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Journal articles on the topic 'Satires in verse'

Author: Grafiati

Published: 29 July 2024

Last updated: 30 July 2024

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1

Bucknell, Clare. "The Roman Adversarial Dialogue in Eighteenth-Century Political Satire." Translation and Literature 24, no. 3 (November 2015): 291–318. http://dx.doi.org/10.3366/tal.2015.0219.

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This article examines the use of the Roman satiric dialogue in eighteenth-century political verse. It studies partisan satires that pit their speakers against a cautionary interlocutor (adversarius) in imitation of Horace's Satire 2.1 and Persius' Satire 1. It begins with an overview of Pope's use of the dialogue form in his Imitations of Horace, and his shift in the later 1730s to a model of antagonistic encounter between ideological opponents in the style of Persius. Its main body is an examination of later eighteenth-century satires that find alternative political uses for Persius' dialogue form to those of Pope and the Whig Patriot satirists who followed his lead. It studies Thomas Newcomb's inversion of Pope's Epilogue to the Satires for the purposes of ministerial propaganda; Charles Churchill's variations on the dialogue form under the banner of Wilkesite opposition; and Peter Pindar's comic burlesque of the traditional postures of dialogic satire in One Thousand Seven Hundred and Ninety-Six. The article reveals the Roman dialogue to have been a distinctively flexible framework for eighteenth-century satirists, capable of accommodating positions and arguments on both sides of the partisan divide.

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2

Phipps, Jake. "‘The Art of Easy Writing’: The Case of Burns and Byron." Romanticism 28, no. 3 (October 2022): 222–32. http://dx.doi.org/10.3366/rom.2022.0563.

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This article focuses on several unexplored relationships between the poetry of Robert Burns and Lord Byron. In the first part of the article, I discuss how Burns and Byron manipulated their chosen verse forms to perform an ironic account of their own productions, which are often critical not only of conventional tastes, but also of their role as poets. In the second part of this article, I turn to two satires: ‘A Dream’, a poem that featured in Burns’s debut volume, Poems, Chiefly in the Scottish Dialect (1786), and Byron’s ‘The Vision of Judgment’ (1822). Here I explore the shared satiric sympathies of the poets, examining how Burns’s and Byron’s satires reflect a similarity in temperament and geniality, despite criticising political or poetic foes, namely King George III and Robert Southey.

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3

Jacobson, Howard. "Horatiana." Classical Quarterly 37, no. 2 (December 1987): 524–26. http://dx.doi.org/10.1017/s0009838800030792.

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There is nothing that renders this punctuation and the standard understanding of these verses (i.e. ‘seu tollere seu ponere volt freta’) impossible. Parallels can certainly be found (e.g. Cat. 4.19; Prop. 2.26.33). It is however true that this ellipse of seu has no good parallel in the Odes and the two examples in the Satires (2.5.10; 2.8.16) are much easier to tolerate than the use here. Thus, it may be worth noting that a different view of the verse seems possible. Remove the comma from line 16 and take tollere with maior: ‘than whom there is no master of the Adriatic greater at raising or calming – if he desires – the waters.’ Seu then = vel si, as frequently. Horace has a particular affection for infinitives governed by adjectives (as in line 25 of this poem); Wickham provides a lengthy list at vol. 1, pp. 316–17. At Satire 2.3,313 minor is so used.

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4

Freudenburg, Kirk. "Verse-technique and moral extremism in two satires of Horace (Sermones 2.3 and 2.4)." Classical Quarterly 46, no. 1 (May 1996): 196–206. http://dx.doi.org/10.1093/cq/46.1.196.

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Horace begins his second book of satires by picturing himself caught between the extremes of two sets of critics, one group claiming that his poetry is too aggressive (nimis acer, 1), the other that it is insipid and lacklustre (sine nervis, 2). The charges are extreme and contradictory, so there is no way he can adjust his work to please one group without further antagonizing the other: the more straightforward he becomes in his criticisms, the more bitter and ‘lawless ’ he will seem to group A. Further subtlety and indirectness will only draw further criticism from group B. He takes his problem to Trebatius, Rome's leading legal expert, expecting an easy solution, only to be told what his question made clear from the start: that the safest way to write satire in Rome is ‘not at all’: quiescas (‘keep quiet’, line 5). His question, as far as Trebatius is concerned, is irresolvable and best left unexplored.

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5

Gillespie, Stuart. "Two Satires of Boileau Translated by Sidney Godolphin (1645–1712), Lord Treasurer." Translation and Literature 33, no. 2 (July 2024): 217–28. http://dx.doi.org/10.3366/tal.2024.0588.

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Sidney Godolphin (1645–1712), first Earl of Godolphin, the nephew of the Civil War poet responsible for The Destruction of Troy, was a translator and versifier as well as a very prominent courtier and politician. One or two of his literary productions were published posthumously. Unprinted and unknown until now have been his verse translations of Nicolas Boileau: Satires 2 and 5, and one canto of L’Art poétique. The two satires are here introduced and transcribed in full from the British Library manuscript in which they appear.

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6

White, Laura. "Evolutionary Science, Empire, and Disenchantment in May Kendall’s That Very Mab." Nineteenth Century Studies 35 (November 2023): 75–92. http://dx.doi.org/10.5325/ninecentstud.35.0075.

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Abstract One of the more remarkable satires of English society and thought of the 1880s came in the guise of a fairy story, That Very Mab (1885), in which the eponymous fairy queen is driven out of Samoa by imperialists and on her return to England finds it overrun by evolutionists and the proponents of modern material progress. Written by the satirist and popular Punch contributor May Kendall, That Very Mab excoriates Victorian England by satirizing its passion for explanatory frameworks, including scientific materialism, philistinism, nihilism, novel metaphysics, evolutionary progress, and imperialism, all subjects that Kendall also attacked in her comic verse (published between 1885 and 1894). Kendall has recently received critical attention for her satiric poems about evolutionary science, materialism, and modern disenchantment. While That Very Mab’s satiric concerns in many ways dovetail with those of these poems, the wider scope of its fantastic narrative allows Kendall to enact a more sustained assault on the concept of empire and its justifications from evolutionary anthropology. Highly skeptical of teleologies that promote a belief in the evolutionary progress of humankind, her fairy fantasy links evolutionary anthropology to the dishonest blandishments, corruption, and violence of imperial adventures.

