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A prominent feature of satire is strong [[irony]] or [[sarcasm]]—"in satire, irony is [[wikt:militant|militant]]", according to [[Literary criticism|literary critic]] [[Northrop Frye]]—<ref>{{cite book|title=Anatomy of Criticism|url=https://archive.org/details/anatomyofcritici0000frye|url-access=registration|last=Frye|first=Northrup|location=Princeton, NJ|publisher=Princeton UP|year=1957|isbn = 0-691-06004-5|page=[https://archive.org/details/anatomyofcritici0000frye/page/222 222]}}</ref> but [[parody]], [[burlesque (literary)|burlesque]], [[exaggeration]],<ref name="Claridge2010p257"/> [[juxtaposition]], comparison, analogy, and [[double entendre]] are all frequently used in satirical speech and writing. This "militant" irony or sarcasm often professes to approve of (or at least accept as natural) the very things the satirist wishes to question. Satire is found in many artistic forms of expression, including internet memes, literature, plays, commentary, [[satirical music|music]], [[satire (film and television)|film and television]] shows, and media such as lyrics. ==Etymology and roots== The word ''satire'' comes from the [[Latin language|Latin]] word ''satur'' and the subsequent phrase ''[[wikt:satura#Latin|lanx satura]].'' ''Satur'' meant "full", but the juxtaposition with ''lanx'' shifted the meaning to "miscellany or medley": the expression ''lanx satura'' literally means "a full dish of various kinds of fruits".<ref name="Kharpertian">{{cite book|first=Theodore D|last=Kharpertian|contribution=Thomas Pynchon and Postmodern American Satire|pages=25–7|editor-last=Kharpertian|url=https://books.google.com/books?id=um0h0arlUdoC|title=A hand to turn the time: the Menippean satires of Thomas Pynchon|isbn = 9780838633618|year=1990|publisher=Fairleigh Dickinson Univ Press}}</ref> The use of the word ''lanx'' in this phrase, however, is disputed by B.L. Ullman.<ref>{{cite journal|title=Satura and Satire|date=1913 |doi=10.1086/359771 |url=https://www.journals.uchicago.edu/doi/pdf/10.1086/359771|archive-url=https://web.archive.org/web/20210505095643/https://www.journals.uchicago.edu/doi/pdf/10.1086/359771|archive-date=2021-05-05|url-status=live |last1=Ullman |first1=B. L. |journal=Classical Philology |volume=8 |issue=2 |pages=172–194 |s2cid=161191881 }}</ref> The word ''satura'' as used by [[Quintilian]], however, was used to denote only Roman verse satire, a strict genre that imposed [[hexameter]] form, a narrower genre than what would be later intended as ''satire''.<ref name="Kharpertian"/><ref>{{Citation|title=Satyrica|last=Petronius|url=https://books.google.com/books?id=XrNEns3_yd0C&pg=PR24%20XXI|year=1996|publisher=University of California Press |isbn=978-0-520-21118-6 |language=en|translator-last=Kinney|translator-last2=Branham}}</ref> Quintilian famously said that ''satura,'' that is a satire in hexameter verses, was a literary genre of wholly Roman origin (''satura tota nostra est''). He was aware of and commented on Greek satire, but at the time did not label it as such, although today the origin of satire is considered to be [[Aristophanes' Old Comedy]]. The first critic to use the term ''satire'' in the modern broader sense was [[Apuleius]].<ref name="Kharpertian"/> To Quintilian, the satire was a strict literary form, but the term soon escaped from the original narrow definition. Robert Elliott writes: {{blockquote | 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.'{{Sfn | Elliott | 2004}}}} The word ''satire'' derives from ''satura'', and its origin was not influenced by the [[Greek mythology|Greek mythological]] figure of the ''[[satyr]]''.<ref>{{Citation|quote=The [[Renaissance]] confusion of the two origins encouraged a satire more aggressive than that of its Roman forebearers|first=BL|last=Ullman|title=Satura and Satire|journal=Classical Philology|volume=8|issue=2|pages=172–194|year=1913|jstor=262450|doi=10.1086/359771|s2cid=161191881}}</ref> In the 17th century, philologist [[Isaac Casaubon]] was the first to dispute the etymology of satire from satyr, contrary to the belief up to that time.<ref>{{Citation|title=Less Rightly Said: Scandals and Readers in Sixteenth-Century France|last=Szabari|first=Antonia|date=October 23, 2009 |publisher=Stanford University Press |isbn=978-0-8047-7354-6 |url=https://books.google.com/books?id=3-QJLqEwvb0C&pg=PA2|language=en}}</ref> ==Humour== {{rquote|right|The rules of satire are such that it must do more than make you laugh. No matter how amusing it is, it doesn't count unless you find yourself wincing a little even as you chuckle.<ref name="galaxy196806">{{Cite magazine|date=June 1968|title=Forecast|magazine=Galaxy Science Fiction|pages=113}}</ref>}} [[Laughter]] is not an essential component of satire;<ref>{{Citation|title=The Shape of Change: Essays in Early Modern Literature and La Fontaine in Honor of David Lee Rubin|last1=Birberick|url=https://books.google.com/books?id=ikGt9gkXv74C&pg=PA175|year=2002|last2=Ganim|publisher=Rodopi |isbn=90-420-1449-0 |language=en}}</ref> in fact, there are types of satire that are not meant to be "funny" at all. Conversely, not all humour, even on such topics as politics, religion or art is necessarily "satirical", even when it uses the satirical tools of irony, parody, and [[burlesque]]. Even light-hearted satire has a serious "after-taste": the organizers of the [[Ig Nobel Prize]] describe this as "first make people laugh, and then make them think".<ref>{{Citation|url=http://improbable.com/ig/|title=Improbable|date=July 5, 2004|contribution=Ig|access-date=February 20, 2012|archive-date=June 4, 2019|archive-url=https://web.archive.org/web/20190604012502/http://improbable.com/ig/|url-status=dead}}</ref> ==Social and psychological functions== [[File:Pedro II angelo agostini.jpg|thumb|A satire by [[Angelo Agostini]] to ''[[Revista Illustrada]]'' mocking the lack of interest from Emperor [[Pedro II of Brazil]] in politics toward the end of his reign]] Satire and [[irony]] in some cases have been regarded as the most effective source to understand a society, the oldest form of social study.<ref name="Rosenberg1960p155"/> They provide the keenest insights into a group's [[Collective unconscious|collective psyche]], reveal its deepest values and tastes, and the society's structures of power.<ref name="Deloria69p146"/><ref name="Nash1970p203"/> Some authors have regarded satire as superior to non-comic and non-artistic disciplines like history or [[anthropology]].<ref name="Rosenberg1960p155"/><ref name="Babcock1984"/><ref name="Coppola"/><ref>{{cite book|first=Jo|last=Coppola|title=Comedy on Television|publisher=Commonweal|date=December 12, 1958|page=288}}</ref> In a prominent example from [[ancient Greece]], philosopher [[Plato]], when asked by a friend for a book to understand Athenian society, referred him to the plays of [[Aristophanes]].<ref name="Willi2003p1"/><ref name="Ehrenberg1962p39"/> Historically, satire has satisfied the popular [[need]] to [[debunk]] and [[Ridiculous|ridicule]] the leading figures in politics, economy, religion and other prominent realms of [[Power (social and political)|power]].<ref name="Bevere2006p265"/> Satire confronts [[public discourse]] and the [[collective imaginary]], playing as a public opinion counterweight to power (be it political, economic, religious, symbolic, or otherwise), by challenging leaders and authorities. For instance, it forces administrations to clarify, amend or establish their policies. Satire's job is to expose problems and contradictions, and it is not obligated to solve them.<ref name="WieseForbes2010p.xv"/> [[Karl Kraus (writer)|Karl Kraus]] set in the history of satire a prominent example of a satirist role as confronting public discourse.<ref name="Knight2004p254"/> For its nature and social role, satire has enjoyed in many societies a special freedom license to mock prominent individuals and institutions.<ref name="Test1991p9licencequote"/> The satiric impulse, and its ritualized expressions, carry out the function of resolving social tension.<ref name="Test1991p8"/> Institutions like the [[ritual clown]]s, by giving expression to the [[antisocial tendencies]], represent a [[safety valve]] which re-establishes equilibrium and health in the [[collective imaginary]], which are jeopardized by the [[Social repression|repressive aspects of society]].<ref name="Cazeneuve1957p244"/><ref name="Durand1984p106"/> The state of [[political satire]] in a given society reflects the tolerance or intolerance that characterizes it,<ref name="Bevere2006p265"/> and the state of [[civil liberties]] and [[human rights]]. Under [[totalitarianism|totalitarian regimes]] any criticism of a political system, and especially satire, is suppressed. A typical example is the [[Soviet Union]] where the [[dissidents]], such as [[Aleksandr Solzhenitsyn]] and [[Andrei Sakharov]] were under strong pressure from the government. While satire of everyday life in the [[Soviet Union|USSR]] was allowed, the most prominent satirist being [[Arkady Raikin]], political satire existed in the form of [[anecdote]]s<ref>{{Citation|url=http://samlib.ru/j/jacko_w_a/anecdotes.shtml|last=Yatsko|first=V|title=Russian folk funny stories}}</ref> that made fun of Soviet political leaders, especially [[Brezhnev]], famous for his narrow-mindedness and love for awards and decorations. ==Classifications== Satire is a diverse genre which is complex to classify and define, with a wide range of satiric "modes".