See also:

• SATIRE (Lat. satira, satura; see below)

SATIRE (See also:

• LAT

Lat. satira, satura; see below)  . See also:

• SATIRE (Lat. satira, satura; see below)

Satire, in its See also:

• LITERARY

literary aspect, may be defined as the expression in adequate terms of the sense of amusement or disgust excited by the ridiculous or unseemly, provided that See also:

• HUMOUR (Latin humor)

humour is a distinctly recognizable See also:

• ELEMENT (Lat. elementum)

element, and that the utterance is invested with literary See also:

• FORM (Lat. forma)

form . Without humour, satire is invective; without literary form, it is See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere clownish jeering . It is indeed exceedingly difficult to define the limits between satire and the regions of literary sentiment into which it shades . The first exercise of satire was no doubt coarse and boisterous . It must have consisted in gibing at See also:

• PERSONAL

personal defects; and See also:

• HOMER, WINSLOW (1836-191o)

Homer's description of See also:

• THERSITES

Thersites, the earliest example of literary satire that has come down to us, probably conveys an accurate delineation of the first satirists . The See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character reappears in the heroic romances of See also:

• IRELAND
• IRELAND, CHURCH
• IRELAND, CHURCH OF
• IRELAND, JOHN (1761-1842)
• IRELAND, JOHN (1838- )
• IRELAND, WILLIAM HENRY (1777-1835)

Ireland and elsewhere; and it is everywhere implied that the licensed backbiter is a warped and distorted being, readier with his See also:

• TONGUE (O. Eng. lunge)

tongue than his hands . To dignify satire by rendering it the See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument of morality or the See also:

• ASSOCIATE (Lat. associates, from ad, to, and sociare to join)

associate of See also:

• POETRY

poetry was a development implying considerable advance in the literary See also:

• ART

art . The latter is the course adopted in the Old Testament, where the few passages approximating to satire, such as Jotham's See also:

• PARABLE (Gr. 7apa(3oXi7, a comparison or similitude)

parable of the bramble and See also:

• JOB

Job's ironical address to his See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends, are embellished either by See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy or by feeling . An intermediate See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage between personal ridicule and the correction of faults and follies seems to have been represented in See also:

• GREECE

Greece by the Margites, attributed to Homer, which, while professedly lampooning an individual, practically rebuked the meddling sciolism impersonated in him . In the accounts that have come down to us of the writings of See also:

• ARCHILOCHUS

Archilochus, the first See also:

• GREAT

great See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of satire, we seem to trace the See also:

• ELEVATION

elevation of the instrument. of private animosity to an element in public See also:

• LIFE

life . Though a, merciless assailant of individuals, Archilochus was also a distinguished statesman, naturally for the most See also:

• PART

part in opposition, and his writings seem to have fulfilled many of the functions of a See also:

• NEWS

news-See also:

• PAPER
• PAPER (Fr. papier, from Lat. papyrus)

paper See also:

• PRESS (through Fr. presse from Lat. pressare, frequentative of premere, to crush, squeeze, press)

press .

Their merit is attested by See also:

• QUINTILIAN [MARCUS FABIUS QUINTILIANUS] (C. A.D. 35-95)

Quintilian; and See also:

• GORGIAS (c. 483–375 B.C.)

Gorgias's comparison of them with See also:

• PLATO

Plato's persiflage of the See also:

• SOPHISTS (from Gr. codtoris, literally, man of wisdom)

Sophists proves that their virulence must have been tempered by See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace and refinement . Archilochus also gave satiric poetry its accepted form by the invention of the See also:

• IAMBIC

iambic trimeter, slightly modified into the scazonic See also:

• METRE ((terpuc?, sc. rFxvf, from Gr. Or poi', measure)

metre by.his successors . See also:

• SIMONIDES (or SEMONIDES) OF AMORGOS

Simonides of Amorgus and Hipponax were distinguished like Archilochus for the bitterness of their attacks on individuals, with which the formercombined a strong ethical feeling and the latter a See also:

• BRIGHT, JOHN (1811-188g)
• BRIGHT, SIR CHARLES TILSTON

bright active fancy . All three were restless and turbulent, aspiring and-discontented, impatient of abuses and theoretically enamoured of See also:

• LIBERTY (Lat. libertas, from liber, free)

liberty; and the loss of their writings, which would have thrown great See also:

• LIGHT

light on the politics as well as the See also:

• MANNERS, CHARLES (1857– )

manners of Greece, is to be lamented . With Hipponax the See also:

• DIRECT

direct See also:

• LINE

line of See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek satire is interrupted; but two new forms of literary See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition, capable of being the vehicles of satire, almost simultaneously appear . See also:

• FABLE (Fr. fable, Lat. fabula)

Fable is first heard of in See also:

• ASIATIC

Asiatic Greece about this date; and, although its See also:

• ORIGINAL

original intention does not seem to have been satirical its adaptability to satiric purposes was soon discovered . A far more important step was the elevation of the See also:

• RUDE, FRANCOIS (1784–1855)

rude fun of rustic merrymakings to a literary status by the See also:

• EVOLUTION

evolution of the See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama from the Bacchic festival . The means had now been found of allying the satiric spirit with exalted poetry, and their See also:

• UNION
• UNION (known locally as Union Hill and officially as Town of Union)

union was consummated in the comedies of See also:

• ARISTOPHANES
• ARISTOPHANES (c. 448–385 B.e.1)

Aristophanes . A rude form of satire had existed in See also:

• ITALY
• ITALY (Italia)

Italy from an See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early date in the shape of the Fescennine verses, the rough and licentious pleasantry of the vintage and See also:

• HARVEST (A.S. hcerfest " autumn," O.H. Ger. herbist, possibly through an old Teutonic root representing Lat. car pere, " to pluck ")

harvest, which, lasting down to the 16th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, inspired Tansillo's Vendemmiatore . As in Greece, these eventually, about 364 B.C., were See also:

• DEVELOPED

developed into a rude drama, originally introduced as a religious expiation . This was at first, See also:

• LIVY [Thus L1v1us] (59 B.C.—A.D: 17)

Livy tells us (vii. a), merely pantomimic, as the See also:

• DIALECT (from Gr. Sia stcror, conversation, manner of speaking, &aXeyec6at, to converse)

dialect of the Tuscan actors imported for the occasion was not understood at See also:

• ROME
• ROME (Roma)

Rome . See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

Verse, " like to the Fescennine verses in point of See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style and manner," was soon added to accompany the mimetic See also:

• ACTION

action, and, with reference to the variety of metres employed, these probably improvised composition were entitled Saturae, a See also:

• TERM

term denoting See also:

• MISCELLANY

miscellany, and derived from the satura lanx, " a charger filled with the first-fruits of the See also:

• YEAR

year's produce, anciently offered to Bacchus and See also:

• CERES

Ceres." The See also:

• ROMANS
• ROMANS, EPISTLE TO THE

Romans thus had originated the name of satire, and, in so far as the Fescennine drama consisted of raillery and ridicule, possessed the thing also; but it had not yet assumed a literary form among them .

Livius Andronicus (240 B.c.), the first See also:

• REGULAR

regular Latin dramatic poet, appears to have been little more than a translator from the Greek . Satires are mentioned among the literary productions of See also:

• ENNIUS, QUINTUS (239-170 B.c.)

Ennius (20o B.C.) and See also:

• PACUVIUS, MARCUS (c. 220-130 B.C.)

Pacuvius (170 B.C.), but the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title rather refers to the variety of metres employed than to the See also:

• GENIUS (from Lat. genere, gignere)

genius of the composition . The real inventor of See also:

• ROMAN

Roman satire is See also:

• GAIUS

Gaius See also:

• LUCILIUS, GAIUS (c. 18o–ro3 B.C.)

Lucilius (148-103 B.C.), whose Satirae seem to have been mostly satirical in the See also:

• MODERN

modern acceptation of the term, while the subjects of some of them prove that the title continued to be applied to See also:

• MISCELLANEOUS

miscellaneous collections of poems, as was the See also:

• CASE
• CASE, JOHN (d. 1600)

case even to the See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time of See also:

• VARRO, MARCUS TERENTIUS (116—27 B.C.)
• VARRO, PUBLIUS TERENTIUS

Varro, whose " Saturae " included See also:

• PROSE

prose as well as verse, and appear to have been only partially satirical . The fragments of Iucilius preserved are scanty, but the See also:

• VERDICT (O. Fr. verdit, Lat. vere dictum, truly said, used in Late Latin in one word with its present significance)

verdict of See also:

• HORACE [QuINTus HORATIUS FLACCUS] (65-8 B.C.)

Horace, See also:

• CICERO

Cicero and Quintilian demonstrates that he was a considerable poet . It is needless to dwell on compositions so universally known as the Satires of Lucilius's successor Horace, in whose hands this class of composition received a new development, becoming genial, playful and persuasive . " See also:

• ARCH
• ARCH, JOSEPH (1826– )

Arch Horace strove to mend." The didactic element preponderates still more in the philosophical satires of See also:

• PERSIUS

Persius . Yet another form of satire, the rhetorical, was carried to the utmost limits of excellence by See also:

• JUVENAL (DECIMUS JUNIUS JUVENALIS) (c. 60-140)

Juvenal, the first example of a great tragic satirist . Nearly at the same time See also:

• MARTIAL (MARCUS VALERIUS MARTIALIS)

Martial, improving on earlier Roman See also:

• MODELS

models now lost, gave that satirical turn to the See also:

• EPIGRAM

epigram which it only exceptionally possessed in Greece, but has ever since retained . About the same time another variety of satire came into See also:

• VOGUE, EUGENE MELCHIOR, COMTE DE (1848- )

vogue, destined to become the most important of any . The Milesian See also:

• TALE (O.Eng. talu, number, account, story; the word is common to many Teutonic languages; cf. Ger. Zahl, number, Erzahlung, narrative, Du. taal, speech, language)

tale. a form of entertainment probably of Eastern origin, See also:

• GREW, NEHEMIAH (1641-1712)

grew in the hands of See also:

• PETRONIUS (G. (?)1

Petronius and See also:

• APULEIUS, LUCIUS

Apuleius into the satirical See also:

• ROMANCE

romance, immensely widening the satirist's See also:

• FIELD (a word common to many West German languages, cf. Ger. Feld, Dutch veld, possibly cognate with O.E. f olde, the earth, and ultimately with root of the Gr. irAaror, broad)
• FIELD, CYRUS WEST (1819-1892)
• FIELD, DAVID DUDLEY (18o5-1894)
• FIELD, EUGENE (1850-1895)
• FIELD, FREDERICK (18o1—1885)
• FIELD, HENRY MARTYN (1822-1907)
• FIELD, JOHN (1782—1837)
• FIELD, MARSHALL (183 1906)
• FIELD, NATHAN (1587—1633)
• FIELD, STEPHEN JOHNSON (1816-1899)
• FIELD, WILLIAM VENTRIS FIELD, BARON (1813-1907)

field and exempting him from the restraints of metre . Petronius's " Supper of Trimalchio is the See also:

• REVELATION, BOOK OF

revelation of a new vein, never fully worked till our days . As the novel arose upon the ruins of the epic, so See also:

• DIALOGUE

dialogue sprang up upon the See also:

• WRECK

wreck of See also:

• COMEDY

comedy, In See also:

• LUCIAN (d. 312)
• LUCIAN [Aowaavos] (c. A.D. 120-180)

Lucian comedy appears adapted to suit the exigencies of an See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age in which a living drama had become impossible .

With him See also:

• ANTIQUE (Lat. antiquus, old)

antique satire expires as a distinct See also:

• BRANCH (from the Fr. branche, late Lat. branca, an animal's paw)

branch of literature, though mention should be made of the sarcasms and libels with which the See also:

• POPULATION (Lat. populus, people; populare, to populate)

population of See also:

• EGYPT

Egypt were for centuries accustomed to insult the Roman conqueror and his parasites . A denunciation of the apostate poet See also:

• HOR, MOUNT (nirt)

Hor-Uta—a See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of See also:

• EGYPTIAN

Egyptian " Lost See also:

• LEADER, BENJAMIN WILLIAMS (1831– )

Leader "—composed under See also:

• AUGUSTUS (a name 1 derived from Lat. augeo, increase, i.e. venerable, majestic, Gr. Ee0avr6s)

Augustus, has been published by M . Revillout from a See also:

• DEMOTIC (Gr. Srlµorucos, of or belonging to the people)

demotic See also:

• PAPYRUS

papyrus . After the great See also:

• DELUGE, THE (through the Fr. from Lat. diluvium, flood, diluere, to wash away)

deluge of barbarism has begun to retire, one form of satire after another peeps forth from the receding See also:

• FLOOD (in O. Eng. flod, a word common to Teutonic languages, cf. Ger. Flut, Dutch vloed, from the same root as is seen in " flow," " float ")
• FLOOD, HENRY (1732-1791)

flood, the See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order of development being determined by the circumstances of time and See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place . In the See also:

• BYZANTINE

Byzantine See also:

• EMPIRE

empire, indeed, the See also:

• LINK

link of continuity is unbroken, and such raillery of abuses as is possible under a despotism finds vent in the See also:

• PALE (through Fr. pal, from Lat. palms, a stake, for paglus, from the stem pag- of pangere, to fix; " pole " is from the same original source)

pale copies of Lucian published in Adolf Ellissen's Analekten . The first really important satire, however, is a product of western See also:

• EUROPE

Europe, recurring to the See also:

• PRIMITIVE

primitive form of fable, upon which, nevertheless, it constitutes a decided advance . Reynard the See also:

• FOX
• FOX, C
• FOX, CHARLES JAMES (1749-1806)
• FOX, EDWARD (c. 1496-1538)
• FOX, GEORGE (1624-1691)
• FOX, RICHARD (c. 1448-1528)
• FOX, ROBERT WERE (1789—1877)
• FOX, SIR STEPHEN (1627–1716)
• FOX, SIR WILLIAM (1812-1893)

Fox, a genuine expression of the shrewd and homely See also:

• TEUTONIC
• TEUTONIC (GERMANIC) LANGUAGES

Teutonic mind, is a landmark in literature . It gave the beast-epic a development of which the ancients had not dreamed, and showed how ridicule could be conveyed in a form difficult to resent . About the same time, probably, the popular See also:

• INSTINCT

instinct, perhaps deriving a hint from Rabbinical literature, fashioned Morolf, the prototype of Sancho Panza, the incarnation of sublunar See also:

• MOTHER

mother-wit contrasted with the starry See also:

• WISDOM, BOOK OF, or WISDOM OF SOLOMON (Sept. Io4ia IaXwµwvos; Lat. Vulg. Liber sapientiae)

wisdom of See also:

• SOLOMON, ODES OF
• SOLOMON, PSALMS OF

Solomon; and the Till See also:

• EULENSPIEGEL [ULENSPIEGEL], TILL

Eulenspiegel is a kindred Teutonic creation, but later and less significant . Piers Ploughman, the next great See also:

• WORK

work of the class, adapts the apocalyptic machinery of monastic and anchoritic See also:

• VISION (from Lat. videre, to see), or SIGHT

vision to the purposes of satire, as it had often before been adapted to those of ecclesiastical aggrandizement . The See also:

• CLERGY (M.E. clergie, O. Fr. clergie, from Low Lat. form clericia [Skean, by assimilation with O. Fr. clergie, Fr. clerge,from Low Lat. clericatus)
• CLERGY, BENEFIT OF

clergy were scourged with their own See also:

• ROD (O.E. rodd, probably related to Norw. rudda, stick, rodda, stake)
• ROD, EDOUARD (1857-1910)

rod by a poet and a Puritan too See also:

• EARNEST (probably a corruption of the obsolete arles or erles, adapted from Lat. equivalent arrha, due to a confusion with the adjective " earnest," serious, O. Eng. eornust, cognate with Ger. ernst)

earnest to be urbane . Satire is a distinct element in See also:

• CHAUCER, GEOFFREY (? 1340-1400)

Chaucer and See also:

• BOCCACCIO, GIOVANNI (1313-1375)

Boccaccio, who nevertheless cannot be ranked as satirists .

The See also:

• MOCK

mock-heroic is successfully revived by See also:

• LUIGI

Luigi See also:

• PULCI, LUIGI (1431-1487)

Pulci, and the See also:

• POLITICAL

political songs of the 14th and 15th centuries attest the See also:

• DIFFUSION (from the Lat. diffundere; dis-, asunder, and fundere, to pour out)

diffusion of a sense of humour among the See also:

• PEOPLE

people at large . The See also:

• RENAISSANCE, THE

Renaissance, restoring the knowledge and encouraging the See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation of classic models, sharpened the weapons and enlarged the armoury of the satirist . Partly, perhaps, because See also:

• ERASMUS, DESIDERIUS (1466–1536)

Erasmus was no poet, the Lucianic dialogue was the form in the ascendant of his age . Erasmus not merely employed it against superstition and See also:

• IGNORANCE (Lat. ignorantia, from ignorare, not to know); want of knowledge, a state of mind which in law has important consequences. A well-known legal maxim runs: ignorantia juris non excusat ("ignorance of the law does not excuse")

ignorance with See also:

• INFINITE (from Lat. in, not, finis, end or limit; cf. findere, to deave)

infinite and irresistible pleasantry, but fired by his example a bolder writer, untrammelled by the dignity of an arbiter in the See also:

• REPUBLIC (Lat. respublica, a commonweal or common-wealth)

republic of letters . The ridicule of Ulric von See also:

• HUTTEN, PHILIPP VON (c. 1511—1546)
• HUTTEN, ULRICH VON (1488—1523)

Hutten's Epistolae obscurorum virorum is annihilating, and the art there for the first time fully exemplified though See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long previously introduced by Plato, of putting the ridicule into the mouth of the victim, is perhaps the most deadly See also:

• SHAFT
• SHAFT (O. Eng., sceaft, from scafan, to shave; the word is common to Teutonic languages)

shaft in the See also:

• QUIVER

quiver of See also:

• SARCASM

sarcasm . It was afterwards used with even more pointed wit though with less exuberance of humour by See also:

• PASCAL, BLAISE (1623-1662)
• PASCAL, JACQUELINE (1625-T661)

Pascal, the first modern example, if See also:

• DANTE

Dante may not be so classed of a great tragic satirist . Ethical satire is vigorously represented by See also:

• SEBASTIAN
• SEBASTIAN, ST

Sebastian See also:

• BRANT, JOSEPH (1742-1807)
• BRANT, SEBASTIAN (1457-1521)

Brant and his imitator See also:

• ALEXANDER
• ALEXANDER (1461-1506)
• ALEXANDER (ALEXANDER OF BATTENBERG) (1857-1893)
• ALEXANDER (ALEXANDER OsxENOVici) (1876-1903)
• ALEXANDER, ARCHIBALD (1772—1851)
• ALEXANDER, FRANCIS (1800—1881)
• ALEXANDER, GEORGE (1858— )
• ALEXANDER, JOHN WHITE (1856- )
• ALEXANDER, JOSEPH ADDISON (18o9—186o)
• ALEXANDER, SIR JAMES EDWARD (1803—1885)
• ALEXANDER, WILLIAM (1824— )
• ALEXANDER, WILLIAM LINDSAY (1808—1884)

Alexander See also:

• BARCLAY, ALEXANDER (c. 1476-1552)
• BARCLAY, JOHN (1582-1621)
• BARCLAY, JOHN (1734-1798)
• BARCLAY, R
• BARCLAY, ROBERT (1648-1690)
• BARCLAY, WILLIAM (1546–1608)

Barclay; but in See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general the metrical satirists of the age seem tame in comparison with Erasmus and Hutten, though including the great name of See also:

• MACHIAVELLI, NICCOLO (1469-1527)

Machiavelli . See also:

• SIR

Sir See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas More cannot be accounted a satirist, but his See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea of an imaginary See also:

• COMMONWEALTH

commonwealth embodied the germ of much subsequent satire . In the succeeding See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period politics take the place of literature and See also:

• RELIGION
• RELIGION, FOLKLORE, CUSTOM

religion, producing in See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France the Satyre Menippee, elsewhere the satirical romance as represented by the Argenis of Barclay, which may be defined as the See also:

• ADAPTATION (from Lat. adaptare. to fit to)

adaptation of the style of Petronius to See also:

• STATE
• STATE, GREAT OFFICERS OF

state affairs . In See also:

• SPAIN
• SPAIN (Espana)

Spain, where no freedom of See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism existed, the satiric spirit took See also:

• REFUGE

refuge in the novela picaresca, the prototype of Le See also:

• SAGE, RUSSELL (1816-1906)

Sage and the ancestor of See also:

• FIELDING, ANTHONY VANDYKE COPLEY (1787-1855)
• FIELDING, HENRY (1707-1754)
• FIELDING, WILLIAM STEVENS (1848– )

Fielding; Quevedo revived the See also:

• MEDIEVAL

medieval See also:

• DEVICE

device of the vision as the vehicle of reproof; and Cervantes's immortal work might be classed as a satire were it not so much more . About the same time we See also:

• NOTICE

notice the See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance of direct imitation of the Roman satirists in See also:

• ENGLISH

English literature in the writings of See also:

• DONNE, JOHN (1573–1631)

Donne, See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

Hall and See also:

• MARSTON, JOHN (c. 1575-1634)
• MARSTON, PHILIP BOURKE (1850-1887)

Marston, the further elaboration of the mock-heroic by See also:

• TASSONI, ALESSANDRO (1565-1635)

Tassoni, and the See also:

• CULMINATION (from Lat. culmen, summit)

culmination of classical See also:

• ITALIAN

Italian satire in Salvator See also:

• ROSA, CARL AUGUST NICHOLAS (1843-1889)
• ROSA, MONTE
• ROSA, SALVATOR (1615-1673)

Rosa . The prodigious development of the drama at this time absorbed much See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent that would otherwise have been devoted to satire proper .

Most of the great dramatists of the 17th century were more or less satirists, See also:

• MOLIERE (1622-1673)

Moliere perhaps the most consummate that ever existed; but, with an occasional exception like See also:

• LES

Les Precieuses ridicules, the range of their See also:

• WORKS

works is too wide to admit of their being regarded as satires . The next great example of unadulterated satire is See also:

• BUTLER
• BUTLER (or BOTELER), SAMUEL (1612–168o)
• BUTLER (through the O. Fr. bouteillier, from the Late Lat. buticularius, buticula, a bottle)
• BUTLER, ALBAN (1710-1773)
• BUTLER, BENJAMIN FRANKLIN (1818-1893)
• BUTLER, CHARLES (1750–1832)
• BUTLER, GEORGE (1774-1853)
• BUTLER, JOSEPH (1692-1752)
• BUTLER, NICHOLAS MURRAY (1862– )
• BUTLER, SAMUEL (1774-1839)
• BUTLER, SAMUEL (1835-1902)
• BUTLER, SIR WILLIAM FRANCIS (1838– )
• BUTLER, WILLIAM ARCHER (1814-1848)

Butler's Hudibras, and perhaps one more truly representative of satiric aims and methods cannot easily be found . At the same period dignified political satire, bordering on invective, received a great development in See also:

• ANDREW (Gr. 'AvBp4as, manly)
• ANDREW, JOHN ALBION (1818-1867)

Andrew Marvell's Advices to a Painter, and was shortly afterwards carried to perfection in See also:

• DRYDEN, JOHN (1631-1700)

Dryden's See also:

• ABSALOM (Hebrew for " father of [or is] peace ")

Absalom and Achitophel ; while the light literary See also:

• PARODY (Gr. s-apybia, literally a song sung beside, a comic parallel)

parody of which Aristophanes had given the See also:

• PATTERN

pattern in his assaults on See also:

• EURIPIDES (48o–4o6 B.C.)

Euripides, and which See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare had handled somewhat carelessly in the Midsummer See also:

• NIGHT

Night's See also:

• DREAM (from a root dreug, connected with Germ. trugen, to deceive)

Dream, was effectively revived in the See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

duke of See also:

• BUCKINGHAM
• BUCKINGHAM, EARLS, MARQUESSES AND DUKES OF
• BUCKINGHAM, FIRST DUKE
• BUCKINGHAM, GEORGE VILLIERS, 1ST DUKE 0E1
• BUCKINGHAM, GEORGE VILLIERS, 2ND DUKE 0E1 (1628-1687)
• BUCKINGHAM, HENRY STAFFORD, 2ND DUKE OF3 (1454-1483)
• BUCKINGHAM, JAMES SILK (1786-1855)

Buckingham's See also:

• REHEARSAL (from " rehearse," to say over again, repeat, recount, O.Fr. rehercer, from re, again, and hercer, to harrow, cf. " hearse," the original meaning being to rake or go over the same ground again as with a harrow)

Rehearsal . In France Boileau was long held to have attained the ne plus ultra of the Horatian style in satire and of the mock-heroic, but See also:

• POPE (Gr. irarraas, post-classical Lat. papa, father)
• POPE, ALEXANDER (1688–1744)
• POPE, ALEXANDER (1763-1835)
• POPE, JANE (1742-1818)
• POPE, JOHN (1822-1892)
• POPE, SIR THOMAS (c. 1507-1559)

Pope was soon to show that further progress was possible in both . The See also:

• POLISH

polish, point and concentration of Pope remain unsurpassed, as do the amenity of See also:

• ADDISON, JOSEPH (1672-1719)

Addison and the daring yet severely logical See also:

• IMAGINATION

imagination of See also:

• SWIFT
• SWIFT, JONATHAN (1667—1745)

Swift; while the See also:

• HISTORY

History of See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• BULL
• BULL, GEORGE (1634–1710)
• BULL, JOHN (c. 1562–1628)
• BULL, OLE BORNEMANN (18ro-188o)

Bull and the Pseudologia place their friend See also:

• ARBUTHNOT, ALEXANDER (1538-1583)
• ARBUTHNOT, JOHN (1667-1735)

Arbuthnot in the first See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank of political satirists . The 18th century was, indeed, the age of satire . Serious poetry had for the time worn itself out; the most original geniuses of the age, Swift, See also:

• DEFOE, DANIEL (c. 1.659—1731)

Defoe and See also:

• RICHARDSON, GEORGE
• RICHARDSON, HENRY HOBSON (1838-1886)
• RICHARDSON, SAMUEL (1689-1761)
• RICHARDSON, SIR JOHN (1787-1865)

Richardson, are decidedly prosaic, and Pope, though a true poet, is less of a poet than Dryden . In See also:

• PROCESS

process of time imaginative See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power revives in See also:

• GOLDSMITH
• GOLDSMITH, LEWIS (c. 1763–1846)
• GOLDSMITH, OLIVER (1728–1774)

Goldsmith and See also:

• ROUSSEAU, JACQUES (1633-1693)
• ROUSSEAU, JEAN BAPTISTE (1671-1741)
• ROUSSEAU, JEAN JACQUES (1712-1778)
• ROUSSEAU, PIERRE ETIENNE THEODORE (1812–1867); French painter of the Barbizon school, was born in Paris on the 15th of April 1812, of a bourgeois family which included one or two artists. At first he received a business training, but soon displayed aptitu

Rousseau; meanwhile Fielding and See also:

• SMOLLETT, TOBIAS GEORGE (1721-1771)

Smollett have fitted the novel to be the vehicle of satire and much beside, and the literary stage has for a time been almost wholly engrossed by a See also:

• COLOSSAL

colossal satirist, a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man who has dared the universal application of See also:

• SHAFTESBURY
• SHAFTESBURY, ANTHONY ASHLEY COOPER, 1ST EARL OF (1621-1683)
• SHAFTESBURY, ANTHONY ASHLEY COOPER, 7TH EARL OF (1801–1885)
• SHAFTESBURY, ANTHONYASHLEY COOPER, 3RD EARL OF (1671-1713)

Shaftesbury's See also:

• MAXIM, SIR HIRAM STEVENS (184o- )

maxim that ridicule is the test of truth . The See also:

• WORLD

world had never before seen a satirist on the See also:

• SCALE
• SCALE (1) A

scale of See also:

• VOLTAIRE, FRANCOIS MARIE AROUET DE (1694–1778)

Voltaire, nor had satire ever played such a part as a See also:

• FACTOR (from Lat. facere, to make or do)

factor in impending See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change . As a master of sarcastic mockery he is unsurpassed ; his manner is entirely his own ; and he is one of the most intensely See also:

• NATIONAL

national of writers, notwithstanding his vast obligations to English humorists, statesmen and philosophers . English humour also played an important part in the literary regeneration of See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany, where, after Liscow and See also:

• RABENER, GOTTLIEB WILHELM (1714–1771)

Rabener, imitators of Swift and the essayists, See also:

• LESSING, GOTTHOLD EPHRAIM (1729–1781)

Lessing, imbued with Pope but not mastered by him, showed how powerful an See also:

• AUXILIARY (from Lat. auxilium, help)

auxiliary satire can be to criticism—a relation which Poise had somewhat inverted . Another great See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German writer, See also:

• WIELAND, CHRISTOPH MARTIN (1733-1813)

Wieland, owes little to the English, but adapts Lucian and Petronius to the 18th century with playful if somewhat mannered grace .

Kortum's Jobsiad, a most humorous poem, innovates successfully upon established models by making See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

low life, instead of See also:

• CHIVALRY (O. Fr. chevalerie, from Late Lat. caballerius)

chivalry, the subject of See also:

• BURLESQUE (Ital. burlesco, from burla, a joke, fun, playful trick)

burlesque . See also:

• GOETHE, JOHANN WOLFGANG VON (1749-1832)

Goethe and See also:

• SCHILLER, JOHANN CHRISTOPH FRIEDRICH VON (1759-18o5)

Schiller, See also:

• SCOTT, ALEXANDER (fl. 1550)
• SCOTT, DAVID (18o6-1849)
• SCOTT, MICHAEL (1789-1835)
• SCOTT, ROBERT (1811-1887)
• SCOTT, SIR GEORGE GILBERT (1811-1878)
• SCOTT, SIR WALTER, BART
• SCOTT, WILLIAM BELL (1811-1890)
• SCOTT, WINFIELD (1786-1866)

Scott and See also:

• WORDSWORTH, CHARLES (1806–1892)
• WORDSWORTH, CHRISTOPHER (1774–1846)
• WORDSWORTH, CHRISTOPHER (1807–1885)
• WORDSWORTH, DOROTHY (1771-1855)
• WORDSWORTH, WILLIAM (1770-185o)