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7

Beard, Ellen L. "Satire and Social Change: The Bard, the Schoolmaster and the Drover." Northern Scotland 8, no. 1 (May 2017): 1–21. http://dx.doi.org/10.3366/nor.2017.0124.

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Despite his lack of formal education, Sutherland bard Rob Donn MacKay (1714–78) left over 220 published poems, far more than any other contemporary Gaelic poet. During his lifetime he was equally esteemed for well-crafted satires and well-chosen (or newly-composed) musical settings for his verse. This article examines a group of related satires attacking the schoolmaster John Sutherland and the drover John Gray, comparing them to Rob Donn's views on other schoolmasters and cattle dealers, and considering both what conventional historical sources tell us about the poetry and what the poetry tells us about history, particularly literacy, bilingualism, and the cattle trade in the eighteenth-century Highlands.

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8

Gillespie, Stuart. "Two Seventeenth-Century Translations of Two Dark Roman Satires: John Knyvett's Juvenal 1 and J.H.'s In Eutropium 1." Translation and Literature 21, no. 1 (March 2012): 43–66. http://dx.doi.org/10.3366/tal.2012.0046.

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This article consists of a transcription of the texts of two previously unprinted seventeenth-century verse translations, with accompanying editorial matter. John Knyvett's dates to 1639, at which time Knyvett, whose Juvenal was known to Sir Thomas Browne but has since disappeared from view, was an undergraduate at Corpus Christi College, Cambridge. J.H.’s of 1664 is also a very early English version of his chosen author, and remains the only English attempt on In Eutropium in verse to this day. The two translations are not otherwise connected.

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Edson, Michael. "Annotator as Ordinary Reader: Accuracy, Relevance, and Editorial Method." Textual Cultures 11, no. 1-2 (June 11, 2019): 42–69. http://dx.doi.org/10.14434/textual.v11i1-2.22098.

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As the first annotated edition of Churchill’s poetry, William Tooke’s 1804 Poetical Works of Charles Churchill offers insight into the reading practices specific to eighteenth-century verse satire and beyond. Drawing information from widely-circulated periodical sources rather than the author-proximate documents favored by most annotators today, Tooke reveals the suspect modern assumption that satires held the same meanings for early readers as authors intended. Building on the reader-centered approach behind Tooke’s apparatus, this essay argues that the lingering intentionalist bent of modern explicatory editing distorts the information available to past readers, the identities ascribed to allusions, and the uses assigned to past texts. In Churchill’s case, such annotation obscures his links to the print-driven scandal culture of the 1760s, a culture in which identifying allusion displays one’s mastery of gossip. Ultimately, Tooke raises questions about the continued editorial allegiance to intentionalist ideas of accuracy and relevancy, questions that can be extended to the editing of texts from many genres and times. He implies that, while early scholarly apparatuses may not meet today’s standards, they nonetheless offer information about reading habits, insights often more historically accurate than what is gleaned from modern editions.

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Stępień, Tomasz. "'To Make the Enemy Immortal by the Sheer Play on Words' – on Julian Tuwim’s Pamphlets." Acta Universitatis Lodziensis. Folia Litteraria Polonica 36, no. 6 (May 30, 2017): 129–40. http://dx.doi.org/10.18778/1505-9057.36.09.

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The article presents both the formal aspects of the poetics of Tuwim’s pamphlets (enumeration, hyperbole, grotesque, irony) and the figures of those who are the targets of his satirical addresses. Tuwim used verse satires to create polemical and ironic portraits of individual people (the main figure being a nationalist journalist and literary critic Stanisław Pieńkowski) as well as to ridicule state institutions, ideologies and political parties. The author also analyses pamphlet-like lyrical poems, columns and literary criticism by Julian Tuwim. In conclusion the author describes some elements of the cultural milieu which the poet refers to in his satirical writing (popular culture and the media, totalitarian ideologies, mass-society).

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11

Fein, Susanna. "Satire, Performance, and English Rustic Comedy in Harley 2253." Chaucer Review 58, no. 3-4 (October 2023): 361–74. http://dx.doi.org/10.5325/chaucerrev.58.3-4.0361.

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ABSTRACT The scribe of Harley 2253 evidently had access to something more than just other manuscripts, culling matter also from a swirl of ephemera like loose leaves, rolls, perhaps even scrawled remnants of performance, or from authors themselves. The presence of five colorful English verse satires in Harley invites questions of performance not just of specific pieces, but also of sequenced entertainments seguing from one style, genre, and/or language to another and targeting for ridicule the monoglot English. In the phenomenon of the mocked English rustic in Harley 2253, we may glimpse a sophisticated style of entertainment in medieval halls that emerges later in the fine manner of comic low humor prevalent in Tudor and Elizabethan drama.

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12

Novak, Julia. "‘Rais'd from a Dunghill, to a King's Embrace’: Restoration Verse Satires on Nell Gwyn as Life Writing." Life Writing 13, no. 4 (October 9, 2015): 449–64. http://dx.doi.org/10.1080/14484528.2015.1073715.

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13

Patroeva, Natalja V. "Syntactic Organisation of A. D. Kantemir’s Poems." Izvestia of the Ural federal university. Series 2. Humanities and Arts 23, no. 3 (2021): 131–52. http://dx.doi.org/10.15826/izv2.2021.23.3.050.

