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Letteratura scientifica selezionata sul tema "Satires in verse"

Autore: Grafiati

Pubblicato: 29 luglio 2024

Ultima modifica: 30 luglio 2024

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Articoli di riviste sul tema "Satires in verse"

1

Bucknell, Clare. "The Roman Adversarial Dialogue in Eighteenth-Century Political Satire". Translation and Literature 24, n. 3 (novembre 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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Phipps, Jake. "‘The Art of Easy Writing’: The Case of Burns and Byron". Romanticism 28, n. 3 (ottobre 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, n. 2 (dicembre 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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Freudenburg, Kirk. "Verse-technique and moral extremism in two satires of Horace (Sermones 2.3 and 2.4)". Classical Quarterly 46, n. 1 (maggio 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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Gillespie, Stuart. "Two Satires of Boileau Translated by Sidney Godolphin (1645–1712), Lord Treasurer". Translation and Literature 33, n. 2 (luglio 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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White, Laura. "Evolutionary Science, Empire, and Disenchantment in May Kendall’s That Very Mab". Nineteenth Century Studies 35 (novembre 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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Beard, Ellen L. "Satire and Social Change: The Bard, the Schoolmaster and the Drover". Northern Scotland 8, n. 1 (maggio 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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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, n. 1 (marzo 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, n. 1-2 (11 giugno 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, n. 6 (30 maggio 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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Tesi sul tema "Satires in verse"

1

Crozier, James H. "Telling stories : Aristotelian dramatic character in Juvenal's satires /". free to MU campus, to others for purchase, 2002. http://wwwlib.umi.com/cr/mo/fullcit?p3074393.

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Forshaw, Clifford A. "The chameleon muse : satirical personae in the formal verse satires of Marston, Guilpin and others". Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310510.

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3

McDayter, Mark Alan. "This evasive way of abuse, satiric voices in English verse satire, 1640-1700". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ28292.pdf.

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Buchanan, David. "Augustan women's verse satire". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0012/NQ34742.pdf.

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Bicak, Ivana. "Roman satiric modes in English verse satire, 1660-1740, with special reference to Swift's Horace and Pope's Juvenal". Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/10736/.

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This thesis questions the traditional dichotomy between the satires of Horace and Juvenal, a binary satiric theory that has strongly influenced twentieth-century readings of Alexander Pope and Jonathan Swift. It is argued that the works of both Horace and Juvenal are too complex to be reduced to a single well-defined ‘type’ of satire. Hence, the popular labelling of Pope as a ‘Horatian’ satirist and Swift as a ‘Juvenalian’ satirist is shown to be as synthetic as the duality between Horace and Juvenal itself. Chapter 1 provides an overview of the Restoration theory of satire as a background for the study of Pope and Swift. Chapter 2 is a close reading of Juvenal, which questions the conventional portrayal of him as ‘the angry satirist’. Chapter 3 challenges the widespread characterisation of Pope as a Horatian satirist, and argues that even in his Horatian poems he has as much in common with Juvenal. Chapter 4 offers a close reading of Horace, which disputes the popular portrayal of him as ‘the smiling satirist’. Finally, Chapter 5 debunks the exclusive reading of Swift as a Juvenalian satirist, demonstrating his frequent use of Horace’s own satiric tactics. The aim throughout the thesis is to establish a less polarised and more nuanced understanding of the relationship between Juvenal and Horace, which can encourage a subtler appreciation of Pope and Swift as satirists.

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Hudson, Nicola Anne. "Food : a suitable subject for Roman verse satire". Thesis, University of Leicester, 1991. http://hdl.handle.net/2381/8236.

