Satire

1867 edition of Punch, a ground-breaking British magazine of popular humour, including a good deal of satire of the contemporary social and political scene.

Literature
Major forms
Epic • Romance • Novel • Novella • Tragedy • Comedy • Drama • Folklore
Media
Play • Book
Techniques
Prose • Poetry
Discussion
Criticism • Theory

Performing arts
Major forms
Theatre · Music · Dance Opera · Film Television · Radio
Subjects
Comedy · Tragedy · Satire Epic

Satire is a rhetorical strategy in which human or individual vices, follies, abuses, or shortcomings are held up to censure by means of ridicule, derision, burlesque, irony, or other methods, ideally with an intent to bring about improvement. In the strict sense is a literary genre, but the larger notion of satire, poking fun at the foibles of others is also found in the graphic and performing arts as well. Although satire is usually intended to be funny, the purpose of satire is not primarily humor itself so much as an attack on something of which the author strongly disapproves, using the weapon of wit.

A very common, almost defining feature of satire is its strong vein of irony or sarcasm, using parody, burlesque, exaggeration, juxtaposition, comparison, analogy, and double entendre to drive home the point. "In satire, irony is militant.". This "militant irony" (or sarcasm) often professes to approve the very things the satirist actually wishes to attack.

Term

The word satire comes from Latin satura lanx and means "medley, dish of colourful fruits" - it was held by Quintilian to be a "wholly Roman phenomenon" (satura tota nostra est). This derivation properly has nothing to do with the Greek mythological figure satyr. To Quintilian, the satire was a strict literary form, but the term soon escaped from its original narrow definition. Robert Elliott wrote:

"As soon as a noun enters the domain of metaphor, as one modern scholar has pointed out, it clamours for extension; and satura (which had had no verbal, adverbial, or adjectival forms) was immediately broadened by appropriation from the Greek word for “satyr” (satyros) and its derivatives. The odd result is that the English “satire” comes from the Latin satura; but “satirize,” “satiric,” etc., are of Greek origin. By about the 4th century AD the writer of satires came to be known as satyricus; St. Jerome, for example, was called by one of his enemies 'a satirist in prose' ('satyricus scriptor in prosa'). Subsequent orthographic modifications obscured the Latin origin of the word satire: satura becomes satyra, and in England, by the 16th century, it was written 'satyre.'"

Satire (in the modern sense of the word) is found in many artistic forms of expression, including literature, plays, commentary, and media such as song lyrics.

The term is also today applied to many works other than those which would have been considered satire by Quintilian - including, for instance, ancient Greek authors predating the first Roman satires. Public opinion in the Athenian democracy, for example, was remarkably influenced by the political satire written by such comic poets as Aristophanes for the theatre.

Satire and Humor

Not all satire is humorous and not all humor has a satirical intent. Satirical works often contain (non-satirical) humor usually to give some relief from what might otherwise be relentless "preaching". This has always been the case, although it is probably more marked in modern satire. On the other hand some satire has little or no humour at all. It is not "funny" - and nor is it meant to be.

Humour about a particular subject (politics, religion and art for instance) is not necessarily satirical because the subject itself is often a subject of satire. Nor is humour using the great satiric tools of irony, parody, or burlesque always meant in a satirical sense.

Development

Ancient Egypt

The Satire of the Trades dates to the beginning of the 2 millennium B.C.E. and is one of the oldest texts using hyperbole in order to achieve a didactic aim. It describes the various trades in an exaggeratedly disparaging fashion in order to convince students tired of studying that their lot as scribes will be far superior to that of their less fortunate brethern. Some scholars like Helck think that, rather than satirical, the descriptions were intended to be serious, although the point of satire is always quite serious.

The Papyrus Anastasi I (late 2nd millennium B.C.E.) contains the text of a satirical letter in which the writer at first praises the virtues but then mercilessly mocks the meagre knowledge and achievements of the recipient of the letter.

Greece and Ancient Rome

The Greeks had no word for what later would be called "satire", although cynicism and parody were used. In retrospect, the Greek playwright Aristophanes is one of the best known early satirists; he is particularly famous for his political satire in which he criticized the powerful Cleon (as in The Knights) and for the persecution he underwent.

The oldest form of satire still in use is the Menippean satire by Menippos of Gadara. His own writings are lost, but his admirers and imitators mix seriousness and mocking in dialogues and parodies before a background of diatribe, a cynicistic criticism, a very biting comment by cynics.