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The purpose of this article is to identify and characterise the typological features of the “syntactic portrait” of A. D. Kantemir in the aspects of identification of the “average” poetic syntactic norm of the epoch, as well as in close connection of the grammar of an individual verse with the features of genre differentiation, architectonics of poetic works, and versification. The article refers to the data of the first volume of the Syntactic Dictionary of 18th-Century Russian Poetry. Revealing the syntactic dominants of Antiochus Kantemir’s style, including the background of the general literary norm of the era, as well as in the aspect of the connection between the “syntactic portrait” of the reformer poet and the peculiarities of the genre differentiation of the versification and architectonics of his poetic works, sheds light on the essence of Kantemir’s linguistic programme. His syllabics is particularly complex from the point of view of its construction: on average, 80 percent of sentences are polypredicative. The long line length of the syllabic texts requires the verse to be filled with various distributors and complicators of the sentence, including participle clauses. The verse of the satires tends to include definite-personal, generalised-personal, and indefinite-personal one-member sentences, imperative, and interrogative statements. Kantemir introduces constructions that originate in living speech into the structure of the verse: the nominative of the theme and infinitive of the theme, insertion, and introductory modal and connecting syntagmata. Referring to antique and French classic patterns, Kantemir the rhetorician often uses such figures of speech as rhetorical questions, periods, inversions, repetition, and amplification. Kantemir’s grammar formed under the influence of various literary traditions — Ancient Greek, Latin, Old Church Slavonic literature, European Baroque, and Western Russian syllabics — and is synthetic in its origin and a very complex and strictly organised system, intended primarily for the embodiment of educational ideas and the construction of polemical discourse. The logically complex course of the author’s reflection naturally mirrors the equally logically “difficult” syntax.

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Jaufarry, Stephen, and Lusia Savitri Setyo Utami. "Makna Satire Tersembunyi dalam Iklan (Analisis Semiotika Roland Barthes pada Iklan A Mild Versi Bukan Main)." Koneksi 6, no. 1 (March 2, 2022): 1. http://dx.doi.org/10.24912/kn.v6i1.10434.

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This research discusses the hidden meaning of satire in the Bukan Main version of A Mild advertisement. Today many social problems occur in Indonesian society, such as violations of rules and ethics that have been established by the community. Regarding these social problems, A Mild's product made an advertisement with the title Bukan Main to insult the Indonesian people who violated the rules. Based on this background, this research's problem formulation is how the meaning of satire is depicted in the Bukan Main version of A Mild advertisement. The research objective is to find out and describe the satire's meaning in the advert A Mild version of not playing. The theoretical review used is advertising, semiotics, and satire. This study using a qualitative approach with Roland Barthes' semiotic analysis. The meaning of satire is obtained from a multilevel meaning; this idea is known as the "order of signification," which includes denotation (real meaning) and connotation (multiple meanings) and then ends in myth. This study's results indicate myths such as not caring about others, not caring about the environment, not being disciplined, and problems with social status. The conclusion is that the Bukan Main version of A Mild's ad has a hidden satire meaning that people are still not aware of and behave following existing norms or regulations.Penelitian ini membahas tentang makna satire tersembunyi dalam iklan A Mild versi Bukan Main. Pada masa sekarang banyak terdapat masalah sosial yang terjadi di masyarakat Indonesia seperti pelanggaran aturan dan etika yang sudah ditetapkan oleh masyarakat. Melihat permasalahan sosial tersebut maka produk A Mild membuat iklan dengan judul Bukan Main untuk menyindir masyarakat Indonesia yang melanggar aturan. Rumusan masalah penelitian ini adalah bagaimana makna satire yang digambarkan dalam iklan A Mild versi Bukan Main. Tujuan penelitian adalah untuk mengetahui dan mendeskripsikan makna satire yang digambarkan dalam iklan A Mild versi Bukan Main. Tinjauan teoritis yang digunakan adalah periklanan, semiotika dan satire. Penelitian ini menggunakan pendekatan kualitatif dengan analisis semiotika Roland Barthes. Makna satire tersebut diperoleh dari pemaknaan bertingkat, gagasan ini di kenal dengan istilah order of signification yaitu yang mencakup denotasi (makna sesungguhnya) dan konotasi (makna ganda) lalu berujung pada mitos. Hasil penelitian ini menunjukan mitos seperti kurang peduli dengan orang lain, tidak peduli lingkungan, tidak disiplin, dan masalah status sosial. Kesimpulannya, dalam iklan A Mild versi Bukan Main terdapat makna satire tersembunyi bahwa masyarakat masih belum menyadari dan berperilaku sesuai dengan norma-norma atau peraturan yang ada.

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BILOHRYVA, Daniella. "SATIRE AND ITS METAMORPHOSIS IN THE PERIOD OF ANTIQUITY." Filosofska dumka (Philosophical Thought) -, no. - (September 27, 2023): 159–72. http://dx.doi.org/10.15407/fd2023.03.159.

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The article considers the question of the study of satire in philosophy. The study found that satire is an underdeveloped topic in the field of Ukrainian philosophy and the philosophy of Englishspeaking countries. For instance, the works of the last five to six years by such philosophers as D. Ab rahams and D. Declercq, who echoed the opinion of C. W. Mendell concerning the close connection of satire with philosophy. In the work “Satire as Popular Philosophy” created at the be ginning of the 20th century Mendell proved that ancient satire was a type of philosophy. Ne vertheless, the issue of the first place of appearance of the genre of satire in the period of Antiquity, whether in ancient Roman or ancient Greek art, needs to be clarified. Therefore, the purpose of the article is to solve a number of related questions, namely: where previously appeared satire as a genre — in Ancient Rome or in Ancient Greece, why it got such a name, and what metamorphoses took place with it over time Antiquities. One of the primary sources about the history of satire was Aristotle’s work “Poetics”, which describes iambic (humorous) and satirical poetry. According to Aristotle, the nature of satiric poetry undergo metamorphosis from the “dance” tetra meter to the iambic meter characteristic of mocking poetry. In this regard, the main part of the work is devoted to proving that satiric poetry got its name from mythological goat-like satyrs and if the performers of iambic (derisive lyrics) could be ordinary people, then the performers of satirical poems — only mythological goat-like satyrs. As a result of the research, it was found that initially the genre called satire had a poetic form and was borrowed by ancient Roman poets from ancient Greek artists. The adopted type of satire received the name “satura”, in Latin meaning “miscellany or medley” of prose and verse form of presentation of the creation.

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Noriega, Octav, and Gregorius Genep Sukendro. "Satirisme Cerdas Iklan Djarum 76 Filter Gold Versi Caleg Cerdas (Analisis Semiotika Roland Barthes)." Prologia 4, no. 1 (February 26, 2020): 82. http://dx.doi.org/10.24912/pr.v4i1.6438.