<ref>{{Citation|title=The Shape of Change: Essays in Early Modern Literature and La Fontaine in Honor of David Lee Rubin|last1=Birberick|url=https://books.google.com/books?id=ikGt9gkXv74C&pg=PA163|year=2002|last2=Ganim|publisher=Rodopi |isbn=90-420-1449-0 |language=en}}</ref><ref>David Worcester (1968) [https://books.google.com/books?id=foUbAQAAIAAJ ''The Art of Satire''] p.16</ref> ===Horatian, Juvenalian, Menippean=== [[File:Satire (Orazio) - pag. 12.JPG|thumb|upright|{{center|"Le satire e l'epistole di Q. Orazio Flacco", printed in 1814}}]] Satirical literature can commonly be categorized as either Horatian, Juvenalian, or [[Menippean satire|Menippean]].<ref>{{cite book|last=Müller|first=Rolf Arnold|title=Komik und Satire|year=1973|publisher=Juris-Verlag|location=Zürich|isbn=978-3-260-03570-8|language=de|page= 92}}</ref> ====Horatian==== Horatian satire, named for the Roman satirist [[Horace]] (65–8 BCE), playfully criticizes some social vice through gentle, mild, and light-hearted humour. Horace (Quintus Horatius Flaccus) wrote Satires to gently ridicule the dominant opinions and "philosophical beliefs of ancient Rome and Greece".<ref>{{cite web|url=http://www.wisegeek.com/what-is-horatian-satire.htm|title=What Is Horatian Satire?|work=wiseGEEK|date=May 3, 2023}}</ref> Rather than writing in harsh or accusing tones, he addressed issues with humor and clever mockery. Horatian satire follows this same pattern of "gently [ridiculing] the absurdities and follies of human beings".<ref name=nku.edu>{{cite web|url=http://www.nku.edu/~rkdrury/422/satire_terms.html|title=Satire Terms|work=nku.edu}}</ref> It directs wit, exaggeration, and self-deprecating humour toward what it identifies as folly, rather than evil. Horatian satire's sympathetic tone is common in modern society.<ref>{{cite book|first=Raja|last=Sharma|title="Comedy" in New Light-Literary Studies|year=2011}}</ref> A Horatian satirist's goal is to heal the situation with smiles, rather than by anger. Horatian satire is a gentle reminder to take life less seriously and evokes a wry smile.<ref name="nku.edu"/> ====Juvenalian==== {{See also|Satires of Juvenal}} Juvenalian satire, named for the writings of the Roman satirist [[Juvenal]] (late first century – early second century AD), is more contemptuous and abrasive than the Horatian. Juvenal disagreed with the opinions of the public figures and institutions of the Republic and actively attacked them through his literature. "He utilized the satirical tools of exaggeration and parody to make his targets appear monstrous and incompetent".<ref name="wisegeek.com">{{Cite web |last=Podzemny |first=Todd |date=2011-11-09 |title=What Is Juvenalian Satire? |url=https://www.languagehumanities.org/what-is-juvenalian-satire.htm |access-date=2024-09-16 |website=Language & Humanities}}</ref> Juvenal's satire follows this same pattern of abrasively ridiculing societal structures. Juvenal also, unlike Horace, attacked public officials and governmental organizations through his satires, regarding their opinions as not just wrong, but evil. Following in this tradition, Juvenalian satire addresses perceived social evil through scorn, outrage, and savage ridicule. This form is often pessimistic, characterized by the use of irony, sarcasm, moral indignation and personal invective, with less emphasis on humor. Strongly polarized political satire can often be classified as Juvenalian. A Juvenal satirist's goal is generally to provoke some sort of political or societal change because he sees his opponent or object as evil or harmful.<ref>{{cite web|url=http://www.literarydevices.com/satire/|title=Satire Examples and Definition|work=Literary Devices|date=January 30, 2015}}</ref> A Juvenal satirist mocks "societal structure, power, and civilization"<ref name="k887">{{Cite web |date=2013-09-02 |title=Definition, Types & Examples |url=https://study.com/academy/lesson/satire-in-literature-definition-types-examples.html |access-date=2024-09-16 |website=Study.com}}</ref> by exaggerating the words or position of his opponent in order to jeopardize their opponent's reputation and/or power. [[Jonathan Swift]] has been established as an author who "borrowed heavily from Juvenal's techniques in [his critique] of contemporary English society".<ref name="wisegeek.com" /> ====Menippean==== {{Main|Menippean satire}} ===Satire vis-à-vis teasing=== In the [[history of theatre]] there has always been a conflict between engagement and disengagement on [[politics]] and relevant issue, between satire and [[grotesque]] on one side, and [[jest]] with [[teasing]] on the other.<ref name="Fo1990p9"/> [[Max Eastman]] defined the [[spectrum]] of satire in terms of "degrees of biting", as ranging from satire proper at the hot-end, and "kidding" at the violet-end; Eastman adopted the term kidding to denote what is just satirical in form, but is not really firing at the target.<ref>{{Citation|author-link=Max Eastman|first=Max|last=Eastman|year=1936|chapter-url=https://books.google.com/books?id=Tyd5wwn8acwC&pg=PA236|title=Enjoyment of Laughter|chapter=IV. Degrees of Biting|pages=236–43|publisher=Transaction Publishers|isbn=9781412822626}}</ref> [[Nobel Prize in Literature|Nobel laureate]] satirical playwright [[Dario Fo]] pointed out the difference between satire and teasing (''sfottò'').<ref name="Lorch1997p128">{{Citation|author1-link=Dario Fo|first1=Dario|last1=Fo|first2=Jennifer|last2=Lorch|url=https://books.google.com/books?id=u12fXi_HDO4C&pg=PA128|title=Dario Fo|page=128|quote=In other writings Fo makes an important distinction between ''sfottò'' and satire.|isbn=9780719038488|year=1997|publisher=Manchester University Press}}</ref> Teasing is the [[reactionary]] side of the [[comic]]; it limits itself to a shallow [[parody]] of physical appearance. The side-effect of teasing is that it humanizes and draws sympathy for the powerful individual towards which it is directed. Satire instead uses the comic to go against power and its oppressions, has a [[subversive]] character, and a [[moral]] dimension which draws judgement against its targets.<ref name="Fo1990p2" /><ref name="Fo1990pn" /><ref name = "Arroyop303">{{Citation|first1=José Luís Blas|last1=Arroyo|first2=Mónica Velando|last2=Casanova|url=https://books.google.com/books?id=CxZ_zH44PVkC&pg=PA303|title=Discurso y sociedad: contribuciones al estudio de la lengua en...|volume=1|pages=303–4|isbn=9788480215381|year=2006|publisher=Publicacions de la Universitat Jaume I|language=es}}</ref><ref name="Morson1988p114">{{Citation|last=Morson|first=Gary Saul|year=1988|url=https://books.google.com/books?id=PpLiINhO83MC&pg=PA114|title=Boundaries of Genre|page=114|publisher=Northwestern University Press|quote=second, that parodies can be, as Bakhtin observes, "shallow" as well as "deep" (''Problems of Dostoevsky's Poetics'', 160), which is to say, directed at superficial as well as fundamental faults of the original. [...] the distinction between shallow and deep [...] [is] helpful in understanding the complex ways in which parodies are used. For instance, shallow parody is sometimes used to pay an author an indirect compliment. The opposite of damning with faint praise, this parody with faint criticism may be designed to show that no more fundamental criticism ''could'' be made.|isbn=9780810108110}}</ref> Fo formulated an [[Operational definition|operational]] criterion to tell real satire from ''sfottò'', saying that real satire arouses an outraged and violent reaction, and that the more they try to stop you, the better is the job you are doing.<ref>{{Citation|author-link=Daniele Luttazzi|first=Daniele|last=Luttazzi|year=2005|url=http://news.danieleluttazzi.it/?q=node/147|archive-date=December 25, 2005|place=[[Italy|IT]]|archive-url=https://web.archive.org/web/20051225171452/http://news.danieleluttazzi.it/?q=node%2F147|title=Matrix|quote=Dario Fo disse a Satyricon: —La satira vera si vede dalla reazione che suscita.|url-status=dead|df=mdy-all}}</ref> Fo contends that, historically, people in positions of power have welcomed and encouraged good-humoured buffoonery, while modern day people in positions of power have tried to censor, ostracize and repress satire.<ref name="Fo1990p9"/><ref name="Fo1990p2"/> Teasing (''sfottò'') is an ancient form of simple [[buffoonery]], a form of comedy without satire's subversive edge. Teasing includes light and affectionate parody, good-humoured mockery, simple one-dimensional poking fun, and benign spoofs. Teasing typically consists of an [[Impressionist (entertainment)|impersonation]] of someone monkeying around with his exterior attributes, [[tic]]s, physical blemishes, voice and mannerisms, quirks, way of dressing and walking, and/or the phrases he typically repeats. By contrast, teasing never touches on the core issue, never makes a serious criticism judging the target with [[irony]]; it never harms the target's conduct, [[ideology]] and position of power; it never undermines the perception of his morality and cultural dimension.<ref name="Fo1990p2"/><ref name="Arroyop303"/> ''Sfottò'' directed towards a powerful individual makes him appear more human and draws sympathy towards him.