In Rome, the first to discuss satire critically was Quintilian, who invented the term to describe the writings of Lucilius. In the 16th century, most believed that the term satire came from the Greek satyr; satyrs were the companions of Dionysos and central characters of the satyr plays of the Theatre of Ancient Greece. Its derivatives satirical and satirise are indeed, but the style of the Roman satire is rather linked to the satira, or satura lanx, a "dish of fruits" resembling the colourful mockings or figuratively a "medley". Pliny reports that the 6th century B.C.E. poet Hipponax wrote satirae that were so cruel that the offended hanged themselves. The confusion with the satyr supported the understanding of satire as biting, like Juvenal, and not mild, like Horace, method of criticism in Early Modern Europe until the 17th century.

Criticism of Roman emperors (notably Augustus) needed to be presented in veiled ironical terms - but the term when applied to Latin works actually titled as "satires" is much wider than in the modern sense of the word, including fantastic and highly coloured humorous writing with little or no real mocking intent.

Prominent satirists from Roman antiquity include Horace and Juvenal, who were active during the early days of the Roman Empire and are the two most influential Latin satirists. Other important Roman satirists are Lucilius and Persius.

Middle Ages

There are examples of satire from the Early Middle Ages, especially songs by goliards or vagants now best known as an anthology called Carmina Burana and made famous as texts of a composition by the 20th century composer Carl Orff. Satirical poetry is believed to have been popular, although little has survived. With the advent of the High Middle Ages and the birth of modern vernacular literature in the 12th century, it began to be used again, most notably by Chaucer. The disrespectful manner was considered "Unchristian" and ignored but for the moral satire, which mocked misbehavior in Christian terms. Examples are Livre des Manières (~1170), and in some of Chaucer's Canterbury Tales. The epos was mocked, and even the feudal society, but there was hardly a general interest in the genre. After the Middle Ages in the Renaissance reawakening of Roman literary traditions, the satires Till Eulenspiegel and Reynard the Fox were published, and also in Sebastian Brant's Narrenschiff (1494), Erasmus' Moriae Encomium (1509) and Thomas More's Utopia (1516).

Persia

Obeid e zakani introduced satire into Persia during the 14th century. Between 1905 and 1911, Bibi Khatoon Astarabadi and other Iranian writers wrote notable satires.

Early modern western satire

The Elizabethan (i.e. 16th century English) writers thought of satire as related to the notoriously rude, coarse and sharp satyr play. Elizabethan "satire" (typically in pamphlet form) therefore contains more straight forward abuse than subtle irony. The French Huguenot Isaac Casaubon pointed out in 1605 that satire in the Roman fashion was something altogether more civilised. 17th century English satire once again aimed at the "amendment of vices" (Dryden).

Direct social commentary via satire returned with a vengeance in the 16th century, when farcical texts such as the works of François Rabelais tackled more serious issues (and incurred the wrath of the crown as a result). In the Age of Enlightenment, an intellectual movement in the 17th and 18th century advocating rationality, began the breakthrough of English satire, largely due to the creation of Tory and Whig groups and the necessity to convey the true meaning of criticism, especially true for Daniel Defoe, Jonathan Swift, John Dryden and Alexander Pope. Here, astute and biting satire of institutions and individuals became a popular weapon. Although Isaac Casaubon discovered and published Quintilian's writing and presented the original meaning of the term (satira, not satyr), Early Modern satire was already an established genre, but the sense of wittiness (reflecting the "dishfull of fruits") became more important again.

Jonathan Swift was one of the greatest of Anglo-Irish satirists, and one of the first to practice modern journalistic satire. For instance, his A Modest Proposal suggests that poor Irish parents be encouraged to sell their own children as food, while his The Shortest-Way with the Dissenters says that dissenters (from established Church doctrine) are to be vigorously persecuted. In his book Gulliver's Travels he writes about the flaws in human society in general and English society in particular. Swift creates a moral fiction, for instance a world in which parents do not have their most obvious responsibility, which is to protect their children from harm, or in which freedom of religion is reduced to the freedom to conform. His purpose is of course to attack indifference to the plight of the desperately poor, and to advocate freedom of conscience.

John Dryden also wrote an influential essay on satire that helped fix its definition in the literary world.

Anglo-American satire

Ebenezer Cooke, author of "The Sot-Weed Factor," was among the first to bring satire to the British colonies; Benjamin Franklin and others followed, using satire to shape an emerging nation's culture through shaping its sense of the ridiculous.

Mark Twain was a great American satirist: his novel Huckleberry Finn is set in the antebellum South, where the moral values Twain wishes to promote are completely turned on their heads. His hero, Huck, is a rather simple but good-hearted lad who is ashamed of the "sinful temptation" that leads him to help a runaway slave. In fact his conscience – warped by the distorted moral world he has grown up in, often bothers him most when he is at his best. Ironically, he is prepared to do good, believing it to be wrong.