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This research discusses satirism in Djarum 76 Filter Gold advertisement - Caleg Cerdas version. This research uses Roland Barthes's semiotic thinking approach. Where the meaning of the message is obtained from the first sign (denotation) in the form of audiovisual that appears and captured by our five senses and has another meaning behind the first meaning (connotation) and the second meaning (myth). Djarum 76 Filter Gold advertisement Caleg Cerdas version aired during the democratic party took place or before May 21, 2019. The element of satirism in this ad is displayed with humor where these elements as a whole can be found scene by scene in this ad. From the results of the study there were six (6) types of satirism / satire for the legislative candidates: Empty Brain, Ecek-Ecek Brain, Off-Air Brain, Wani Piro Brain, Dugem Brain and Music. After concluding, it can be concluded that there is a satirism contained in Djarum 76 Filter Gold adverstisment – Caleg Cerdas version is legitaslitve candidates are stupid, believes in mystical things and hopes somethins instant without working hard. Penelitian ini membahas tentang bagaimana gaya satirisme cerdas dalam iklan Djarum 76 Filter Gold versi Caleg Cerdas. Penelitian ini menggunakan pendekatan pemikiran semiotika Roland Barthes. Dimana makna pesan tersebut diperoleh dari tanda pertama (denotasi) berupa audio visual yang muncul dan ditangkap oleh panca indera kita serta memiliki makna lain dibalik makna pertama (konotasi) dan makna kedua (mitos). Iklan Djarum 76 Filter Gold versi Caleg Cerdas ditayangkan saat pesta demokrasi berlangsung atau sebelum tanggal 21 Mei 2019. Unsur satirisme pada iklan ini ditampilkan dengan penuh humor dimana unsur-unsur ini secara keseluruhan dapat ditemukan adegan per adegan dalam iklan ini. Dari hasil penelitian terdapat enam(6) macam sindiran/satire untuk para caleg yaitu: Otak Kosong, Otak Ecek-Ecek, Otak Off-Air, Otak Wani Piro, Otak Dugem dan Musik. Setelah disimpulkan, dapat disimpulkan terdapat makna satir yang terkandung pada iklan Djarum 76 Filter Gold versi Caleg Cerdas berupa seorang caleg yang kurang pintar yang mempercayai hal klenik atau mistis dan mengharapkan suatu hal yang instan tanpa bekerja keras.

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17

James, Edward. "Verse Satire Versus Satire, or the Vanity of Definition." Seventeenth-Century French Studies 22, no. 1 (June 2000): 205–12. http://dx.doi.org/10.1179/c17.2000.22.1.205.

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18

BROOKS, HAROLD F. "ENGLISH VERSE SATIRE, 1640–1660: PROLEGOMENA." Seventeenth Century 3, no. 1 (March 1988): 17–46. http://dx.doi.org/10.1080/0268117x.1988.10555273.

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19

Jongenelen, Bas, and Ben Parsons. "Better than a sack full of Latin: Anticlericalism in the Middle Dutch Dit es de Frenesie." Church History and Religious Culture 89, no. 4 (2009): 431–53. http://dx.doi.org/10.1163/187124109x506196.

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AbstractThis article offers the first substantial survey of the Middle Dutch satire Dit es de Frenesie since the work of C.P. Serrure in the mid nineteenth century. It contests much of the conventional wisdom surrounding De Frenesie, challenging the poem's usual classification as an early boerde or fabliau. Instead it is argued that the text is an experimental work, which blends together elements of several satiric traditions without committing itself to any one. The implications of this maneuver and others within the text are considered, revealing the poem's clear sympathy with the newly educated and articulate laity. De Frenesie itself is appended in both the original Middle Dutch and an English verse translation.

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20

Jenkinson, Richard. "The Satires of Persius. Latin text verse trans, by G. Lee. Introd. and comm. W. Barr. (Latin and Greek texts iv). Liverpool: F. Cairns, 1987. Pp. x + 177. ibsn 0-905205-37-5 (bound), 0-905205-65-0 (paper)." Journal of Roman Studies 80 (November 1990): 269. http://dx.doi.org/10.2307/300356.

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Braund, S. H. "Persius - Guy Lee, William Barr: The Satires of Persius. The Latin Text with a Verse Translation by G. Lee, Introduction and Commentary by W. Barr. (Latin and Greek Texts, 4.) Pp. x + 177. Liverpool: Francis Cairns, 1987. £18.50 (paper, £6.50)." Classical Review 39, no. 1 (April 1989): 29–30. http://dx.doi.org/10.1017/s0009840x00270224.

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22

V, Ramesh. "Cultural Traditions in Poet Meera's Free Verses." International Research Journal of Tamil 4, S-6 (July 30, 2022): 249–55. http://dx.doi.org/10.34256/irjt22s635.

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Meera's poems are classical, verse, satire, poems, poets' forum, and short poems. He also made his mark in the world of journalism through "Annam Vidu Thoothu, Kavi, Om Shakthi, and Moota Magazine." He is the recipient of many distinguished awards. He is a professor, fighter, poet, essayist, journalist, publisher, printer, and founder of the press, who created various dimensions. In the Tamil literary tradition, free verse, a literary form, has been of great value and influence in the last century and the present century. There were many innovations and revolutions in the subject matter and the method of singing, and a number of new poems were created. Not only that, but free verses are also being created today about the cultural virtues, thoughts, human emotions, and humanities that should be possessed by man. In this way, this article explores the cultural norms of contemporary society found in the poems of Meera, who is the pioneer of new poetry.

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Frost, William, and Howard D. Weinbrot. "Alexander Pope and the Traditions of Formal Verse Satire." Comparative Literature 37, no. 4 (1985): 373. http://dx.doi.org/10.2307/1770288.

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Newbold, R. F. "Nonverbal Communication and Primary Process in Roman Verse Satire." Quaderni Urbinati di Cultura Classica 57, no. 3 (1997): 107. http://dx.doi.org/10.2307/20546516.

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Goh, Ian. "SCEPTICISM AT THE BIRTH OF SATIRE: CARNEADES IN LUCILIUS’CONCILIVM DEORVM." Classical Quarterly 68, no. 1 (May 2018): 128–42. http://dx.doi.org/10.1017/s0009838818000265.