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This thesis looks in particular at a number of satires by the Roman poets Horace and Juvenal in which food is prominent: Horace's Satires 2.2, 2.4 and 2.8 and Juvenal's satires 4, 5, 11 and 15. Where relevant the works of Lucilius and Persius have also been brought into the scope of the study. It begins with a discussion of the reasons why food might be considered a suitable subject for Roman verse satire (considering the nature of food and of eating, and the nature of the genre), and a brief survey of the forms which food takes in the genre. This is followed by an analysis of the gastronomic terminology which the satirists use to achieve a satirical rather than a gastronomic effect. The body of the study is taken up with the specific areas which interest the satirists when they deal with food: the antithesis of town and country diet, gastronomy, the dinner party ('cena'), gluttony and cannibalism. For the most part these are dealt with on a satire by satire, chapter by chapter basis. In the case of the town versus country antithesis, however, Horace's Satire 2.2 is used as a starting point for the discussion of the subject in Persius' and Juvenal's satires. The thesis suggests that the satirists create for the reader's entertainment a number of 'perfect' misinterpretations of the proper role of food: the failure to see food as nutrition, the over-intellectualisation of the subject, and the abuse of conviviality, among others. Roman verse satire does not, therefore, provide a comprehensive or accurate picture of eating habits during the period in which the satirists wore writing. it does, however, offer the satirically attuned reader a sophisticated and literary discussion of diners, 'cooks' and cannibals in the broader moral, social and cultural context.

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Goh, Ian. "Lucilius and the archaeology of Roman satire". Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283889.

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Porter, David Andrew. "Neo-Latin formal verse satire from 1420 to 1616". Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708254.

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Wheeler, Angela J. "English verse satire from Donne to Dryden : imitation of classical models /". Heidelberg : C. Winter, 1992. http://catalogue.bnf.fr/ark:/12148/cb35716182c.

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Klein, Kaitlyn Marie. "Literary Love(r)s: Recognizing the Female Outline and its implications in Roman Verse Satire". BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2825.

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The existence of a metaphoric female standing in for poetic style was only plainly discussed in a paper from 1987 concerned with Roman elegiac poetry. This figure is given the title of scripta puella or written woman, since her existence depends solely on the writings of an author. These females often appear to have basis in reality; however there is insufficient evidence to allow them to cross out of the realm of fantasy. The term scripta puella in poetry refers to a perfected poetic form, one the author prefers over all others, and a human form creates the illusion of a mistress. Using this form, usually described in basic terms which create an outline of a woman, a poet easily expresses his inclination towards specific poetic styles and elements. While other scholars recognize the scripta puella in elegiac poetry, little research has been done into other genres. For this thesis, the focus is on the genre called Latin verse satire. The genre contains four recognized authors: Lucilius, Horace, Persius, and Juvenal. In order to prove her existence, each collection of satires is examined in its original language and analyzed with heavy emphasis on recognizing key phrases and attributes of scriptae puellae. Her appearances can be difficult to determine, as some examples will show, yet the existence of scriptae puellae enrich modern understanding of ancient texts. In addition to the four authors, articles and books dealing with women, satire, and women in satire are consulted to aid in explanation and support. With this body of proof, scriptae puellae are shown to exist within the Latin verse satirists' texts; they act as a link between the four authors and as a link to Greek poetry, which has been considered a possible predecessor for satire. This knowledge allows for a better explanation of satire as a genre and opens up the possibilities for further study in other genres which contain women of various forms.

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Libri sul tema "Satires in verse"

1

Klein, Arnold. 5 satires. San Francisco: Browntrout Pub., 1997.

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2

Persius. Persius satires. London: Bristol Classical Press, 1998.

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3

Apergēs, Orpheas. Katharistērio: Satires. Athēna: Ekdoseis Patakē, 2021.

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1709?, Gould Robert d., Egerton Sara Fyge e Ames Richard d. 1693, a cura di. Satires on women. New York: AMS Press, 1993.

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5

Dēmou, Nikos. Satires, 1972-1992. Athēna: Ekdoseis Nephelē, 1993.

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Juvenal. The sixteen satires. 3^a ed. London: Penguin Books, 1998.