Twain's younger contemporary Ambrose Bierce gained notoriety as a cynic, pessimist and black humourist with his dark, bitterly ironic stories, many set during the American Civil War, which satirized the limitations of human perception and reason. Bierce's most famous work of satire is probably The Devil's Dictionary, in which the definitions mock cant, hypocrisy and received wisdom.

Satire in Victorian England

Novelists such as Charles Dickens often used passages of satiric writing in their treatment of social issues. Several satiric papers competed for the public's attention in the Victorian era and Edwardian period, such as Punch and Fun.

Perhaps the most enduring examples of Victorian satire, however, are to be found in the Savoy Operas of W. S. Gilbert and Sir Arthur Sullivan. In fact, in The Yeomen of the Guard, a jester is given lines that paint a very neat picture of the method and purpose of the satirist, and might almost be taken as a statement of Gilbert's own intent:

"I can set a braggart quailing with a quip,

The upstart I can wither with a whim;

He may wear a merry laugh upon his lip,

But his laughter has an echo that is grim!"

20th century satire

In the 20th century, satire was used by authors such as Aldous Huxley and George Orwell to make serious and even frightening commentaries on the dangers of the sweeping social changes taking place throughout Europe and United States. The film, The Great Dictator (1940) by Charlie Chaplin is a satire on Adolf Hitler. Many social critics of the time, such as Dorothy Parker and H. L. Mencken used satire as their main weapon, and Mencken in particular is noted for having said that "one horse-laugh is worth ten thousand syllogisms" in the persuasion of the public to accept a criticism. Joseph Heller's most famous work, Catch-22, satirizes bureaucracy and the military, and is frequently cited as one of the greatest literary works of the Twentieth Century. Novelist Sinclair Lewis was known for his satirical stories such as Babbitt, Main Street, and It Can't Happen Here. His books often explored and satirized contemporary American values.

The film Dr. Strangelove from 1964 was a popular satire on the Cold War. A more humorous brand of satire enjoyed a renaissance in the UK in the early 1960s with the Satire Boom, led by such luminaries as Peter Cook, John Cleese, Alan Bennett, Jonathan Miller, David Frost, Eleanor Bron and Dudley Moore and the television programme That Was The Week That Was.

Contemporary satire

Contemporary popular usage often uses the term "satire" in a very imprecise manner. While satire often uses caricature and parody; by no means all uses of these, and other humorous devices, are satiric. Refer to the careful definition of satire that heads this article.

File:Stephen Colbert by David Shankbone.jpg

Stephen Colbert satirizes a television commentator on his Comedy Central program in the United States.

Stephen Colbert’s television program The Colbert Report is instructive in the methods of contemporary Western satire. Colbert's character is an opinionated and self-righteous commentator who, in his TV interviews, interrupts people, points and wags his finger at them, and "unwittingly" uses every logical fallacy known to man. In doing so, he demonstrates the principle of modern American satire: the ridicule of the actions of politicians and other public figures by taking all their statements and purported beliefs to their furthest (supposedly) logical conclusion, thus revealing their hypocrisy and stupidity. Other political satire includes various political causes in the past, including the relatively successful Polish Beer-Lovers' Party and the joke political candidates Molly the Dog and Brian Miner .

Cartoonists often use satire as well as straight humour. Garry Trudeau, whose comic strip Doonesbury has charted and recorded many American follies for the last generation, deals with story lines such as Vietnam (and now, Iraq), dumbed-down education, and over-eating at "McFriendly's". Trudeau exemplifies humor mixed with criticism. Recently, one of his gay characters lamented that because he was not legally married to his partner, he was deprived of the "exquisite agony" of experiencing a nasty and painful divorce like heterosexuals. This, of course, satirized the claim that gay unions would denigrate the sanctity of heterosexual marriage. Doonesbury also presents an example of how satire can cause social change. The comic strip satirized a Florida county that had a law requiring minorities to have a passcard in the area; the law was soon repealed with an act nicknamed the Doonesbury Act.

Like some literary predecessors, many recent television "satires" contain strong elements of parody and caricature; for instance the popular animated series The Simpsons and South Park both parody modern family and social life by taking their assumptions to the extreme; both have led to the creation of similar series. As well as the purely humorous effect of this sort of thing, they often strongly criticise various phenomena in politics, economic life, religion and many other aspects of society, and thus qualify as "satirical". Due to their animated nature, these shows can easily use images of public figures and generally have greater freedom to do so than conventional shows using live actors.

Other satires are on the list of satirists and satires.