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The best-known fact about the interaction of the Republican Roman poet Gaius Lucilius (c.180–103/102b.c.e.), the inventor of the genre of Roman verse satire, with the doctrine of Scepticism is probably a statement of Cicero: that Clitomachus the Academician dedicated a treatise to the poet (Cic.Luc. 102). Diogenes Laertius makes much of that writer's, Clitomachus’, industry (τὸ φιλόπονον, 4.67), with the comment: ‘to such lengths did his diligence (ἐπιμελείας) go that he composed more than four hundred treatises’. This phraseology surely reminds those interested in Lucilius’ influence on later Latin poetry of Horace's disparaging comment,in hora saepe ducentos, | ut magnum, uersus dictabat(‘as a bravura display, he would often dictate two hundred verses in an hour’,Sat.1.4.9–10); moreover, Horace shortly afterwards calls his predecessorgarrulus atque piger scribendi ferre laborem(‘talkative and too lazy to bear the work of writing’, 1.4.12). Yet, a sceptical view of Horace's critique might have to think of Lucilius as hard-working, like his putative friend the Academic philosopher, Clitomachus.

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Schmitz, Christine. "Maria Plaza: The Function of Humour in Roman Verse Satire ." Gnomon 81, no. 1 (2009): 17–22. http://dx.doi.org/10.17104/0017-1417_2009_1_17.

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Usunáriz, Jesús M. "Sátiras contra el rey en la España del siglo XVII." Calíope 28, no. 2 (December 2023): 306–24. http://dx.doi.org/10.5325/caliope.28.2.0306.

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Abstract Satire in verse became a significant element of political culture in the factional struggles at the Spanish court. While the favorites and ministers have been studied in regards to the use of political satire, this work aims to examine the attacks against the king, how these evolved during the Habsburg reigns, and how they shaped a lasting image of the monarchs.

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28

Calhoun, Thomas Osborne. "Cowley's Verse Satire, 1642-43, and the Beginnings of Party Politics." Yearbook of English Studies 21 (1991): 197. http://dx.doi.org/10.2307/3508488.

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Carretta, Vincent. "Alexander Pope and the Traditions of Formal Verse Satire. Howard Weinbrot." Modern Philology 82, no. 4 (May 1985): 427–29. http://dx.doi.org/10.1086/391414.

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Népote-Desmarres, Fanny. "Boileau, esprit satirique et satires en vers : une ontologie du verbe." Littératures classiques 24, no. 1 (1995): 183–93. http://dx.doi.org/10.3406/licla.1995.2285.

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Ircham, M., and Umi Saktie Halimah. "STYLISTIC DA’WAH: The Study of Reprimand Verses in the Perspective of the Da’wah Method." Munazzama: Journal of Islamic Management and Pilgrimage 1, no. 2 (December 31, 2021): 62–77. http://dx.doi.org/10.21580/mz.v1i2.9898.

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This study discusses the method of da'wah using reprimand. The research was conducted to reveal the ways of reprimand in the verses of the Qur'an from the style of language (linguistic aspect). So far, the exploration of the method of da'wah in the Qur'an is still mostly focused on the substance of the verse. This study uses the method of stylistic analysis of the Qur'an which is descriptive, thematic, and inductive with a library approach. The results of this study are; first, the style of the Qur'an implies methods of admonishment in preaching and explains how these methods are applied. Second, the style of language in the reprimand is adjusted to the condition of the object and material of da'wah so that it can support the achievement of the mission of da'wah, namely changing the target of da'wah to a better condition. The methods and styles of language referred to are: (a) a gentle reprimand is delivered in an interrogative style for the target who makes mistakes unintentionally and is not fundamental; (b) a firm rebuke in an antithetical style for targets with fundamental errors and prior indications; and (c) a firm reprimand in a satire language style for socially positioned targets with a broad impact error.Keywords: Stylistic, Da'wah, Reprimand Verses

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Lewis, Paul. "WHO LET “THE PIGS” OUT? OR WHY EDGAR ALLAN POE WOULDN'T, OR COULDN'T, OR ALMOST CERTAINLY DIDN'T WRITE THE MOST SNARKY AMERICAN POEM OF 1835." New England Quarterly 88, no. 1 (March 2015): 126–40. http://dx.doi.org/10.1162/tneq_a_00438.

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Haunted by the possibility that Edgar Allan Poe wrote a long-forgotten verse satire published in the September 1835 issue of the New England Magazine, the author of this essay launches an investigation to rid himself of his obsession.

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Keane, Catherine. "The Function of Humour in Roman Verse Satire: Laughing and Lying (review)." Classical World 101, no. 1 (2007): 111–12. http://dx.doi.org/10.1353/clw.2007.0082.

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Chickering, Howell. "The Floure and the Leafe, The Assembly of Ladies, The Isle of Ladies ed. by Derek Pearsall, and: Three Middle English Charlemagne Romances ed. by Alan Lupack, and: Six Ecclesiastical Satires ed. by James Dean, and: Heroic Women from the Old Testament in Middle English Verse ed. by Russell A. Peck." Studies in the Age of Chaucer 15, no. 1 (1993): 258–63. http://dx.doi.org/10.1353/sac.1993.0037.

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McGeary, Thomas. "Verse Epistles on Italian Opera Singers, 1724–1736." Royal Musical Association Research Chronicle 33 (2000): 29–88. http://dx.doi.org/10.1080/14723808.2000.10540990.

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Writing from Dublin in February 1724, Jonathan Swift responded to some London gossip and joked about the ‘gallantry’ of the aged military hero the Earl of Peterborough, who had publicly commanded an apology from the castrato Senesino for his impugning the honour of the soprano Anastasia Robinson. This scandal set off a series of obscene, misogynistic, satiric epistles written to or about Mrs Robinson, Senesino, Faustina, Mrs Barbier, and Farinelli that accuse the female singers, British prudes, and others of a variety of deviant, sexually subversive practices. This article introduces and presents annotated texts of this group of epistles written between 1724 and 1736. Several have been discussed by historians of opera and literary scholars, but the whole corpus has not been identified or made readily available to opera scholars.

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Fauzi, Abi, and Fitri Liza. "An Analysis of Ibn Taimmiyah's Hijā' in Qasīdah Lāmiyah as the Identity of the Mahdzab Hambali." Tanwir Arabiyyah: Arabic As Foreign Language Journal 4, no. 1 (June 22, 2024): 93–112. http://dx.doi.org/10.31869/aflj.v4i1.5525.