<ref>{{Citation|author-link=Daniele Luttazzi|first=Daniele|last=Luttazzi|language=it|url=http://www.nazioneindiana.com/2003/10/28/state-a-casa-a-fare-i-compiti-2/|title=State a casa a fare i compiti|format=interview|editor1-first=Federica|editor1-last=Fracassi|editor2-first=Jacopo|editor2-last=Guerriero|journal=Nazione Indiana|date=October 2003|quote=Lo sfottò è reazionario. Non cambia le carte in tavola, anzi, rende simpatica la persona presa di mira. La Russa, oggi, è quel personaggio simpatico, con la voce cavernosa, il doppiatore dei Simpson di cui Fiorello fa l'imitazione. Nessuno ricorda più il La Russa picchiatore fascista. Nessuno ricorda gli atti fascisti e reazionari di questo governo in televisione.}}</ref> [[Hermann Göring]] propagated [[jest]]s and jokes against himself, with the aim of humanizing his image.<ref>{{Citation|last=Kremer|first=S Lillian|year=2003|url=https://books.google.com/books?id=Gvfxm_YuGT4C&pg=PA100|title=Holocaust Literature: Agosín to Lentin|page=100|publisher=Routledge|isbn=9780415929837}}</ref><ref>{{Citation|last=Lipman|first=Stephen 'Steve'|year=1991|title=Laughter in hell: the use of humour during the Holocaust|place=Northvale, NJ|publisher=J Aronson|page=40}}</ref> ===Classifications by topics=== Types of satire can also be classified according to the topics it deals with. From the earliest times, at least since the plays of [[Aristophanes]], the primary topics of literary satire have been [[politics]], [[religion]] and [[sex]].<ref name="Clark91p116"/><ref name="Clark73p20"/><ref name="Clark80p45"/><ref>Ferdie Addis (2012) ''Qual è il tuo "tallone da killer"?'' [https://books.google.com/books?id=kKysGIQV4SgC&pg=PT20 p.20]</ref> This is partly because these are the most pressing problems that affect anybody living in a society, and partly because these topics are usually [[taboo]].<ref name="Clark91p116"/><ref name="Hodgart2009p33"/> Among these, politics in the broader sense is considered the pre-eminent topic of satire.<ref name="Hodgart2009p33"/> Satire which targets the [[clergy]] is a type of [[political satire]], while [[religious satire]] is that which targets [[religious belief]]s.<ref name="Hodgart2009p39"/> Satire on sex may overlap with [[blue comedy]], [[off-color humor]] and [[dick joke]]s. [[Scatology]] has a long literary association with satire,<ref name="Clark91p116"/><ref name="Wilson2002pp"/><ref name="Anspaugh94"/> as it is a classical mode of the [[grotesque]], the [[grotesque body]] and the satiric grotesque.<ref name="Clark91p116"/><ref name="Andries2000p10"/> [[Shit]] plays a fundamental role in satire because it symbolizes [[death]], the turd being "the ultimate dead object".<ref name="Wilson2002pp"/><ref name="Anspaugh94"/> The satirical comparison of individuals or institutions with human [[excrement]], exposes their "inherent inertness, corruption and dead-likeness".<ref name="Wilson2002pp"/><ref name="Klein1993p20"/><ref name="Duprat1982p178"/> The [[ritual clown]]s of [[clown societies]], like among the [[Pueblo Indians]], have ceremonies with [[Coprophagia|filth-eating]].<ref name="Parsons34"/><ref name="Hyers96"/> In other cultures, [[sin-eating]] is an [[Apotropaic magic|apotropaic]] rite in which the sin-eater (also called filth-eater),<ref>Donald Alexander Mackenzie (1923) ''Myths of Pre-Columbian America'' [https://books.google.com/books?id=6chKHROa1icC&pg=PA229 p.229]</ref><ref>Patrick Marnham (2000) ''Dreaming with His Eyes Open: A Life of Diego Rivera'' [https://books.google.com/books?id=pcddElQo9JkC&pg=PA297 p.297]</ref> by ingesting the food provided, takes "upon himself the sins of the departed".<ref name="Davidson 1993p85"/> Satire about death overlaps with [[black humor]] and [[gallows humor]]. Another classification by topics is the distinction between political satire, religious satire and satire of manners.<ref name="Bloom1979"/> Political satire is sometimes called topical satire, satire of manners is sometimes called satire of everyday life, and religious satire is sometimes called philosophical satire. [[Comedy of manners]], sometimes also called satire of manners, criticizes mode of life of common people; political satire aims at behavior, manners of politicians, and vices of political systems. Historically, comedy of manners, which first appeared in British theater in 1620, has uncritically accepted the social code of the upper classes.<ref name="Nicoll1951p179"/> Comedy in general accepts the rules of the social game, while satire subverts them.<ref name="Hodgart2009p189"/> Another analysis of satire is the spectrum of his possible [[Tone (literature)|tone]]s: [[wit]], [[ridicule]], [[irony]], [[sarcasm]], [[Cynicism (philosophy)|cynicism]], the [[sardonic]] and [[invective]].<ref name="Pollard1970p66"/><ref name="Clark1946p32"/> The type of humour that deals with creating laughter at the expense of the person telling the joke is called reflexive humour.<ref name=":0">{{Cite journal|last=Zekavat|first=Massih|title=Reflexive humour and satire: a critical review|journal=European Journal of Humour Research|year=2020|volume=7|issue=4|pages=125–136|doi=10.7592/EJHR2019.7.4.zekavat|doi-access=free}}</ref> Reflexive humour can take place at dual levels of directing humour at self or at the larger community the self identifies with. The audience's understanding of the context of reflexive humour is important for its receptivity and success.<ref name=":0" /> Satire is found not only in written literary forms. In [[preliterate culture]]s it manifests itself in [[ritual clown|ritual]] and folk forms, as well as in [[trickster]] tales and [[oral poetry]].<ref name="Test1991p8" /> It appears also in graphic arts, music, sculpture, dance, [[cartoon strip]]s, and [[graffiti]]. Examples are [[Dada]] sculptures, [[Pop Art]] works, music of [[Gilbert and Sullivan]] and [[Erik Satie]], [[Punk rock|punk]] and [[rock music]].<ref name="Test1991p8"/> In modern [[media culture]], [[stand-up comedy]] is an enclave in which satire can be introduced into [[mass media]], challenging mainstream discourse.<ref name="Test1991p8"/> [[Roast (comedy)|Comedy roast]]s, mock festivals, and stand-up comedians in nightclubs and concerts are the modern forms of ancient satiric rituals.<ref name="Test1991p8"/><ref>{{Cite book|last1=Vuong|first1=Quan-Hoang|title=The Kingfisher Story Collection|date=2022|publisher=AISDL|isbn=979-8353946595}}</ref> ==Development== ===Ancient Egypt=== [[File:Satirical papyrus.jpg|thumb|upright=2.25|The satirical papyrus at the British Museum]] [[File:Cat guarding geese c1120 BC Egypt.jpg|thumb|[[Satirical ostraca|Satirical ostracon]] showing a cat guarding geese, {{Circa|1120 BC}}, Egypt]] [[File:WLA brooklynmuseum Figured Ostracon Showing a Cat Waiting on a Mouse.jpg|thumb|Figured ostracon showing a cat waiting on a mouse, Egypt]] One of the earliest examples of what might be called satire, [[The Satire of the Trades]],<ref>{{Citation | first = M | last = Lichtheim | title = Ancient Egyptian Literature | volume = I | year = 1973 | pages = 184–93}}</ref> is in Egyptian writing from the beginning of the 2nd millennium BC. The text's apparent readers are students, tired of studying. It argues that their lot as scribes is not only useful, but far superior to that of the ordinary man. Scholars such as Helck<ref>{{Citation | first = W | last = Helck | title = Die Lehre des DwA-xtjj | publisher = Wiesbaden | year = 1970}}</ref> think that the context was meant to be serious. The [[Papyrus Anastasi I]]<ref>{{Citation | first = Alan H | last = Gardiner | title = Egyptian Hieratic Texts | series= I: Literary Texts of the New Kingdom | volume = I | place = Leipzig | year = 1911}}</ref> (late 2nd millennium BC) contains a satirical letter which first praises the virtues of its recipient, but then mocks the reader's meagre knowledge and achievements. ===Ancient Greece=== The Greeks had no word for what later would be called "satire", although the terms cynicism and parody were used. Modern critics call the [[Greek comedy|Greek playwright]] [[Aristophanes]] one of the best known early satirists: his plays are known for their critical political and [[societal commentary]],<ref name="Sutton, D. F. 1993 p.56">{{Citation | last = Sutton | first = DF | title = Ancient Comedy: The War of the Generations | place = New York | year = 1993 | page = 56}}</ref> particularly for the [[political satire]] by which he criticized the powerful [[Cleon]] (as in ''[[The Knights]]''). He is also notable for the persecution he underwent.<ref name="Sutton, D. F. 1993 p.56" /><ref>{{Citation | chapter-url = http://www.theatrehistory.com/ancient/aristophanes003.html | chapter = Political and social satires of Aristophanes | editor-first = Alfred | editor-last = Bates | title = The Drama, Its History, Literature and Influence on Civilization | volume = 2 | place = London | publisher = Historical Publishing | year = 1906 | pages = 55–59}}</ref><ref>{{Citation | first = JE | last = Atkinson | jstor = 639144 | title = Curbing the Comedians: Cleon versus Aristophanes and Syracosius' Decree | journal = The Classical Quarterly | series = New | volume = 42 | number = 1 | year = 1992 | pages = 56–64 | doi=10.1017/s0009838800042580 | s2cid = 170936469 }}</ref><ref>{{Citation | url = http://www.commondreams.org/views04/0714-06.htm | title = Aristophanes: the Michael Moore of his Day | first = John Louis | last = Anderson | url-status=dead | archive-url = https://web.archive.org/web/20061019054115/http://www.commondreams.org/views04/0714-06.htm | archive-date = October 19, 2006 | df = mdy-all }}</ref> Aristophanes' plays turned upon images of filth and disease.