Misconception of satire

Because satire often combines anger and humour it can be profoundly disturbing - because it is essentially ironic or sarcastic, it is often misunderstood. In an interview with Wikinews, Sean Mills, President of The Onion, said angry letters about their news parody always carried the same message. "It’s whatever affects that person," said Mills. "So it’s like, 'I love it when you make a joke about murder or rape, but if you talk about cancer, well my brother has cancer and that’s not funny to me.' Or someone else can say, 'Cancer’s hilarious, but don’t talk about rape because my cousin got raped.' I’m using extreme examples, but whatever it is, if it affects somebody personally they tend to be more sensitive about it."

Common uncomprehending responses to satire include revulsion (accusations of poor taste, or that it's "just not funny" for instance), to the idea that the satirist actually does support the ideas, policies, or people he is attacking. For instance, at the time of its publication, many people misunderstood Swift’s purpose in "A Modest Proposal" – assuming it to be a serious recommendation of economically-motivated cannibalism. Again, some critics of Mark Twain see Huckleberry Finn as racist and offensive, missing the point that its author clearly intended it to be satire (racism being in fact only one of a number of Mark Twain's known pet bugbears attacked in Huckleberry Finn).

Satire under fire

Because satire is stealthy criticism, it frequently escapes censorship. Periodically, however, it runs into serious opposition.

In 1599, the Archbishop of Canterbury John Whitgift and the Bishop of London George Abbot, whose offices had the function of licensing books for publication in England, issued a decree banning verse satire. The decree ordered the burning of certain volumes of satire by John Marston, Thomas Middleton, Joseph Hall, and others; it also required histories and plays to be specially approved by a member of the Queen's Privy Council, and it prohibited the future printing of satire in verse. The motives for the ban are obscure, particularly since some of the books banned had been licensed by the same authorities less than a year earlier. Various scholars have argued that the target was obscenity, libel, or sedition. It seems likely that lingering anxiety about the Martin Marprelate controversy, in which the bishops themselves had employed satirists, played a role; both Thomas Nashe and Gabriel Harvey, two of the key figures in that controversy, suffered a complete ban on all their works. In the event, though, the ban was little enforced, even by the licensing authority itself.

In Italy the media tycoon Silvio Berlusconi attacked RAI Television's satirical series, Raiot, Daniele Luttazzi's Satyricon, Enzo Biagi, Michele Santoro's Sciuscià, even a special Blob series on Berlusconi himself, by arguing that they were vulgar and full of disrespect to the government. He claimed that he would sue the RAI for 21,000,000 Euros if the show went on. RAI stopped the show. Sabina Guzzanti, creator of the show, went to court to proceed with the show and won the case. However, the show never went on air again.

In 2001 the British television network Channel 4 aired a special edition of the spoof current affairs series Brass Eye, which was intended to mock and satirize the fascination of modern journalism with child molesters and pedophiles. The TV network received an enormous number of complaints from members of the public, who were outraged that the show would mock a subject considered by many to be too "serious" to be the subject of humour.

In 2005, the Jyllands-Posten Muhammad cartoons controversy caused global protests by offended Muslims and violent attacks with many fatalities in the Near East. It was not the first case of Muslim protests against criticism in the form of satire, but the Western world was surprised by the hostility of the reaction: Any country's flag in which a newspaper chose to publish the parodies was being burnt in a Near East country, then embassies were attacked, killing 139 people in mainly four countries (see article); politicians throughout Europe agreed that satire was an aspect of the freedom of speech, and therefore to be a protected means of dialogue. Iran threatened to start an International Holocaust Cartoon Competition, which was immediately responded to by Jews with a Israeli Anti-Semitic Cartoons Contest. Although not really satirical, the response to Salman Rushdie's Satanic Verses from 1988 was similarly violent; Khomeinei responded with a fatwa, death sentence, for the author, resulting in a 10-year breach of Irano-British diplomatic relations and a continued threat to the author's life.

In 2006 British comedian Sacha Baron Cohen released Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan a "mockumentary" that satirized everyone, from high society to frat boys. Criticism of the film was heavy, from claims of antisemitism (despite the fact Cohen is Jewish), to the massive boycott of the film by the Kazakh government; the film itself had been a reaction to a longer quarrel between the government and the comedian.

Satire as prophecy

Satire is often prophetic: the jokes precede actual events. Among the eminent examples is the 1784 presaging of modern Daylight saving time, later actually proposed in 1907. While an American envoy to France, Benjamin Franklin anonymously published a letter in 1784 suggesting that Parisians economize on candles by arising earlier to use morning sunlight. In the 1920s an English cartoonist imagined a very laughable thing for that time: a hotel for cars. He drew a multi-story car park.