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This research aims to analyze the style of satire (hijā’) used by Ibn Taymiyyah in his book titled "Qasīdah Lāmiyah (The Satirical Poem)". It is a work by Ibn Taymiyyah that contains satirical poetry directed towards those who questioned his scholarly identity. Hijā’ style is poetry used to mock other poets in a distinctive manner, often in the form of self-praise or disparagement of a group. However, since the advent of Islam, this style has frequently been used to defend Islam, whether individuals or groups, including scholars like Ibn Taymiyyah. This research employs a qualitative approach using content analysis method. Content analysis, according to Creswell, is a qualitative research method used to identify specific patterns or themes within text. The analysis results indicate that verses of satirical poetry (shiʿr hijâ) were found in Qasīdah Lāmiyah, consisting of 2 types of ethical satire (al-hijâ al-akhlâqî) and 14 verses of religious satire (al-hijâ al-dînî).

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Ryerse, Barbara. "Browning's Christmas-Eve and Easter-Day: Formal Verse Satire and the Donnean Influence." Victorian Review 29, no. 1 (2003): 49–69. http://dx.doi.org/10.1353/vcr.2003.0011.

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Nogueira, Carlos. "“Ó cóleras sagradas!/ Dai-me versos febris, agudos como espadas”: a sátira na poesia de Guerra Junqueiro." Acta Philologica, no. 58 (2022) (August 19, 2022): 45–55. http://dx.doi.org/10.7311/acta.58.2022.5.

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The aim of this paper is to determine and understand the ideas and poetics of the Portuguese writer Guerra Junqueiro’s (1850-1923) satire in verse. the article analyzes the literary content, form and stylistic strategies and takes into account Junqueiro’s historical, cultural and literary contexts. the idea of homeland fuels his satire to ridicule and punish both the internal agents that the poet considers responsible for the civilizational backwardness of his country (monarchists, King D. Carlos, the Church, the literati, etc.), and the external ones (England and its Portugal-related policies). the article demonstrates that Junqueiro’s satire is aimed to produce psychological and physical pain, which is metaphorized in the images of defense and punishment. Finally, it proves that this kind of fi gurative violence, in the context of a country in dire need of activism, paradoxically took the form of a nihilistic perspective expressed through a satirical verbalization that can, nonetheless, be considered as “active pessimism”.

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Renner, Bernd. "“Real versus ideal”: Utopia and the Early Modern Satirical Tradition." Renaissance and Reformation 41, no. 3 (November 12, 2018): 47–66. http://dx.doi.org/10.33137/rr.v41i3.31539.

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Building on previous studies of satire in Thomas More’s Utopia, this article aims at situating More’s founding text of utopian literature more firmly in the early modern satirical tradition, a tradition that gradually dissociated itself from its conventional generic definition informed by classical Roman verse satura. Key concerns of the analysis touch on the pedagogical function, the dialogic engagement with the reader, and the social reforming spirit that transform satire into a mode and help it incorporate the utopian mindset into its characteristic juxtaposition of blame (of a heavily flawed reality) and praise (of a desirable ideal state of existence). More’s masterpiece is essential in illustrating and promoting this development of early modern satire, as references to an immediate predecessor—the Ship of Fools corpus—as well as a famous successor—François Rabelais—demonstrate. À partir d’études de la satire dans l’Utopie de More, cet article cherche à ancrer plus solidement ce texte utopique dans la tradition satirique de la première modernité, tradition qui s’est graduellement dissociée de la définition générale du genre satirique basée sur la satire classique romaine. Les points principaux de l’analyse mettent en lumière la fonction pédagogique, l’engagement dialogique avec le lecteur et l’esprit de réforme sociale, qui transforment la satire en y intégrant la pensée utopique en tant que façon d’exprimer le blâme (d’une réalité sérieusement déficiente) et la louange (d’un mode hautement souhaitable d’exister). Le chef-d’oeuvre de More occupe une place centrale dans ce développement de la satire des débuts de la modernité, lorsqu’il est situé dans les contextes qui le précèdent immédiatement — le corpus de la Nef des fous —, et le suivent glorieusement — l’oeuvre de François Rabelais.

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Kozak, Barbara. "KIM JEST AMFINOGEN KRYŻANOWSKI – TAJEMNICZY MNICH Z SATYRY SYMEONA Z POŁOCKA." Acta Neophilologica 1, no. XXI (June 1, 2019): 69–79. http://dx.doi.org/10.31648/an.4363.

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Morality pieces belong to the mainstream of baroque poetry. This genre was frequently and aptly exploited by Symeon of Polotsk. In one of his works he turned his verse into a shrewd satire dressed up as birthday wishes to a mysterious clergyman. The monk, Amfinogen Kryżanowski was a real figure and, according to scarce historical sources, he made himself known mostly owing to the wicked ways in which he conducted himself. Symeon of Polotsk directed the sword of his satire at him, incensed by the fact that Kryżanowski smeared Peter Mogila, Symeon’s beloved tutor and mentor at the Kiev Academy. In this paper, the author dissects the poem, traces the fortunes of the infamous monk and concludes that Symeon took an active interest in both the social and political upheavals of his time.

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Sandner, David. "Shooting for the Moon: Méliès, Verne, Weils, and the Imperial Satire." Extrapolation 39, no. 1 (April 1998): 5–25. http://dx.doi.org/10.3828/extr.1998.39.1.5.

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Mora, Arthur Katrein. "Musa impossível: desencanto e reencanto na sátira romântica de Bernardo Guimarães e Luiz Gama// Impossible muse: disenchantment and reenchantment in Bernardo Guimarães’ and Luiz Gama’s romantic satire." O Eixo e a Roda: Revista de Literatura Brasileira 31, no. 4 (August 14, 2023): 160. http://dx.doi.org/10.17851/2358-9787.31.4.160-187.