Wordsworth, are now at See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, and as imagination gains ground satire declines . See also:

• BYRON, GEORGE GORDON BYRON, 6TH BARON (1788-1824)
• BYRON, HENRY JAMES (1834-1884)
• BYRON, HON
• BYRON, JOHN BYRON

Byron, who in the 18th century would have been the greatest of satirists, is hurried by the spirit of his age into See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion and description, bequeathing, however, a splendid See also:

• PROOF (in M. Eng. preove, proeve, preve, &°c., from O. Fr . prueve, proeve, &c., mod. preuve, Late. Lat. proba, probate, to prove, to test the goodness of anything, probus, good)

proof of the possibility of allying satire with sublimity in his Vision of See also:

• JUDGMENT

Judgment . See also:

• MOORE, A
• MOORE, ALBERT JOSEPH (1841–1893)
• MOORE, EDWARD (1712–1757)
• MOORE, GEORGE (1853– )
• MOORE, GEORGE FOOT (1851– )
• MOORE, HENRY (1831–1895)
• MOORE, JOHN (1729-1802)
• MOORE, SIR JOHN (1761-1809)
• MOORE, THOMAS (1779-1852)

Moore gives the epigram a lyrical turn; See also:

• BERANGER, PIERRE JEAN DE (178o-1857)

Beranger, not for the first time in See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French literature, makes the See also:

• GAY, JOHN (1685-1732)
• GAY, MARIE FRANCOISE SOPHIE (1776-1852)
• GAY, WALTER (1856– )

gay chanson the instrument of biting jest; and the classic type receives fresh currency from Auguste See also:

• BARBIER, ANTOINE ALEXANDRE (1765–1825)
• BARBIER, HENRI AUGUSTE (1805-1882)
• BARBIER, LOUIS

Barbier . See also:

• COURIER (from the O. Fr. courier, modern courrier, from Lat. currere, to run)
• COURIER, PAUL LOUIS (1773`1825)

Courier, and subsequently See also:

• CORMENIN, LOUIS MARIE DE LA HAYE, VICOMTE DE (1788-1868)

Cormenin, raise the political pamphlet to literary dignity by their poignant wit . See also:

• PEACOCK (Lat. Pavo, O. Eng. Pawe, Du. pauuw, Ger. Pfau, Fr. Paon)
• PEACOCK, GEORGE (1791–1858)
• PEACOCK, SIR BARNES (1810-189o)
• PEACOCK, THOMAS LOVE (1785-1866)

Peacock evolves a new type of novel from the study of Athenian comedy . See also:

• MISS

Miss See also:

• EDGEWORTH, MARIA (1767-1849)
• EDGEWORTH, RICHARD LOVELL (1744-1817)

Edgeworth skirts the confines of satire, and Miss See also:

• AUSTEN, JANE (1775-1817)

Austen seasons her novels with the most exquisite satiric traits . See also:

• WASHINGTON
• WASHINGTON (or WASHINGTON COURT HOUSE)
• WASHINGTON, BOOKER TALIAFERRO (c. 1859– )
• WASHINGTON, BUSHROD (1762-1829)
• WASHINGTON, GEORGE (1732-1799)

Washington See also:

• IRVING, EDWARD (1792-1834)
• IRVING, SIR HENRY (1838-1905)
• IRVING, WASHINGTON (1783-18J9)

Irving revives the manner of The Spectator, and See also:

• TIECK, JOHANN LUDWIG

Tieck brings See also:

• IRONY (Gr. dipaweLa, from eipwv, one who says less than he means, eiepees, to speak)

irony and persiflage to the discussion of See also:

• CRITICAL (in alphabetical order of authors)

critical problems . Two great satiric figures remain—one representative of his nation, the other most difficult to class . In all the characteristics of his genius See also:

• THACKERAY, WILLIAM MAKEPEACE (1811-1863)

Thackeray is thoroughly English, and the faults and follies he chastises are those especially characteristic of See also:

• BRITISH

British society . See also:

• GOOD, JOHN MASON (1764-1827)

Good sense and the See also:

• PERCEPTION (from Lat. percipere, to perceive)

perception of the ridiculous are amalgamated in him; his satire is a thoroughly British See also:

• ARTICLE (from Lat. articulus, a joint)

article, a little over-solid, a little wanting in finish, but honest, weighty and durable . Posterity must go to him for the humours of the age of See also:

• VICTORIA
• VICTORIA (or VITTORIA), TOMMASSO LUDOVICO DA (C. I540-C. 1613)
• VICTORIA [ALEXANDRINA VICTORIA]

Victoria, as they go to Addison for those of See also:

• ANNE (1665-1714)
• ANNE (1693-1740)

Anne's .