See also

• Onomastì komodèin
• List of satirists and satires

Sources

• Lee, Jae Num. "Scatology in Continental Satirical Writings from Aristophanes to Rabelais" and "English Scatological Writings from Skelton to Pope." Swift and Scatological Satire. Albuquerque: U of New Mexico P, 1971. 7-22; 23-53.
• Jacob Bronowski & Bruce Mazlish, The Western Intellectual Tradition From Leonardo to Hegel, p. 252 (1960; as repub. in 1993 Barnes & Noble ed.).
• Theorizing Satire: A Bibliography [2], by Brian A. Connery, Oakland University
• Bloom, Edward A. . "Sacramentum Militiae: The Dynamics of Religious Satire." Studies in the Literary Imagination 5 (1972): 119-42.
• The Modern Satiric Grotesque. Lexington: U of Kentucky P, 1991.

Theories/Critical approaches to satire as a genre:

• Frye, Northrop. Anatomy of Criticism. (See in particular the discussion of the 4 "myths").
• Emil Draitser. Techniques of Satire: The Case of Saltykov-Shchedrin. (Berlin-New York: Mouton de Gruyter, 1994) ISBN 3110126249.
• Hammer, Stephanie. Satirizing the Satirist.
• Highet, Gilbert. Satire.
• Kernan, Alvin. The Cankered Muse

The Plot of Satire.

• Seidel, Michael. Satiric Inheritance.
• Entopia: Revolution of the Ants (2008), by Rad Zdero.

1867 edition of Punch, a ground-breaking British magazine of popular humour, including a good deal of satire of the contemporary social and political scene.

Satire (from Latin satura, not from the Greek mythological figure satyr) is a literary genre, chiefly literary and dramatic, in which human or individual vices, follies, abuses, or shortcomings are held up to censure by means of ridicule, derision, burlesque, irony, or other methods, sometimes with an intent to bring about improvement. It is used in graphic arts and performing arts as well. Although satire is usually meant to be humorous, the purpose of satire is not primarily humour but criticism of an event, an individual or a group in a witty manner.

Satire usually has a definite target, which may be a person or group of people, an idea or attitude, an institution or a social practice. It is found in many artistic forms of expression, including literature, plays, commentary, and media such as song lyrics. Often the target is examined by being held up for ridicule, ideally in the hope of shaming it into reform. A very common, almost defining feature of satire is a strong vein of irony or sarcasm. Also, parody, burlesque, exaggeration, juxtaposition, comparison, analogy, and double entendre are devices frequently used in satirical speech and writing.

The essential point, however, is that "in satire, irony is militant". This "militant irony" (or sarcasm) often professes to approve values that are the diametric opposite of what the satirist actually wishes to promote.

Term

The word satire comes from Latin satura lanx and means "medley, dish of colourful fruits," and was defined by Quintilian as a "wholly Roman phenomenon" (satura tota nostra est). To him, the satire was a literary form, but soon it meant the tone of the piece. Robert Elliott wrote:

"As soon as a noun enters the domain of metaphor, as one modern scholar has pointed out, it clamours for extension; and satura (which had had no verbal, adverbial, or adjectival forms) was immediately broadened by appropriation from the Greek word for “satyr” (satyros) and its derivatives. The odd result is that the English “satire” comes from the Latin satura; but “satirize,” “satiric,” etc., are of Greek origin. By about the 4th century AD the writer of satires came to be known as satyricus; St. Jerome, for example, was called by one of his enemies 'a satirist in prose' ('satyricus scriptor in prosa'). Subsequent orthographic modifications obscured the Latin origin of the world satire: satura becomes satyra, and in England, by the 16th century, it was written 'satyre.'"

Development

Ancient Egypt

The Satire of the Trades dates to the beginning of the 2 millennium B.C.E. and is one of the oldest texts using hyperbole in order to achieve a didactic aim. It describes the various trades in an exaggeratedly disparaging fashion in order to convince students tired of studying that their lot as scribes will be far superior to that of the ordinary man in the street. Some scholars like Helck think that, rather than satirical, the descriptions were intended to be serious.

The Papyrus Anastasi I (late 2nd millennium B.C.E.) contains the text of a satirical letter in which the writer at first praises the virtues but then mercilessly mocks the meagre knowledge and achievements of the recipient of the letter.

Greece and Ancient Rome

The Greek had no word for what later would be called a satire, although cynicism and parody were used. In retrospect, the Greek playwright Aristophanes is one of the best known early satirists; he is particularly famous for his political satire in which he criticized the powerful Cleon (as in The Knights) and for the persecution he underwent.

The oldest form of satire still in use is the Menippean satire by Menippos of Gadara. His own writings are lost, but his admirers and imitators mix seriousness and mocking in dialogues and parodies before a background of diatribe, a cynicistic criticism, a very biting comment by cynics.