{{Sfn | Wilson | 2002 | p = 17}} His bawdy style was adopted by Greek dramatist-comedian [[Menander]]. His early play ''Drunkenness'' contains an attack on the politician [[Callimedon]]. The oldest form of satire still in use is the [[Menippean satire]] by [[Menippus|Menippus of Gadara]]. His own writings are lost. Examples from his admirers and imitators mix seriousness and mockery in dialogues and present parodies before a background of [[wikt:diatribe|diatribe]]. As in the case of Aristophanes plays, menippean satire turned upon images of filth and disease.{{Sfn | Wilson | 2002 | p = 17}} ===Ancient China=== Satire, or fengci (諷刺) the way it is called in Chinese, goes back at least to [[Confucius]], being mentioned in the [[Classic of Poetry|Book of Odes]] (Shijing 詩經). It meant "to criticize by means of an ode". In the pre-Qin era it was also common for schools of thought to clarify their views through the use of short explanatory anecdotes, also called yuyan (寓言), translated as "entrusted words". These yuyan usually were brimming with satirical content. The [[Daoist]] text [[Zhuangzi (book)|Zhuangzi]] is the first to define this concept of Yuyan. During the Qin and Han dynasty, however, the concept of yuyan mostly died out through their heavy persecution of dissent and literary circles, especially by [[Qin Shi Huang]] and [[Han Wudi]].<ref>{{Citation | chapter = Magistrates, Doctors, and Monks: Satire in the Chinese Jestbook Xiaolin Guangji | first = Antonio | last = Leggieri | title = The Rhetoric of Topics and Forms | year = 2021 | pages = 369–380 | doi = 10.1515/9783110642032-029 | isbn = 9783110642032 | s2cid = 234214074 | df = mdy-all | doi-access = free }}</ref> ===Roman world=== The first Roman to discuss satire critically was [[Quintilian]], who invented the term to describe the writings of [[Gaius Lucilius]]. The two most prominent and influential ancient Roman satirists are [[Horace]] and [[Satires of Juvenal|Juvenal]], who wrote during the early days of the [[Roman Empire]]. Other important satirists in ancient [[Latin]] are Gaius Lucilius and [[Persius]]. ''Satire'' in their work 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. When Horace criticized [[Augustus]], he used [[veil]]ed ironic terms. In contrast, [[Pliny the Elder|Pliny]] reports that the 6th-century-BC poet [[Hipponax]] wrote ''satirae'' that were so cruel that the offended hanged themselves.<ref>{{Citation | last = Cuddon | title = Dictionary of Literary Terms | place = Oxford | year = 1998 | contribution = Satire}}</ref> In the 2nd century AD, [[Lucian]] wrote ''[[True History]]'', a book satirizing the clearly unrealistic travelogues/adventures written by [[Ctesias]], [[Iambulus]], and [[Homer]]. He states that he was surprised they expected people to believe their lies, and stating that he, like them, has no actual knowledge or experience, but shall now tell lies as if he did. He goes on to describe a far more obviously extreme and unrealistic tale, involving interplanetary exploration, war among alien life forms, and life inside a 200 mile long whale back in the terrestrial ocean, all intended to make obvious the fallacies of books like ''[[Indica (Ctesias)|Indica]]'' and ''[[The Odyssey]]''. ===Medieval Islamic world=== {{main|Arabic literature#Satire and comedy|Persian satire|l1=Arabic satire}} Medieval [[Arabic poetry]] included the satiric genre ''hija''. Satire was introduced into [[Arabic literature|Arabic prose literature]] by the author [[Al-Jahiz]] in the 9th century. While dealing with serious topics in what are now known as [[anthropology]], [[Sociology in medieval Islam|sociology]] and [[Psychology in medieval Islam|psychology]], he introduced a satirical approach, "based on the premise that, however serious the subject under review, it could be made more interesting and thus achieve greater effect, if only one leavened the lump of solemnity by the insertion of a few amusing anecdotes or by the throwing out of some witty or paradoxical observations. He was well aware that, in treating of new themes in his prose works, he would have to employ a vocabulary of a nature more familiar in ''hija'', satirical poetry."{{Sfn | Bosworth| 1976| p = 32}} For example, in one of his [[Zoology|zoological]] works, he satirized the preference for longer [[human penis size]], writing: "If the length of the penis were a sign of honor, then the [[mule]] would belong to the (honorable tribe of) [[Quraysh (tribe)|Quraysh]]". Another satirical story based on this preference was an ''[[One Thousand and One Nights|Arabian Nights]]'' tale called "Ali with the Large Member".<ref>{{Cite book| title = The Arabian Nights Encyclopedia | first1 = Ulrich | last1 = Marzolph | first2 = Richard | last2 = van Leeuwen| first3 = Hassan | last3 = Wassouf | publisher = ABC-CLIO| year = 2004 | isbn= 1-57607-204-5|pages=97–8}}</ref> In the 10th century, the writer [[Tha'alibi]] recorded satirical poetry written by the Arabic poets As-Salami and Abu Dulaf, with As-Salami praising Abu Dulaf's [[Polymath|wide breadth of knowledge]] and then mocking his ability in all these subjects, and with Abu Dulaf responding back and satirizing As-Salami in return.{{Sfn | Bosworth| 1976| pp = 77–8}} An example of Arabic political satire included another 10th-century poet Jarir satirizing Farazdaq as "a transgressor of the [[Sharia]]" and later Arabic poets in turn using the term "Farazdaq-like" as a form of political satire.{{Sfn | Bosworth| 1976| p = 70}} The terms "[[comedy]]" and "satire" became synonymous after [[Aristotle]]'s ''[[Poetics (Aristotle)|Poetics]]'' was translated into [[Arabic language|Arabic]] in the [[Islamic Golden Age|medieval Islamic world]], where it was elaborated upon by [[Early Islamic philosophy|Islamic philosophers]] and writers, such as Abu Bischr, his pupil [[Al-Farabi]], [[Avicenna]], and [[Averroes]]. Due to cultural differences, they disassociated comedy from [[Greek drama]]tic representation and instead identified it with [[Arabic poetry|Arabic poetic]] themes and forms, such as ''hija'' (satirical poetry). They viewed comedy as simply the "art of reprehension", and made no reference to light and cheerful events, or troubled beginnings and happy endings, associated with classical Greek comedy. After the [[Latin translations of the 12th century]], the term "comedy" thus gained a new semantic meaning in [[Medieval literature]].<ref>{{Cite journal|title=Comedy as Satire in Hispano-Arabic Spain |first=Edwin J |last=Webber|journal=Hispanic Review|volume=26|issue=1|date=January 1958|publisher=[[University of Pennsylvania Press]]|pages=1–11|doi=10.2307/470561| jstor=470561}}</ref> [[Ubayd Zakani]] introduced satire in [[Persian literature]] during the 14th century. His work is noted for its satire and obscene verses, often political or bawdy, and often cited in debates involving [[homosexual]] practices. He wrote the ''Resaleh-ye Delgosha'', as well as ''Akhlaq al-Ashraf'' ("Ethics of the Aristocracy") and the famous humorous fable ''Masnavi Mush-O-Gorbeh'' (Mouse and Cat), which was a political satire. His non-satirical serious classical verses have also been regarded as very well written, in league with the other great works of [[Persian literature]]. Between 1905 and 1911, [[Bibi Khatoon Astarabadi]] and other Iranian writers wrote notable satires. ===Medieval Europe=== In the [[Early Middle Ages]], examples of satire were the songs by [[Goliard]]s or [[Clerici vagantes|vagant]]s 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, except for the '''moral satire''', which mocked misbehaviour in Christian terms. Examples are ''Livre des Manières'' by {{interlanguage link|Étienne de Fougères|fr}} (~1178), and some of Chaucer's ''[[Canterbury Tales]]''. Sometimes [[Epic poetry|epic poetry (epos)]] was mocked, and even feudal society, but there was hardly a general interest in the genre. In the [[High Middle Ages]] the work [[Reynard the Fox]], written by Willem die Madoc maecte, and its translations were a popular work that satirized the class system at the time. Representing the various classes as certain anthropomorphic animals. As example, the lion in the story represents the nobility, which is portrayed as being weak and without character, but very greedy. Versions of Reynard the Fox were also popular well into the early modern period. The dutch translation [[Van den vos Reynaerde]] is considered a major medieval dutch literary work. In the dutch version De Vries argues that the animal characters represent barons who conspired against the Count of Flanders.<ref>André De Vries, Flanders: A Cultural History, Oxford University Press, New York, 2007, p.100-101.</ref> ===Early modern western satire=== [[File:Притча о слепых.jpeg|right|thumb|[[Pieter Bruegel the Elder|Pieter Bruegel]]'s 1568 satirical painting ''[[The Blind Leading the Blind]]'']] Direct [[social commentary]] via satire returned in the 16th century, when texts such as the works of [[François Rabelais]] tackled more serious issues. Two major satirists of Europe in the [[Renaissance]] were [[Giovanni Boccaccio]] and [[François Rabelais]]. Other examples of Renaissance satire include ''[[Till Eulenspiegel]]'', ''[[Reynard the Fox]]'', [[Sebastian Brant]]'s ''[[Ship of Fools (satire)|Narrenschiff]]'' (1494), [[Erasmus]]'s ''[[Moriae Encomium]]'' (1509), [[Thomas More]]'s ''[[Utopia (More book)|Utopia]]'' (1516), and ''[[Carajicomedia]]'' (1519). 