But See also:

• HEINE, HEINRICH, (1797-1856)

Heine hardly belongs to any nation or See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country, time or place . He ceased to be a German without becoming a Frenchman, and a See also:

• JEW, THE WANDERING

Jew without becoming a See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian . Only one portrait really suits him, that in Tieck's allegorical tale, where he is represented as a capricious and mischievous See also:

• ELF
• ELF (O. Eng. aelf; cf. Ger. Alp, nightmare)

elf ; but his See also:

• SONG

song is sweeter and his command over the springs of See also:

• LAUGHTER

laughter and tears greater than it suited Tieck's purpose to acknowledge . In him the satiric spirit, long confined to established literary forms, seems to obtain unrestrained freedom to wander where it will, nor have the See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient models been followed since by any considerable satirist except the Italian See also:

• GIUSTI, GIUSEPPE (1809–1850)

Giusti . The machinery employed by Moore was indeed transplanted to See also:

• AMERICA

America by See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James See also:

• RUSSELL (FAMILY)
• RUSSELL, ISRAEL COOK (1852- )
• RUSSELL, JOHN (1745-1806)
• RUSSELL, JOHN (d. 1494)
• RUSSELL, JOHN RUSSELL, 1ST EARL (1792-1878)
• RUSSELL, JOHN SCOTT (1808–1882)
• RUSSELL, LORD WILLIAM (1639–1683)
• RUSSELL, SIR WILLIAM HOWARD
• RUSSELL, THOMAS (1762-1788)
• RUSSELL, WILLIAM CLARK (1844– )

Russell See also:

• LOWELL
• LOWELL, ABBOTT LAWRENCE (1856— )
• LOWELL, CHARLES RUSSELL (1835-1864)
• LOWELL, JAMES RUSSELL (1819-1891)
• LOWELL, JOHN (1743-1802)

Lowell, whose Biglow Papers represent perhaps the highest moral level yet attained by satire . In no age was the spirit of satire so generally diffused as in the 19th century, but many of its eminent writers, while bordering on the domains of satire, See also:

• ESCAPE (in mid. Eng. eschape or escape, from the O. Fr. eschapper, modern echapper, and escaper, low Lat. escapium, from ex, out of, and cappa, cape, cloak; cf. for the sense development the Gr. iichueoOat, literally to put off one's clothes, hence to sli

escape the See also:

• DEFINITION (Lat. definitio, from de-finire, to set limits to, describe)

definition of satirist . The term cannot be properly applied to See also:

• DICKENS, CHARLES JOHN HUFFAM (1812-187o)

Dickens, the keen observer of the oddities of human life; or to See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George See also:

• ELIOT, CHARLES WILLIAM (1834– )
• ELIOT, GEORGE
• ELIOT, JOHN (1604-1690)
• ELIOT, SIR JOHN (1592-1632)

Eliot, the critic of its emptiness when not inspired by a worthy purpose; or to See also:

• BALZAC, HONORS DE (1790-1850)
• BALZAC, JEAN LOUIS GUEZ DE (1594-1654)

Balzac, the painter of French society; or to See also:

• TROLLOPE, ANTHONY (181 1882)

Trollope, the See also:

• MIRROR (through O. Fr. mirour, mod. miroir, from a sup-posed Late Lat. miratorium, from mirari, to admire)

mirror of the See also:

• MIDDLE

middle classes of See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England . If Sartor Resartus could be regarded as a satire, See also:

• CARLYLE, ALEXANDER (1722-1805)
• CARLYLE, JOSEPH DACRE (1759-18o4)
• CARLYLE, THOMAS (1795-1881)

Carlyle would rank among the first of satirists; but the satire, though very obvious, rather accompanies than inspires the composition . The number of See also:

• MINOR
• MINOR (Lat. for smaller, lesser)
• MINOR, ROBERT CRANNELL (1839-1904)

minor satirists of merit, on the other hand, is See also:

• LEGION (Lat. legio)

legion . See also:

• POOLE
• POOLE, MATTHEW (1624-1699)
• POOLE, PAUL FALCONER (1806-1879)
• POOLE, REGINALD STUART (1832-1895)

Poole, in his broadly farcical Little Pedlinglon, rang the changes with inexhaustible ingenuity on a single fruitful idea; See also:

• JERROLD, DOUGLAS WILLIAM (1803-1857)

Jerrold's comedies sparkle with epigrams, and his tales and sketches overflow with See also:

• QUAINT (O. Fr. cointe, from Lat. cognitus, known, probably influenced by association with Lat. corn plus, neat)

quaint humour; See also:

• MALLOCK, WILLIAM HURRELL (1849— )

Mallock, in his New Republic, made the most of personal See also:

• MIMICRY

mimicry, the lowest form of satire; See also:

• SAMUEL

Samuel Butler (Erewhon) holds an inverting mirror to the world's See also:

• FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face with imperturbable gravity; the humour of See also:

• BERNARD, CHARLES DE
• BERNARD, CLAUDE (1813-1878)
• BERNARD, JACQUES (1658--1718)
• BERNARD, MOUNTAGUE (1S2o—1882)
• BERNARD, SAINT
• BERNARD, SAINT (Iogo-1153)
• BERNARD, SIMON (1779—1839)
• BERNARD, SIR THOMAS, BART

Bernard See also:

• SHAW, GEORGE BERNARD (1856– )
• SHAW, HENRY WHEELER (1818–1885)
• SHAW, LEMUEL (1781–1861)
• SHAW, RICHARD NORMAN (1831– )

Shaw has always an essential character of satire—the sharpest social lash . One remarkable feature of the modern age is the union of See also:

• CARICATURE (Ital. caricatura, i.e. "ritratto ridicolo," from caricare, to load, to charge; Fr. charge)

caricature (q.v.) with literature . (R .