In Rome, the first to discuss satire critically was Quintilian, who invented the term to describe the writings of Lucilius. In the 16th century, most believed that the term satire came from the Greek satyr; satyrs were the companions of Dionysos and central characters of the satyr plays of the Theatre of Ancient Greece. Its derivatives satirical and satirise are indeed, but the style of the Roman satire is rather linked to the satira, or satura lanx, a "dish of fruits" resembling the colourful mockings or figuratively a "medley." Pliny reports that the 6th century B.C.E. poet Hipponax wrote satirae that were so cruel that the offended hanged themselves. The confusion with the satyr supported the understanding of satire as biting, like Juvenal, and not mild, like Horace, method of criticism in Early Modern Europe until the 17th century.

Criticism of Roman emperors (notably Augustus) needed to be presented in veiled ironical terms - but the term when applied to Latin works actually titled as "satires" is much wider than in the modern sense of the word, including fantastic and highly coloured humorous writing with little or no real mocking intent.

Prominent satirists from Roman antiquity include Horace and Juvenal, who were active during the early days of the Roman Empire and are the two most influential Latin satirists. Other important Roman satirists are Lucilius and Persius.

Middle Ages

There are examples of satire from the Early Middle Ages, especially songs by goliards or vagants now best known as an anthology called Carmina Burana and made famous as texts of a composition by the 20th century composer Carl Orff. Satirical poetry is believed to have been popular, although little has survived. With the advent of the High Middle Ages and the birth of modern vernacular literature in the 12th century, it began to be used again, most notably by Chaucer. The disrespectful manner was considered "Unchristian" and ignored but for the moral satire, which mocked misbehavior in Christian terms. Examples are Livre des Manières (~1170), and in some of Chaucer's Canterbury Tales. The epos was mocked, and even the feudal society, but there was hardly a general interest in the genre. After the Middle Ages in the Renaissance reawakening of Roman literary traditions, the satires Till Eulenspiegel and Reynard the Fox were published, and also in Sebastian Brant's Narrenschiff (1494), Erasmus' Moriae Encomium (1509) and Thomas More's Utopia (1516).

Early modern western satire

The Elizabethan (i.e. 16th century English) writers thought of satire as related to the notoriously rude, coarse and sharp satyr play. Elizabethan "satire" (typically in pamphlet form) therefore contains more straight forward abuse than subtle irony. The French Huguenot Isaac Casaubon pointed out in 1605 that satire in the Roman fashion was something altogether more civilised. 17th century English satire once again aimed at the "amendment of vices" (Dryden).

Direct social commentary via satire returned with a vengeance in the 16th century, when farcical texts such as the works of François Rabelais tackled more serious issues (and incurred the wrath of the crown as a result). In the Age of Enlightenment, an intellectual movement in the 17th and 18th century advocating rationality, began the breakthrough of English satire, largely due to the creation of Tory and Whig groups and the necessity to convey the true meaning of criticism, especially true for Daniel Defoe, Jonathan Swift, John Dryden and Alexander Pope. Here, astute and biting satire of institutions and individuals became a popular weapon. Although Isaac Casaubon discovered and published Quintilian's writing and presented the original meaning of the term (satira, not satyr), Early Modern satire was already an established genre, but the sense of wittiness (reflecting the "dishfull of fruits") became more important again.

Jonathan Swift was one of the greatest of Anglo-Irish satirists, and one of the first to practice modern journalistic satire. For instance, his "A Modest Proposal" suggests that poor Irish parents be encouraged to sell their own children as food, or dissenters be slaughtered by the High Church. Swift creates a moral fiction, a world in which parents do not have their most obvious responsibility, which is to protect their children from harm. His purpose is of course to attack indifference to the plight of the desperately poor. John Dryden also wrote an influential essay on satire that helped fix its definition in the literary world.

Persia

Obeid e zakani introduced satire into Persia during the 14th century. Between 1905 and 1911, Bibi Khatoon Astarabadi and other Iranian writers wrote notable satires.

Anglo-American satire

Ebenezer Cooke, author of "The Sot-Weed Factor," was among the first to bring satire to the British colonies; Benjamin Franklin and others followed, using satire to shape an emerging nation's culture through shaping its sense of the ridiculous.

Mark Twain was a great American satirist: his novel Huckleberry Finn is set in the antebellum South, where the moral values Twain wishes to promote are completely turned on their heads. His hero, Huck, is a rather simple but good-hearted lad who is ashamed of the "sinful temptation" that leads him to help a runaway slave. In fact his conscience – warped by the distorted moral world he has grown up in, often bothers him most when to he is at his best. Ironically, he is prepared to do good, believing it to be wrong.