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 straightforward abuse than subtle irony. The French [[Huguenot]] [[Isaac Casaubon]] pointed out in 1605 that satire in the Roman fashion was something altogether more civilised. Casaubon discovered and published Quintilian's writing and presented the original meaning of the term (satira, not satyr), and the sense of wittiness (reflecting the "dishfull of fruits") became more important again. Seventeenth-century English satire once again aimed at the "amendment of vices" ([[Dryden]]). In the 1590s a new wave of verse satire broke with the publication of [[Joseph Hall (bishop)|Hall]]'s ''Virgidemiarum'', six books of verse satires targeting everything from literary fads to corrupt noblemen. Although [[John Donne|Donne]] had already circulated satires in manuscript, Hall's was the first real attempt in English at verse satire on the Juvenalian model.{{Sfn | Hall | 1969 | ps =: 'Hall's ''Virgidemiae'' was a new departure in that the true Juvenalian mode of satire was being attempted for the first time, and successfully, in English.'}}{{Rp| needed = yes|date=October 2012}} The success of his work combined with a national mood of disillusion in the last years of Elizabeth's reign triggered an avalanche of satire—much of it less conscious of classical models than Hall's — until the fashion was brought to an abrupt stop by censorship.{{NoteTag|The Archbishop of Canterbury and the Bishop of London, the censors of the press, issued Orders to the Stationers' Company on June 1 and 4, 1599, prohibiting the further printing of satires—the so-called 'Bishop's Ban'.{{Sfn | Davenport | 1969}}{{Rp|needed = yes|date=October 2012}}}} Another satiric genre to emerge around this time was the satirical [[almanac]], with [[François Rabelais]]'s work ''Pantagrueline Prognostication'' (1532), which mocked astrological predictions. The strategies François utilized within this work were employed by later satirical almanacs, such as the ''Poor Robin'' series that spanned the 17th to 19th centuries.<ref>{{Cite book|last=Palmeri|first=Frank|title=Satire, history, novel: Narrative forms, 1665–1815|publisher=University of Delaware Press|year=2003|isbn=978-1-61149-232-3|pages=47–49}}</ref> === Ancient and modern India === Satire (''Kataksh'' or ''Vyang'') has played a prominent role in [[Indian literature|Indian]] and [[Hindi literature]], and is counted as one of the "[[Rasa (aesthetics)|ras]]" of literature in ancient books.<ref>{{cite web |title=हास्य व्यंग्य कविता हिन्दी में Hasya Vyangya Kavita In Hindi funny poetry |url = https://suvicharhindi.com/hasya-vyangya-kavita-hindi/ |website = suvicharhindi.com |date = November 4, 2016 |access-date=April 19, 2019}}</ref> With the commencement of printing of books in local language in the nineteenth century and especially after India's freedom, this grew.<ref>{{cite book |last=Pritam |first=Sarojani |title=51 Shresth Vyang Rachnayen |publisher=Diamond pocket books}}</ref> Many of the works of [[Tulsi Das]], [[Kabir]], [[Munshi Premchand]],<ref>{{cite book |last1=Premchand |first1=Munshi |last2=Gopal |first2=Madan |title=My Life and Times |publisher=Roli Books}}</ref><ref>{{cite book |last1=Premchand |first1=Munshi |title=Premchand Ki Amar Kahaniyan}}</ref> village minstrels, [[Harikatha|Hari katha]] singers, poets, Dalit singers and current day stand up Indian comedians incorporate satire, usually ridiculing authoritarians, fundamentalists and incompetent people in power.<ref name="modisong">{{cite web |last1=Shankarji |title=The Modi song |url=https://www.youtube.com/watch?v=sh3mlMAkXrE |archive-url=https://ghostarchive.org/varchive/youtube/20211211/sh3mlMAkXrE| archive-date=2021-12-11 |url-status=live|website=Rough cut productions |date=February 24, 2019 |publisher=Mazdoor Kisan Shakti Sangathan |access-date=April 16, 2019}}{{cbignore}}</ref><ref>{{cite news |author-first1=Suprateek|author-last1=Chatterjee|title=Kunal Kamra: The accidental revolutionary |url=https://www.livemint.com/Leisure/C39AsWWaic7qvGsONZNCnJ/Kunal-Kamra-The-accidental-revolutionary.html |access-date=April 16, 2019 |newspaper=Live Mint |date=March 17, 2018}}</ref><ref>{{cite news |title=Gujarat Varsity Cancels Show by 'Anti-National' Comedian Kunal Kamra After Alumni Complaint |url=https://thewire.in/humour/kunal-kamra |access-date=April 16, 2019 |publisher=The Wire}}</ref> In India, it has usually been used as a means of expression and an outlet for common people to express their anger against authoritarian entities.<ref>{{cite book |last1=Tyagi |first1=Ravindranath |title=Urdu Hindi Hashya Vyang |publisher=Rajkamal Prakashan}}</ref> A popular custom in Northern India of "Bura na mano Holi hai" continues, in which comedians on the stage mock local people of importance (who are usually brought in as special guests).<ref>{{cite news |last1=Sekhri |first1=Abhinandan |title=Interview with Kunal Kamra |url=https://www.newslaundry.com/ |access-date=April 19, 2019 |publisher=News laundry |date=April 17, 2019}}</ref><ref>{{cite book |last1=Gujarati |first1=Ashok |title=Vyang Ke Rang |publisher=Prabhat Prakashan}}</ref><ref>{{cite book |last1=Jaimini |first1=Arun |title=Hasya Vyang Ki Shikhar Kavitaye |year=2013 |publisher=Rādhākr̥shṇa |isbn=978-8183615686}}</ref> ===Age of Enlightenment=== [[File:A Welch wedding. Satire c.1780.jpg|thumb|upright=1.35|'A Welch wedding' satirical cartoon {{Circa|1780}}]] The [[Age of Enlightenment]], an intellectual movement in the 17th and 18th centuries advocating rationality, produced a great revival of satire in Britain. This was fuelled by the rise of partisan politics, with the formalisation of the [[Tories (British political party)|Tory]] and [[British Whig Party|Whig]] parties—and also, in 1714, by the formation of the [[Scriblerus Club]], which included [[Alexander Pope]], [[Jonathan Swift]], [[John Gay]], [[John Arbuthnot]], [[Robert Harley, 1st Earl of Oxford and Earl Mortimer|Robert Harley]], [[Thomas Parnell]], and [[Henry St John, 1st Viscount Bolingbroke]]. This club included several of the notable satirists of early-18th-century Britain. They focused their attention on Martinus Scriblerus, "an invented learned fool... whose work they attributed all that was tedious, narrow-minded, and pedantic in contemporary scholarship".<ref>{{Citation | title = The Broadview Anthology of British Literature: The Restoration and the Eighteenth Century | volume = 3 | page = 435}}</ref> In their hands astute and biting satire of institutions and individuals became a popular weapon. The turn to the 18th century was characterized by a switch from Horatian, soft, pseudo-satire, to biting "juvenal" satire.<ref name="Weinbrot2007p136">Weinbrot, Howard D. (2007) ''Eighteenth-Century Satire: Essays on Text and Context from Dryden to Peter...'' [https://books.google.com/books?id=vHADZOHbJ2QC&pg=PA136 p.136]</ref> [[Jonathan Swift]] was one of the greatest of Anglo-Irish satirists, and one of the first to practise modern journalistic satire. For instance, In his ''[[A Modest Proposal]]'' Swift suggests that Irish peasants be encouraged to sell their own children as food for the rich, as a solution to the "problem" of poverty. His purpose is of course to attack indifference to the plight of the desperately poor. In his book ''[[Gulliver's Travels]]'' he writes about the flaws in human society in general and English society in particular. [[John Dryden]] wrote an influential essay entitled "A Discourse Concerning the Original and Progress of Satire"<ref>{{Citation | url = http://andromeda.rutgers.edu/~jlynch/Texts/drydendiscourse2.html | editor-first = Jack | editor-last = Lynch | publisher = Rutgers | last = Dryden | first = John | title = Discourse | number = 2}}</ref> that helped fix the definition of satire in the literary world. His satirical ''[[Mac Flecknoe]]'' was written in response to a rivalry with [[Thomas Shadwell]] and eventually inspired [[Alexander Pope]] to write his satirical ''[[Dunciad]]''. [[Alexander Pope]] (b. May 21, 1688) was a satirist known for his Horatian satirist style and translation of the ''[[Iliad]]''. Famous throughout and after the [[Long eighteenth century|long 18th century]], Pope died in 1744.<ref>{{cite web|url=http://www.biography.com/people/alexander-pope-9444371#synopsis|title=Biography of Alexander Pope § Synopsis|work=Biography.com|access-date=December 10, 2015|archive-date=December 18, 2015|archive-url=https://web.archive.org/web/20151218092153/http://www.biography.com/people/alexander-pope-9444371#synopsis|url-status=dead}}</ref> Pope, in his ''The Rape of the Lock'', is delicately chiding society in a sly but polished voice by holding up a mirror to the follies and vanities of the upper class. Pope does not actively attack the self-important pomp of the British aristocracy, but rather presents it in such a way that gives the reader a new perspective from which to easily view the actions in the story as foolish and ridiculous. A mockery of the upper class, more delicate and lyrical than brutal, Pope nonetheless is able to effectively illuminate the moral degradation of society to the public. ''The Rape of the Lock'' assimilates the masterful qualities of a heroic epic, such as the ''Iliad'', which Pope was translating at the time of writing ''The Rape of the Lock''. However, Pope applied these qualities satirically to a seemingly petty egotistical elitist quarrel to prove his point wryly.