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Resumo: Amiúde relacionados à geração de poetas boêmios alcunhada “cancioneiro alegre” da época romântica (FRANCHETTI, 1987), Bernardo Guimarães (1825-1884) e Luiz Gama (1830-1882) dispõem, entre si, afinidades poéticas que se manifestam, conforme propomos no presente artigo, não somente nos arranjos formais e temáticos de sua sátira, mas no sentido que ambos conferem à prática poética moderna e seu papel em meio à proeminência estético-cultural do Romantismo no século XIX. Mediante análise do legado devido à sátira latina e gregoriana (HANSEN; MOREIRA, 2013) nos versos de Poesias (1865) e Primeiras trovas burlescas de Getulino (1859), reconhecemos nestas obras os sintomas da visão de mundo romântica, orientada por projeções nostálgico-utópicas, expressas tanto em desencanto melancólico, como em revolta e insubordinação perante as rupturas causadas pelo racionalismo e pelo progresso capitalista (LÖWY; SAYRE, 2015). O manuseio do humor permite aos poetas lamentar a condição impossível da Musa em semelhante contexto, mesmo enquanto troçam a ira desta deidade para com os vates, cuja artificialidade fundamenta novas relações entre a arte e vida, e divertem-se às custas de sua própria Weltanschauung romântica.Palavras-chave: poesia brasileira; romantismo; sátira; Bernardo Guimarães; Luiz Gama.Abstract: As figures often attached to a generation of bohemian romantic poets (FRANCHETTI, 1987), Bernardo Guimarães (1825-1884) and Luiz Gama (1830-1882) reveal a poetic affinity that, as proposed in this essay, does not limit itself to the formal and thematic compositions of their satires, but engages with the deeper meanings of poetic practice as it relates to the modern, prevailing aesthetic of Romanticism in the XIXth Century. Owing partly to the legacy of Ancient Latin and colonial-baroque satires (HANSEN; MOREIRA, 2013), Guimarães’s Poesias (1865) and Gama’s Primeiras trovas burlescas de Getulino (1859) manifest in its verses the symptoms of the romantic worldview, inclined towards nostalgia and utopia, and expressed simultaneously as a melancholy disenchantment and a revolt against the ruptures of rationalism and the establishment of capitalism (LÖWY; SAYRE, 2015). This wielding of farce and humor by the poets allows them to lament the impossible condition of the Muse in such a context, while mocking her ire against the bards who represent the profound artificiality of these new relations between art and life, laughing at the expense of their own romantic Weltanschauung.Keywords: Brazilian poetry; romanticism; satire; Bernardo Guimarães; Luiz Gama.

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Ruffell, I. A. "Beyond Satire: Horace, Popular Invective and the Segregation of Literature." Journal of Roman Studies 93 (November 2003): 35–65. http://dx.doi.org/10.2307/3184638.

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Throughout its history, Latin Satire was engaged in acts of impersonation and masquerade. While written by and for members of an élite and highly literate class, it continually affected a low style in metre and diction, an aggressive engagement with or pointed withdrawal from contemporary social realities, and the partial or wholesale adoption of an authorial voice at some rungs below the highest of society. All this is well-known and relatively uncontroversial. What is also well-known is the way in which Roman satirists, especially Juvenal, were engaged in a dialogue with epic and other literary genres (including earlier satire). What is less accepted is that Roman satirists, not least Horace, were equally engaged in a dialogue with other non-literary or ‘subliterary’ traditions of verse. I shall be arguing that a primary intertext for the definition of Horace's poetry and poetic persona was the rich and varied contemporary tradition of popular invective poetry. I suggest that he is attempting to erect a cordon sanitaire between the genre of satire and these ‘unofficial’ or ‘folk’ forms, to segregate elite and popular culture, and to define his poetry as what we may anachronistically call literature.

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Jayraj, S. Joseph Arul. "Paradise Lost and Paradise Regained as Epics of Political Satire under the Guise of Spiritual Epics: A Critical Inquiry." IRA International Journal of Education and Multidisciplinary Studies 10, no. 1 (January 29, 2018): 1. http://dx.doi.org/10.21013/jems.v10.n1.p1.

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<p>The paper points out the intention of ‘Satire’ and inquires into the biographical, historical, sociological, religious, economic, political and literary contexts of John Milton’s Paradise Lost (1667)<strong> </strong>and Paradise Regained (1671). It underscores the poignant example of John Dryden’s verse satire, Absalom and Achitophel (1681), which is modelled on John Milton’s political epics. It also traces the biographical, historical, sociological, religious, economic, political and literary reasons for the outbreak of the English civil war.<strong> </strong>Thus, it points out the mutual bond that exists between society and literature, and renders a historical reading of the literary works taken for analysis by exploring the possible purposes with which these texts have been written and the ways in which the meanings of these texts have changed over time owing to multiple interpretations.</p>

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Majumdar, Gaurav. "History and Satire in Salman Rushdie's The Satanic Verses, by Ahmed Essop." English Academy Review 28, no. 2 (October 2011): 93–96. http://dx.doi.org/10.1080/10131752.2011.618001.

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Semenova, Ekaterina Yurievna. "Domestic topics in satire for news lovers: the possibilities of an adaptation resource (based on periodicals of the Volga city during the First World War)." Samara Journal of Science 8, no. 4 (November 29, 2019): 194–99. http://dx.doi.org/10.17816/snv201984214.

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The paper explores possibilities of satirical materials as a mechanism for adapting the rear population to everyday living conditions. The themes of household satire, which were developed in printed products produced during the First World War in the cities of the Volga region, are revealed. They are presented in individual satirical publications, as well as in the unofficial periodical press, in the publications of political parties and official authorities. The author analyzed the materials, including domestic satire, in the following areas: providing the population of the rear cities, combating drunkenness, using war for profit, social conflicts, stability of the internal political course, leisure opportunities. It is revealed that in the periodicals that appeared on the territory of the cities of the Volga region, satirical materials were presented by a number of genres: ditty, feuilleton, proverb, parody, cited literary form of prose and verse. The author came to the conclusion about the importance of satirical materials to reflect the everyday problems faced by the urban man in the street. Emphasizing that the source base is indirect, it was suggested taking into account the possibility of the influence of satire on the habituation of citizens reading periodicals to everyday problems associated with the War.