Twain's younger contemporary Ambrose Bierce gained notoriety as a cynic, pessimist and black humourist with his dark, bitterly ironic stories, many set during the American Civil War, which satirized the limitations of human perception and reason. Bierce's most famous work of satire is probably The Devil's Dictionary, in which the definitions mock cant, hypocrisy and received wisdom.

20th century satire

In the 20th century, satire has been used by authors such as Aldous Huxley and George Orwell to make serious and even frightening commentaries on the dangers of the sweeping social changes taking place throughout Europe and United States. The film, The Great Dictator (1940) by Charlie Chaplin is a satire on Adolf Hitler. Many social critics of the time, such as Dorothy Parker and H. L. Mencken used satire as their main weapon, and Mencken in particular is noted for having said that "one hoarse laugh is worth ten thousand syllogisms" in the persuasion of the public to accept a criticism.

The film Dr. Strangelove from 1964 was a popular satire on the Cold War. A more humorous brand of satire enjoyed a renaissance in the UK in the early 1960s with the Satire Boom, led by such luminaries as Peter Cook, John Cleese, Alan Bennett, Jonathan Miller, David Frost, Eleanor Bron and Dudley Moore and the television programme That Was The Week That Was. As in popular satire, much of their work is also caricature and parody, and much of it does not distinguish but prefer to make entertainment rather than outright criticism.

Contemporary satire

Contemporary popular usage often uses the term "satire" in a very imprecise manner. While satire often uses caricature and parody; by no means all uses of these, and other humorous devices, are satiric. Refer to the careful definition of satire that heads this article.

Stephen Colbert’s television program The Colbert Report is instructive in the methods of contemporary Western satire. Colbert's character is an opinionated and self-righteous commentator who, in his TV interviews, interrupts people, points and wags his finger at them, and "unwittingly" uses every logical fallacy known to man. In doing so, he demonstrates the principle of modern American satire: the ridicule of the actions of politicians and other public figures by taking all their statements and purported beliefs to their furthest (supposedly) logical conclusion, thus revealing their hypocrisy and stupidity.

Cartoonists often use satire as well as straight humour. Garry Trudeau, whose comic strip Doonesbury has charted and recorded every American folly for the last generation, deals with story lines such as Vietnam (and now, Iraq), dumbed-down education, and over-eating at "McFriendly's." Trudeau exemplifies humor mixed with criticism. Recently, one of his gay characters lamented that because he was not legally married to his partner, he was deprived of the "exquisite agony" of experiencing a nasty and painful divorce like heterosexuals. This, of course, satirized the claim that gay unions would denigrate the sanctity of heterosexual marriage. Doonesbury also presents an example of how satire can cause social change. The comic strip satirized a Florida county that had a law requiring minorities to have a passcard in the area; the law was soon repealed with an act nicknamed the Doonesbury Act.

Like some literary predecessors, many recent television "satires" contain strong elements of parody and caricature; for instance the popular animated series The Simpsons and South Park both parodise modern family and social life by taking their assumptions to the extreme. As well as the purely humorous effect of this sort of thing, they often strongly criticise various phenomena in politics, economic life, religion and many other aspects of society. Due to their animated nature, these shows can easily use images of public figures and generally have greater freedom to do so than conventional shows using live actors.

Satires and parodies are common on the internet; one of the most prominent examples is the news satire site The Onion, which publishes parodies with satirical content. Another example is OrionAndOrion.com, which focuses on technology and the internet landscape.

Satirical television shows such as Have I Got News For You and They Think It's All Over are also popular on British television. Another example would be The Chaser's War on Everything and The Chaser's other program, CNNNN, which are popular satirical Australian television shows.

Misconception of satire

Because satire often combines anger and humour it can be profoundly disturbing - because it is essentially ironic or sarcastic, it is often misunderstood.

Common uncomprehending responses to satire include revulsion (accusations of poor taste, or that it's "just not funny" for instance), to the idea that the satirist actually does support the ideas, policies, or people he is attacking.

For instance, at the time of its publication, many people misunderstood Swift’s purpose in "A Modest Proposal" – assuming it to be a serious recommendation of economically-motivated cannibalism.

Satire under fire

Because satire is stealthy criticism, it frequently escapes censorship. Periodically, however, it runs into serious opposition.

In 1599, the Archbishop of Canterbury John Whitgift and the Bishop of London George Abbot, whose offices had the function of licensing books for publication in England, issued a decree banning verse satire. The decree ordered the burning of certain volumes of satire by John Marston, Thomas Middleton, Joseph Hall, and others; it also required histories and plays to be specially approved by a member of the Queen's Privy Council, and it prohibited the future printing of satire in verse. The motives for the ban are obscure, particularly since some of the books banned had been licensed by the same authorities less than a year earlier. Various scholars have argued that the target was obscenity, libel, or sedition. It seems likely that lingering anxiety about the Martin Marprelate controversy, in which the bishops themselves had employed satirists, played a role; both Thomas Nashe and Gabriel Harvey, two of the key figures in that controversy, suffered a complete ban on all their works. In the event, though, the ban was little enforced, even by the licensing authority itself.