<ref>{{cite journal|url=http://www.studentpulse.com/articles/545/satire-in-18th-century-british-society-alexander-popes-the-rape-of-the-lock-and-jonathan-swifts-a-modest-proposal|title=Satire in 18th Century British Society: Alexander Pope's ''The Rape of the Lock'' and Jonathan Swift's ''A Modest Proposal''|year=2011|journal=Student Pulse |volume=3|issue=6|author=Jonathan J. Szwec}}</ref> Other satirical works by Pope include the ''[[Epistle to Dr Arbuthnot]]''. [[Daniel Defoe]] pursued a more journalistic type of satire, being famous for his ''[[The True-Born Englishman]]'' which mocks [[Xenophobia|xenophobic]] patriotism, and ''[[The Shortest-Way with the Dissenters]]''—advocating [[religious toleration]] by means of an ironical exaggeration of the highly intolerant attitudes of his time. The pictorial satire of [[William Hogarth]] is a precursor to the development of [[political cartoons]] in 18th-century England.<ref name="Press">{{cite book|url=https://books.google.com/books?id=fwzWAAAAMAAJ|title=The Political Cartoon|author=Charles Press|year=1981|publisher=Fairleigh Dickinson University Press|page=34|isbn=9780838619018}}</ref> The medium developed under the direction of its greatest exponent, [[James Gillray]] from London.<ref name="Guardian"/> With his satirical works calling the king (George III), prime ministers and generals (especially Napoleon) to account, Gillray's wit and keen sense of the ridiculous made him the pre-eminent [[cartoonist]] of the era.<ref name="Guardian">{{cite news|title=Satire, sewers and statesmen: why James Gillray was king of the cartoon|url=https://www.theguardian.com/artanddesign/2015/mar/21/satire-sewers-and-statesmen-james-gillray-king-of-cartoon|agency=The Guardian|date=June 18, 2015}}</ref> [[Ebenezer Cooke (poet)|Ebenezer Cooke]] (1665–1732), author of "The Sot-Weed Factor" (1708), was among the first writers of literary satire in [[Colonial America]]. [[Benjamin Franklin]] (1706–1790) and others followed, using satire to shape an emerging nation's culture through its sense of the ridiculous. ===Satire in Victorian England=== [[File:DV257 no.19 The donkey race.png|thumb|A Victorian satirical sketch depicting a gentleman's donkey race in 1852]] Several satiric papers competed for the public's attention in the [[Victorian era]] (1837–1901) and [[Edwardian]] period, such as ''[[Punch (magazine)|Punch]]'' (1841) and ''[[Fun (magazine)|Fun]]'' (1861). Perhaps the most enduring examples of Victorian satire, however, are to be found in the [[Savoy Opera]]s of [[Gilbert and 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!"'' Novelists such as [[Charles Dickens]] (1812–1870) often used passages of satiric writing in their treatment of social issues. Continuing the tradition of Swiftian journalistic satire, [[Sidney Godolphin Osborne]] (1808–1889) was the most prominent writer of scathing "Letters to the Editor" of the London ''[[The Times|Times]]''. Famous in his day, he is now all but forgotten. His maternal grandfather [[William Eden, 1st Baron Auckland]] was considered to be a possible candidate for the authorship of the [[Junius (writer)|Junius]] letters. Osborne's satire was so bitter and biting that at one point he received a public censure from [[Parliament]]'s then Home Secretary Sir [[James Graham, 3rd Duke of Montrose|James Graham]]. Osborne wrote mostly in the Juvenalian mode over a wide range of topics mostly centered on British government's and landlords' mistreatment of poor farm workers and field laborers. He bitterly opposed the [[New Poor Laws]] and was passionate on the subject of the British government's botched response to the [[Great Famine (Ireland)|Great Irish Famine]] and the mistreatment of [[British Army|British soldiers]] during the [[Crimean War]]. A number of works of fiction during this time, influenced by [[Ancient Egypt in the Western imagination|Egyptomania]],<ref name=":02">{{Cite journal|last=Brio|first=Sara|date=2018|title=The Shocking Truth: Science, Religion, and Ancient Egypt in Early Nineteenth-Century Fiction|url=https://www.tandfonline.com/doi/full/10.1080/08905495.2018.1484608 |journal=Nineteenth-Century Contexts|volume=40|issue=4|pages=331–344|doi=10.1080/08905495.2018.1484608 |s2cid=194827445|via=Taylor and Francis Online}}</ref> used the backdrop of Ancient Egypt as a device for satire. Some works, like [[Edgar Allan Poe]]'s ''[[Some Words with a Mummy]]'' (1845) and [[Grant Allen]]'s ''My New Year's Eve Among the Mummies'' (1878), portrayed Egyptian civilization as having already achieved many of the Victorian era's advancements (like the [[steam engine]] and [[gaslamp]]s) in an effort to satire the notion of progress.<ref>{{Cite journal|last=Dobson|first=Eleanor |title=Gods and Ghost-Light: Ancient Egypt, Electricity, and X-Rays|date=2017|journal=Victorian Literature and Culture|volume=45|issue=1|pages=121 |doi=10.1017/S1060150316000462|s2cid=165064168|doi-access=free}}</ref> Other works, like [[Jane Loudon|Jane Loudon's]] ''[[The Mummy!: Or a Tale of the Twenty-Second Century]]'', satirized Victorian curiosities with the afterlife.<ref name=":02" /> Later in the nineteenth century, in the United States, [[Mark Twain]] (1835–1910) grew to become American's greatest satirist: his novel ''[[Adventures of Huckleberry Finn|Huckleberry Finn]]'' (1884) is set in the [[Antebellum era|antebellum]] South, where the moral values Twain wishes to promote are completely turned on their heads. His hero, Huck, is a rather simple but goodhearted lad who is ashamed of the "sinful temptation" that leads him to help a [[Fugitive slaves in the United States|fugitive 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. He is prepared to do good, believing it to be wrong. Twain's younger contemporary [[Ambrose Bierce]] (1842–1913) gained notoriety as a [[Cynicism (contemporary)|cynic]], pessimist and black humorist 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]]'' (1906), in which the definitions mock cant, [[hypocrisy]] and [[Appeal to tradition|received wisdom]]. ===20th-century satire=== [[Karl Kraus (writer)|Karl Kraus]] is considered the first major European satirist since [[Jonathan Swift]].<ref name="Knight2004p254">Knight, Charles A. (2004) ''Literature of Satire'' [https://books.google.com/books?id=SOfVePSFctgC&pg=PA254 p.254]</ref> In 20th-century literature, satire was used by English authors such as [[Aldous Huxley]] (1930s) and [[George Orwell]] (1940s), which under the inspiration of [[Yevgeny Zamyatin|Zamyatin]]'s Russian 1921 novel ''[[We (novel)|We]]'', made serious and even frightening commentaries on the dangers of the sweeping social changes taking place throughout Europe. [[Anatoly Lunacharsky]] wrote 'Satire attains its greatest significance when a newly evolving class creates an ideology considerably more advanced than that of the ruling class, but has not yet developed to the point where it can conquer it. Herein lies its truly great ability to triumph, its scorn for its adversary and its hidden fear of it. Herein lies its venom, its amazing energy of hate, and quite frequently, its grief, like a black frame around glittering images. Herein lie its contradictions, and its power.'<ref>[[David King (graphic designer)|David King]] & Cathy Porter 'Blood & Laughter: Caricatures from the 1905 Revolution' Jonathan Cape 1983 p.31</ref> Many social critics of this same time in the United States, 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 [[syllogism]]s" in the persuasion of the public to accept a criticism. Novelist [[Sinclair Lewis]] was known for his satirical stories such as ''[[Main Street (novel)|Main Street]]'' (1920), ''[[Babbitt (novel)|Babbitt]]'' (1922), ''[[Elmer Gantry]]'' (1927; dedicated by Lewis to H. L. Mencken), and ''[[It Can't Happen Here]]'' (1935), and his books often explored and satirized contemporary American values. The film ''[[The Great Dictator]]'' (1940) by [[Charlie Chaplin]] is itself a parody of [[Adolf Hitler]]; Chaplin later declared that he would have not made the film if he had known about the [[Nazi concentration camps|concentration camps]].<ref name="ChaplinLager">Chaplin (1964) ''My Autobiography'', p.392, quotation: {{blockquote|Had I known of the actual horrors of the German concentration camps, I could not have made ''The Great Dictator'', I could not have made fun of the homicidal insanity of the Nazis.}}</ref> Modern [[Soviet Union|Soviet]] satire was very popular in the 1920s and 1930s. This form of satire is recognized by its level of sophistication and intelligence used, along with its own level of parody. Since there is no longer the need of survival or revolution to write about, modern Soviet satire focused on the quality of life.<ref>{{Cite journal|last1=Chapple|first1=Richard L.|last2=Henry|first2=Peter |date=1976|title=Modern Soviet Satire |journal=The Slavic and East European Journal|volume=20|issue=3 |page=318|doi=10.2307/306330|jstor=306330|issn=0037-6752}}</ref> [[File:Dictator charlie6.jpg|thumb|Benzino Napaloni and Adenoid Hynkel in ''The Great Dictator'' (1940).]] In the United States 1950s, satire was introduced into American [[stand-up comedy]] most prominently by [[Lenny Bruce]] and [[Mort Sahl]].