s earlier courtship of Israel, of the covenant assurances predicated of Abraham and Moses, and a stunning reversal of the bedrock assurance of old: ‘‘you are not my people, and I will not be your God’’ (Hosea 1: 9). The I am of Exodus becomes the I am not of Hosea. For its contemporaries, this statement must have been the height of blasphemous parody and flippancy, but it is Hosea’s picture of the void and, in its power, anticipates a twentieth century of Beckett and Sartre.
A Companion to Satire: Ancient and Modern by Ruben Quintero