In Italy the media tycoon Silvio Berlusconi attacked RAI Television's satirical series, Raiot, Daniele Luttazzi's Satyricon, Enzo Biagi, Michele Santoro's Sciuscià, even a special Blob series on Berlusconi himself, by arguing that they were vulgar and full of disrespect to the government. He claimed that he would sue the RAI for 21,000,000 Euros if the show went on. RAI stopped the show. Sabina Guzzanti, creator of the show, went to court to proceed with the show and won the case. However, the show never went on air again.

In 2001 the British television network Channel 4 aired a special edition of the spoof current affairs series Brass Eye, which was intended to mock and satirize the fascination of modern journalism with child molesters and pedophiles. The TV network received an enormous number of complaints from members of the public, who were outraged that the show would mock a subject considered by many to be too "serious" to be the subject of humour.

In 2005, the Jyllands-Posten Muhammad cartoons controversy caused global protests by offended Muslims and violent attacks with many fatalities in the Near East. It was not the first case of Muslim protests against criticism in the form of satire, but the Western world was surprised by the hostility of the reaction: Any country's flag in which a newspaper chose to publish the parodies was being burnt in a Near East country, then embassies were attacked, killing 139 people in mainly four countries (see article); politicians throughout Europe agreed that satire was an aspect of the freedom of speech, and therefore to be a protected means of dialogue. Iran threatened to start an International Holocaust Cartoon Competition, which was immediately responded to by Jews with a Israeli Anti-Semitic Cartoons Contest. Although not really satirical, the response to Salman Rushdie's Satanic Verses from 1988 was similarly violent; Khomeinei responded with a fatwa, death sentence, for the author, resulting in a 10-year breach of Irano-British diplomatic relations and a continued threat to the author's life.

In 2006 British comedian Sacha Baron Cohen released Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan a "mockumentary" that satirized everyone, from high society to frat boys. Criticism of the film was heavy, from claims of antisemitism (forgetting the author is Jewish), to the massive boycott of the film by the Kazakh government; the film itself had been a reaction to a longer quarrel between the government and the comedian.

Satire being prophetic

Satire is often prophetic: the jokes precede actual events. Among the eminent examples is the 1784 presaging of modern Daylight saving time, later actually proposed in 1907. While an American envoy to France, Benjamin Franklin anonymously published a letter in 1784 suggesting that Parisians economize on candles by arising earlier to use morning sunlight. In the 1920s an English cartoonist imagined a very laughable thing for that time: a hotel for cars. He drew a Multi-story car park.

See also

• List of satirists and satires

References

• Lee, Jae Num. "Scatology in Continental Satirical Writings from Aristophanes to Rabelais" and "English Scatological Writings from Skelton to Pope." Swift and Scatological Satire. Albuquerque: U of New Mexico P, 1971. 7-22; 23-53.
• Jacob Bronowski & Bruce Mazlish, The Western Intellectual Tradition From Leonardo to Hegel, p. 252 (1960; as repub. in 1993 Barnes & Noble ed.).
• Theorizing Satire: A Bibliography [3], by Brian A. Connery, Oakland University
• Bloom, Edward A. . "Sacramentum Militiae: The Dynamics of Religious Satire." Studies in the Literary Imagination 5 (1972): 119-42.
• The Modern Satiric Grotesque. Lexington: U of Kentucky P, 1991.

Theories/Critical approaches to satire as a genre:

• Frye, Northrop. Anatomy of Criticism. (See in particular the discussion of the 4 "myths").
• Hammer, Stephanie. Satirizing the Satirist.
• Highet, Gilbert. Satire.
• Kernan, Alvin. The Cankered Muse

The Plot of Satire.

• Seidel, Michael. Satiric Inheritance.

Credits

New World Encyclopedia writers and editors rewrote and completed the Wikipedia article in accordance with New World Encyclopedia standards. This article abides by terms of the Creative Commons CC-by-sa 3.0 License (CC-by-sa), which may be used and disseminated with proper attribution. Credit is due under the terms of this license that can reference both the New World Encyclopedia contributors and the selfless volunteer contributors of the Wikimedia Foundation. To cite this article click here for a list of acceptable citing formats.The history of earlier contributions by wikipedians is accessible to researchers here:

• 169592991  ^history

The history of this article since it was imported to New World Encyclopedia:

• History of "Satire"

Note: Some restrictions may apply to use of individual images which are separately licensed.