<ref name="Test1991p8"/> As they challenged the [[taboo]]s and [[conventional wisdom]] of the time, were ostracized by the mass media establishment as ''[[sick comedian]]s''. In the same period, [[Paul Krassner]]'s magazine ''[[The Realist]]'' began publication, to become immensely popular during the 1960s and early 1970s among people in the [[Counterculture of the 1960s|counterculture]]; it had articles and cartoons that were savage, biting satires of politicians such as [[Lyndon Johnson]] and [[Richard Nixon]], the [[Vietnam War]], the [[Cold War]] and the [[War on Drugs]]. This baton was also carried by the original [[National Lampoon (magazine)|National Lampoon]] magazine, edited by [[Doug Kenney]] and [[Henry Beard]] and featuring blistering satire written by [[Michael O'Donoghue]], [[P.J. O'Rourke]], and [[Tony Hendra]], among others.<ref>{{Cite news|last=Stein|first=Nathaniel|date=2013-07-01|title=Funny Pages: How the National Lampoon made American Humor|language=en|work=The Daily Beast|url=https://www.thedailybeast.com/articles/2013/07/01/funny-pages-how-the-national-lampoon-made-american-humor|access-date=2020-07-22}}</ref> Prominent satiric stand-up comedian [[George Carlin]] acknowledged the influence ''The Realist'' had in his 1970s conversion to a satiric comedian.<ref name="Sullivan2010p94">Sullivan, James (2010) ''Seven Dirty Words: The Life and Crimes of George Carlin'' [https://books.google.com/books?id=y3dzVQ5wX9UC&pg=PA94 p.94]</ref><ref>[[George Carlin]] (2002) ''[http://paulkrassner.com/carlinintro.htm Introduction] {{Webarchive|url=https://web.archive.org/web/20160304043456/http://paulkrassner.com/carlinintro.htm |date=March 4, 2016 }}'' to ''Murder At the Conspiracy Convention''</ref> A more humorous brand of satire enjoyed a renaissance in the UK in the early 1960s with the [[satire boom]], led by comedians including [[Peter Cook]], [[Alan Bennett]], [[Jonathan Miller]], and [[Dudley Moore]], whose stage show ''[[Beyond the Fringe]]'' was a hit not only in Britain, but also in the United States. Other significant influences in 1960s British satire include [[David Frost]], [[Eleanor Bron]] and the [[television program]] ''[[That Was The Week That Was]]''.<ref>[https://www.theguardian.com/media/2010/jun/14/david-frost-satire-documentary "David Frost's Q&A on how to be a satirist"] {{Webarchive|url=https://web.archive.org/web/20170315134203/https://www.theguardian.com/media/2010/jun/14/david-frost-satire-documentary |date=March 15, 2017 }}. ''The Guardian'' (London). Retrieved February 2, 2015</ref> [[Joseph Heller]]'s most famous work, ''[[Catch-22]]'' (1961), satirizes bureaucracy and the military, and is frequently cited as one of the greatest literary works of the twentieth century.<ref>{{cite news |url=http://news.bbc.co.uk/1/hi/uk/1868619.stm |title=What is Catch-22? And why does the book matter? |publisher= BBC | date=March 12, 2002}}</ref> Departing from traditional Hollywood [[farce]] and [[screwball comedy film|screwball]], director and comedian [[Jerry Lewis]] used satire in his self-directed films ''[[The Bellboy]]'' (1960), ''[[The Errand Boy]]'' (1961) and ''[[The Patsy (1964 film)|The Patsy]]'' (1964) to comment on celebrity and the star-making machinery of Hollywood.<ref>{{cite magazine|url= https://www.hollywoodreporter.com/news/critics-notebook-jerry-lewis-a-comic-genius-by-turns-sweet-bitter-1031194|first=Stephen|last=Dalton|title=Critics Notebook: Jerry Lewis a Comic Genius by Turns Sweet and Bitter|magazine=The Hollywood Reporter|date=August 21, 2017}}</ref> The film ''[[Dr. Strangelove]]'' (1964) starring [[Peter Sellers]] was a popular satire on the [[Cold War]]. Sellers and the British satire boom had a direct influence on the comedy troupe [[Monty Python]].<ref>[http://www.screenonline.org.uk/tv/id/1377417/index.html "The Roots of Monty Python"]. BFI Screenonline. Retrieved 26 November 2023</ref> ''[[Empire (magazine)|Empire]]'' magazine called ''[[Monty Python's Life of Brian]]'' (1979) "an unrivalled satire on religion".<ref>{{cite news |title=The 100 best British films |url=https://www.empireonline.com/movies/features/100britishfilms/ |access-date=26 September 2023|work=Empire}}</ref> [[Nonoy Marcelo|Severino "Nonoy" Marcelo]]'s 1978 Philippine [[Adult animation|adult animated]] comedy film, ''[[Tadhana (film)|Tadhana]]'', presents a satirical, humorous and poignant view of the Philippines' history of [[Spanish Empire|Spanish colonization]].<ref name=":3">{{Cite web |title=Tadhana by Ferdinand E. Marcos |url=https://mb.com.ph/2022/07/29/tadhana-by-ferdinand-e-marcos |access-date=2024-11-17 |website=Manila Bulletin |language=en}}</ref> === Contemporary satire === Contemporary popular usage of the term "satire" is often very imprecise. While satire often uses [[caricature]] and [[parody]], by no means are all uses of these or other humorous devices satiric. Refer to the careful definition of satire that heads this article. ''The Cambridge Companion to Roman Satire'' also warns of the ambiguous nature of satire: {{blockquote|[W]hile "satire," or perhaps rather "satiric(al)," are words we run up against constantly in analyses of contemporary culture [...], the search for any defining formal charcteristic (sic) [of satire] that will link past to present may turn out to be more frustrating than enlightening.<ref name=Rome>Freudenburg, Kirk (2001). ''Satires of Rome: Threatening Poses from Lucilius to Juvenal.'' Cambridge: Cambridge University Press, p. 299. {{ISBN|0-521-00621-X}}.</ref>}} [[File:Spitting Image Puppet of Eric Cantona (2956625432).jpg|thumb|upright|left|Puppet of Manchester United striker [[Eric Cantona]] from the British satirical puppet show ''[[Spitting Image]]'']] Satire is used on many UK television programmes, particularly popular panel shows and quiz shows such as ''[[Mock the Week]]'' (2005–2022) and ''[[Have I Got News for You]]'' (1990–ongoing). It is found on radio quiz shows such as ''[[The News Quiz]]'' (1977–ongoing) and ''[[The Now Show]]'' (1998–2024). One of the most watched UK television shows of the 1980s and early 1990s, the puppet show ''[[Spitting Image]]'' was a satire of the [[British Royal Family|royal family]], politics, entertainment, sport and [[British culture]] of the era.<ref>Van Norris (2014). British Television Animation 1997–2010: Drawing Comic Tradition". p. 153. Palgrave Macmillan,</ref> [[Spitting Image#Evolution|Court Flunkey]] from ''Spitting Image'' is a caricature of [[James Gillray]], intended as a homage to the father of political cartooning.<ref>{{cite web|title=James Gillray|website=lambiek.net |url-status=live |url=https://www.lambiek.net/artists/g/gillray_james.htm|archive-date=November 25, 2016|archive-url=https://web.archive.org/web/20161125110250/https://www.lambiek.net/artists/g/gillray_james.htm}}</ref> Created by [[DMA Design]] in 1997, satire features prominently in the British video game series ''[[Grand Theft Auto]]''.<ref>Embrick DG, Talmadge J. Wright TJ, Lukacs A (2012). ''Social Exclusion, Power, and Video Game Play: New Research in Digital Media and Technology'', Lexington Books, p. 19, {{ISBN|9780739138625}}. Quote: "In-game television programs and advertisements, radio stations, and billboards provide a running satirical commentary on the state of civilization in general, and on the roles of males in particular."</ref><ref>{{cite news|title=GTA 5: a Great British export|url=https://www.telegraph.co.uk/technology/video-games/10316267/GTA-5-a-Great-British-export.html |archive-url=https://ghostarchive.org/archive/20220111/https://www.telegraph.co.uk/technology/video-games/10316267/GTA-5-a-Great-British-export.html |archive-date=January 11, 2022 |url-access=subscription |url-status=live|newspaper=The Telegraph|date=September 29, 2015}}{{cbignore}}</ref> Another example is the ''[[Fallout (franchise)|Fallout]]'' series, namely [[Interplay Entertainment|Interplay]]-developed ''[[Fallout (video game)|Fallout: A Post Nuclear Role Playing Game]]'' (1995).<ref>Canavan G, Robinson KS (2014). ''Green Planets: Ecology and Science Fiction'', Wesleyan University Press, p. 278, {{ISBN|9780819574282}}.</ref> Other games utilizing satire include ''[[Postal (video game)|Postal]]'' (1997),<ref name=GothicWorld>Byron G, Townshend D (2013). ''The Gothic World''. Routledge. p. 456. {{ISBN|9781135053062}}. Quote: "[P]resent themselves as deliberately controversial, incorporating hyper-violent gameplay, dark social satire and conspicuous political incorrectness[.]"</ref> ''[[State of Emergency (video game)|State of Emergency]]'' (2002),<ref name=GothicWorld/> ''[[Phone Story]]'' (2011), and ''[[7 Billion Humans]]'' (2018).<ref>{{Cite journal|last=Yi|first=Sherry|title='Is This a Joke?': The Delivery of Serious Content through Satirical Digital Games|url=https://www.ceeol.com/search/article-detail?id=875507|journal=Acta Ludologica|year=2020|volume=1|issue=1|pages=18–30|via=CEEOL}}</ref> [[Trey Parker]] and [[Matt Stone]]'s ''[[South Park]]'' (1997–ongoing) relies almost exclusively on satire to address issues in American culture, with episodes addressing [[With Apologies to Jesse Jackson|racism]], [[The Passion of the Jew|anti-Semitism]], [[Go God Go|militant atheism]], [[Big Gay Al's Big Gay Boat Ride|homophobia]], [[Eat, Pray, Queef|sexism]], [[Rainforest Shmainforest|environmentalism]], [[Gnomes (South Park)|corporate culture]], [[The Death Camp of Tolerance|political correctness]] and [[Red Hot Catholic Love|anti-Catholicism]], among many other issues. Satirical web series and sites include Emmy-nominated ''[[Honest Trailers]]'' (2012–),<ref>Lavender III, Isiah (2017). ''Dis-Orienting Planets: Racial Representations of Asia in Science Fiction''. Univ. Press of Mississippi, p. 208, {{ISBN|9781496811554}}.