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PIERCE, HELEN. "ANTI-EPISCOPACY AND GRAPHIC SATIRE IN ENGLAND, 1640–1645." Historical Journal 47, no. 4 (November 29, 2004): 809–48. http://dx.doi.org/10.1017/s0018246x04004017.

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This article examines the role of graphic satire as a tool of agitation and criticism during the early 1640s, taking as its case study the treatment of the archbishop of Canterbury and his episcopal associates at the hands of engravers, etchers, and pamphlet illustrators. Previous research into the political ephemera of early modern England has been inclined to sideline its pictorial aspects in favour of predominantly textual material, employing engravings and woodcuts in a merely illustrative capacity. Similarly, studies into the contemporary relationship between art, politics, and power have marginalized certain forms of visual media, in particular the engravings and woodcuts which commonly constitute graphic satire, focusing instead on elite displays of authority and promoting the concept of a distinct dichotomy between ‘high’ and ‘low’ culture and their consumers. It is argued here that the pictorial, and in particular graphic, arts formed an integral part of a wider culture of propaganda and critique during this period, incorporating drama, satire, reportage, and verse, manipulating and appropriating ideas and imagery familiar to a diverse audience. It is further proposed that such a culture was both in its own time and at present only fully understood and appreciated when consumed and considered in these interdisciplinary terms.

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Dr Shujaat Hussain. "Tagore Removes Fear and Demolishes Wall for Peace, Prosperity and Harmony." Creative Launcher 4, no. 3 (August 31, 2019): 14–25. http://dx.doi.org/10.53032/tcl.2019.4.3.03.

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Rabindranath Tagore is a perennial fountain of immaculate imagination which is the soul of poetry. His poetry has element of truth and reckoning force to affect men, mind, social surroundings, etiquette of the citizen of the country and humanistic approach towards life—live and let live. Unequivocally, we would say his poetry is high order of excellence. Had Watson, Wilson, Eliot, Saintsbury, Tillotson, Allott, Arnold, F. R. Levis, Richard alive they would have glorified versification, imagination, diction, melody, substance, style, regularity, uniformity, balance, and precision of Rabindranath Tagore. Romanticism of Wordsworth, Shelley, Keats, Byron, witticism of Donne, Crashaw, Vaughan classicism of Dante, and Homer, criticism of Arnold, satire of Dryden beautiful and smooth verse flow of Chaucer all are quite apparent in the Nobel Laureate Rabindranath Tagore. Who says significance of poetry is no more and future of poetry is buried. As long as pain and pleasure, sorrow, suffering and merry-making, cruelty and enmity, humanity and fraternity, honesty and humility, demon and Solomon, hypocrite and pious, battle and consequences are alive in the universe, mines of verses are treasure-trove for the vibrancy and survival of human beings. It has brightness of the sun, twinkling of stars, fragrance of flowers, height of mountains, depth of the seas, and palpitation of the human hearts definitely melodious voice of nightingale, innocence of lamb, and strength of tiger, who can forget it as a finer spirit of all knowledge.

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Budaragina, Olga V. "Latin Satire vs. Georgij Dashkow by Theophanes Prokopovich (Publication of the Text and Commentary)." Philologia Classica 15, no. 2 (2020): 261–77. http://dx.doi.org/10.21638/spbu20.2020.206.

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The paper submits the first publication of the hexametrical Latin satire of Theophanes Prokopovich (1681–1736), which consists of 172 verses and is his longest poetic work written in Latin during his St. Petersburg period. The manuscript is part of Prokopovich’s collection of works, which is kept in the Manuscripts Department of the St. Petersburg Branch of the Russian Academy of Sciences (Tec. Post. 142, f. 245–247 v.), and, as far as we know, it is the only surviving copy of the work. Although satire is untitled, it is very likely that the addressee of the attacks was Archbishop Georgyi (Dashkov) (d. 1739). In the satire, Dashkov is derived in an allegorical manner under the name of Grunnius and is depicted as a man who is viciously jealous of others and is unable to bear even the modest success of his fellow human beings. The article also touches upon two and a half lines from this satire that have been published to date, thanks to their quotation by Antioch Cantemir in the commentary on v. 41 of his third satire “On the Distinction of Human Passions. To the Archbishop of Novgorod”. In all Cantemir editions, the Latin text, and therefore the Russian translation of this couplet contain errors that have been corrected, and it is suggested that the new variant of the text and translation is to be taken into account in the preparation of future editions.

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Kavanagh, Declan William. "‘Of Neuter Gender, tho’ of Irish growth’: Charles Churchill's Fribble." Irish University Review 43, no. 1 (May 2013): 119–30. http://dx.doi.org/10.3366/iur.2013.0059.

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This essay argues that the work of a lesser-known mid-eighteenth-century satirist Charles Churchill (1731–1764) provides a rich literary source for queer historical considerations of the conflation of xenophobia with effeminophobia in colonial imaginings of Ireland. This article analyzes Churchill's verse-satire The Rosciad (1761) through a queer lens in order to reengage the complex history of queer figurations of Ireland and the Irish within the British popular imagination. In the eighth edition of The Rosciad – a popular and controversial survey of London's contemporary players – Churchill portrays the Irish actor Thady Fitzpatrick as an effeminate fribble, before championing the manly acting abilities of the English actor David Garrick. The phobic attack on Fitzpatrick in The Rosciad is a direct response to Fitzpatrick's involvement in the ‘Fitzgiggo’ riots of January 1763 at the Drury Lane and Covent-Garden theatres. While Churchill's lampooning of the actor recalls Garrick's earlier satirizing of Fitzpatrick as a fribble in The Fribbleriad (1741) and Miss in her Teens (1747), The Rosciad is unique in its explicit conflation of androgyny with ethnicity through Irish classification. The portraiture of Fitzpatrick functions, alongside interrelated axes of ethnicity, class and gender, to prohibit access to a ‘normative’ middle-class English identity, figured through the ‘manly’ theatrical sensibility of the poem's hero, Garrick. Moreover, in celebrating a ‘Truly British Age’, the poem privileges English female players, in essentialist and curiously de-eroticized terms, as ‘natural’ though flawed performers. By analyzing Churchill's phobic juxtaposition of Garrick and the female players against the Irish fribble, this article evinces how mid-century discourses of effeminacy were also instrumental in enforcing racial taxonomies.

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