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Persius, Rudd Niall e Horace, a cura di. Horace : satires and epistles: Persius : satires. London: Penguin, 2005.

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Maxton, Hugh. Gubu roi: Poems & satires, 1991-1999. Belfast: Lagan Press, 2000.

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Emily, Gowers, a cura di. Satires. Cambridge: Cambridge University Press, 2012.

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Schlegel, Catherine. Satire and the threat of speech: Horace's satires, book 1. Madison: University of Wisconsin Press, 2005.

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Capitoli di libri sul tema "Satires in verse"

1

Leishman, J. B. "Epigrams, Elegies, Satires, Verse Letters". In The Monarch of Wit, 50–140. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003214601-3.

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Hutchings, William. "21. The Second Epistle of the Second Book of Horace Imitated". In ‘Wit’s Wild Dancing Light’, 221–28. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0372.22.

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Chapter 21 begins by proposing that epistles and satires may be considered as overlapping genres: for Pope, the personal is the political and vice versa. Two extracts from The Second Epistle of the Second Book of Horace Imitated are then read in detail to show how Pope self-depreciatingly reviews his addiction to writing ‘verses’ in the light of the passing of time. He ought now to put away such childish things and take a sober and philosophical look at his own mind and soul. But, at the same time, Pope is advancing a counter-argument. By writing highly crafted ‘verse’, he demonstrates a fundamental principle underlying the poetic art. Truly philosophical poetry – as opposed to poetry which looks self-important by writing about philosophy – embodies truth within form.

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Hutchings, William. "Introduction". In ‘Wit’s Wild Dancing Light’, 5–20. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0372.01.

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The Introduction examines, by means of examples, the building blocks of Pope’s poetry: couplets and verse paragraphs. It then briefly surveys some significant genres of his work – satires, verse epistles, imitations – before providing a map of all his poems under the headings of genres and themes. Throughout, some of the stylistic features and syntactic structures he uses (such as chiasmus) are defined and exemplified.

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O'Callaghan, Michelle. "Verse Satire". In A Companion to Renaissance Poetry, 389–400. Chichester, UK: John Wiley & Sons, Ltd, 2018. http://dx.doi.org/10.1002/9781118585184.ch29.

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Hammond, Brean. "Verse Satire". In A Companion to Eighteenth-Century Poetry, 369–85. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996638.ch28.

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O’Neil, Henry. "Lampoon, Satire and Verse Tribute". In Trollope, 170–78. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-18730-0_35.

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Hutchings, William. "16. The First Satire of the Second Book of Horace Imitated". In ‘Wit’s Wild Dancing Light’, 181–96. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0372.17.

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Chapter 16 begins by locating The First Satire of the Second Book of Horace Imitated as the first of Pope’s seven Imitations of Horace’s satires and epistles. It then restates from the Introduction the importance of respecting the layout of the original printings of these poems (Latin text on the verso, English version on the recto) for a full appreciation of how the parallel texts affect our reading. (For the non-Latinist, a good modern translation of Horace’s poems will serve.) Pope’s choice of William Fortescue as his eighteenth-century equivalent of Horace’s interlocutor is also discussed. The main body of the chapter examines in detail seven significant extracts to show how Pope’s Imitation addresses the complex moral, political and social questions involved in the writing of satires. What constitutes ethically responsible action? How should it adapt to the changing public circumstances within which it has to operate? Pope’s investigation is searching, yet humorous in much of its tone; but it does not flinch from asserting the role of poetry (and printing) as a force for good.

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Selden, Raman. "Commonwealth and Restoration Satire". In English Verse Satire 1590-1765, 73–118. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003408178-3.

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Chahoud, Anna. "The Language of Latin Verse Satire". In A Companion to the Latin Language, 367–83. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444343397.ch21.

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Selden, Raman. "The 18th Century Juvenal: Dr Johnson and Churchill". In English Verse Satire 1590-1765, 153–75. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003408178-5.

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