</ref> Internet phenomena-themed [[Encyclopedia Dramatica]] (2004–),<ref name=SocioMobile>{{cite book|title=Sociolinguistics and Mobile Communication |last=Deumert |first=Ana |date=2014 |publisher=Edinburgh University Press |pages=181 | url=https://books.google.com/books?id=SPXcCQAAQBAJ&pg=PT181 |access-date=12 June 2017 | isbn=9780748655779}}.</ref> [[Uncyclopedia]] (2005–),<ref>{{cite book|last1=Lund |first1=Arwid|title=Wikipedia, Work, and Capitalism| date=2020|publisher=Springer: Dynamics of Virtual Work|isbn=9783319506890}}, p. 48.</ref> self-proclaimed "America's Finest News Source" ''[[The Onion]]'' (1988–).<ref>Kaye, Sharon M. (2010). ''The Onion and Philosophy: Fake News Story True, Alleges Indignant Area Professor''. Open Court Publishing. p. 243. {{ISBN|9780812696875}}. Quote: "People might be justified in concluding that the ''Onion'' is a legitimate small-town paper when they see headlines like "Local Woman Devotes Life To Doing God's Busy Work" (10/4/08), "God Help Him, Area Man Loves That Crazy Bitch" (11/22/08), or "Area Woman Wouldn't Mind Feeding Your Cats" (12/6/08). Even if they read the full story, they may never figure out it is a satire. Maybe if they scroll to the bottom of the webpage and notice the disclaimer, 'The Onion is not intended for readers under 18 years of age' they would realize that this is not your average news source. Maybe not—especially if they think that there might be such a thing as "adult news.""</ref> and ''The Onion's'' Christian conservative counterpart ''[[The Babylon Bee]]'' (2016–).<ref>{{Cite magazine|last=Dickson|first=E. J.|date=2020-10-16|title=What Is the Babylon Bee? Trump Retweeted the Satirical Website|url=https://www.rollingstone.com/culture/culture-news/babylon-bee-satire-news-trump-tweet-1076701/|access-date=2021-05-20|magazine=Rolling Stone|language=en-US}}</ref> [[File:Stephen Colbert by David Shankbone.jpg|thumb|[[Stephen Colbert]] satirically impersonated an [[Stephen Colbert (character)|opinionated and self-righteous television commentator]] on his [[Comedy Central]] program in the U.S.]] In the United States, [[Stephen Colbert]]'s television program, ''[[The Colbert Report]]'' (2005–14) is instructive in the methods of contemporary American satire; sketch comedy television show ''[[Saturday Night Live]]'' is also known for its satirical impressions and parodies of prominent persons and politicians, among some of the most notable, their parodies of U.S. political figures [[Saturday Night Live parodies of Hillary Clinton|Hillary Clinton]]<ref name=TVGuide1>[http://www.tvguide.com/news/snl-hillary-clinton-saturday-night-live-kate-mckinnon-amy-poehler/ Liz Raftery – "Who Did the Best Hillary Clinton Impression on SNL?", ''TV Guide'', April 30, 2015. (Video)] {{Webarchive|url=https://web.archive.org/web/20171018060944/http://www.tvguide.com/news/snl-hillary-clinton-saturday-night-live-kate-mckinnon-amy-poehler/ |date=October 18, 2017 }} Retrieved August 15, 2015</ref> and of [[Saturday Night Live parodies of Sarah Palin|Sarah Palin]].<ref>{{cite news|title=You betcha—Tina Fey wins Emmy as Sarah Palin on 'SNL'|date=September 13, 2009|work=[[Los Angeles Times]] |url=http://goldderby.latimes.com/awards_goldderby/2009/09/you-betcha-tina-fey-wins-emmy-as-sarah-palin-on-snl-entertainment-news-2468097.html|access-date=September 13, 2009|archive-date=July 9, 2012|archive-url=https://archive.today/20120709105331/http://goldderby.latimes.com/awards_goldderby/2009/09/you-betcha-tina-fey-wins-emmy-as-sarah-palin-on-snl-entertainment-news-2468097.html|url-status=dead}}</ref> [[Stephen Colbert (character)|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 a number of logical fallacies. In doing so, he demonstrates the principle of modern American political 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 perceived hypocrisy or absurdity. In the United Kingdom, a popular modern satirist was the late Sir [[Terry Pratchett]], author of the internationally best-selling ''[[Discworld]]'' book series. One of the most well-known and controversial British satirists is [[Chris Morris (satirist)|Chris Morris]], co-writer and director of ''[[Four Lions]]''. In Canada, satire has become an important part of the comedy scene. [[Stephen Leacock]] was one of the best known early Canadian satirists, and in the early 20th century, he achieved fame by targeting the attitudes of small-town life. In more recent years, Canada has had several prominent satirical television series and radio shows. Some, including ''[[CODCO]]'', ''[[The Royal Canadian Air Farce]]'', ''[[This Is That]]'', and ''[[This Hour Has 22 Minutes]]'' deal directly with current news stories and political figures, while others, like ''[[History Bites]]'' present contemporary social satire in the context of events and figures in history. [[The Beaverton]] is a Canadian news satire site similar to The Onion. Canadian songwriter [[Nancy White (singer-songwriter)|Nancy White]] uses music as the vehicle for her satire, and her comic folk songs are regularly played on [[CBC Radio One|CBC Radio]]. In Hong Kong, there was a well-known Australian [[Kim Jong-un]] [[impersonator]] [[Howard X]] whom often utilised satire to show his support for Hong Kong city's pro-democracy movements and liberation of North Korea. He believed that humour is a very powerful weapon and he often made it clear that he imitates the dictator to satirize him, not to glorify him. Throughout his career as a professional impersonator, he had also worked with multiple organisations and celebrities to create parodies and to stir up conversations of politics and human rights.<ref>{{cite magazine |title=Meet Howard X, the Dictator Doppelgänger From Hong Kong |url=https://time.com/5549634/howard-x-kim-jung-un-impersonator/ |magazine=Time |publisher=Amy Gunia |date=29 March 2019 }}</ref> Cartoonists often use satire as well as straight humour. [[Al Capp]]'s satirical [[comic strip]] ''[[Li'l Abner]]'' was censored in September 1947. The controversy, as reported in ''Time'', centred on Capp's portrayal of the US Senate. Said Edward Leech of Scripps-Howard, "We don't think it is good editing or sound citizenship to picture the Senate as an assemblage of freaks and crooks... boobs and undesirables."<ref>{{cite news|url=http://www.time.com/time/magazine/article/0,9171,804275,00.html |archive-url=https://web.archive.org/web/20071023081224/http://www.time.com/time/magazine/article/0,9171,804275,00.html |url-status=dead |archive-date=October 23, 2007 |title=Tain't Funny – ''Time'' |publisher=[[Time (magazine)|Time]] |date=September 29, 1947 |access-date=August 29, 2009}}</ref> [[Walt Kelly]]'s ''[[Pogo (comics)|Pogo]]'' was likewise censored in 1952 over his overt satire of [[Joseph McCarthy|Senator Joe McCarthy]], caricatured in his comic strip as "Simple J. Malarky". [[Garry Trudeau]], whose [[comic strip]] ''[[Doonesbury]]'' focuses on satire of the political system, and provides a trademark cynical view on national events. Trudeau exemplifies humour mixed with criticism. For example, the character [[Mark Slackmeyer]] 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. [[File:2014- 02 - Obama and Putin, by Ranan Lurie.png|thumb|Political satire by [[Ranan Lurie]]]] 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. [[News satire]] is also a very popular form of contemporary satire, appearing in as wide an array of formats as the news media itself: print (e.g. ''[[The Onion]]'', ''[[Waterford Whispers News]]'', ''[[Private Eye]]''), radio (e.g. ''[[On the Hour]]''), television (e.g. ''[[The Day Today]]'', ''[[The Daily Show]]'', ''[[Brass Eye]]'') and the web (e.g. ''[[Faking News]]'', ''[[El Koshary Today]]'', ''[[Babylon Bee]]'', ''[[The Beaverton]]'', ''[[The Daily Bonnet]]'' and ''[[The Onion]]''). Other satires are on the [[list of satirists and satires]]. 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.' Those are rather extreme examples, but if it affects somebody personally, they tend to be more sensitive about it."<ref name=DS>[[n:The Onion: An interview with 'America's Finest News Source'|An interview with The Onion]], David Shankbone, ''[[Wikinews]]'', November 25, 2007.</ref> Satire is also gaining recognition for its value in social science research, particularly when authors are seeking to unpack complex social issues like gendered racism.<ref>{{Cite journal|last1=Lewellen|first1=Chelesea|last2=Bohonos|first2=Jeremy W. |date=January 2021|title=Excuse me, sir?: A critical race theory (hair) chronicle|journal=Gender, Work & Organization|volume=28|issue=S1|pages=1–5|doi=10.1111/gwao.12522|s2cid=225368135|issn=0968-6673}}</ref> ==Techniques== Literary satire is usually written out of earlier satiric works, [[Reprise#In literature|reprising]] previous conventions, commonplaces, stance, situations and tones of voice.<ref name="Griffin1994p136">Griffin, Dustin H. (1994) ''Satire: A Critical Reintroduction'' [https://books.google.com/books?id=MLM2edymLtUC&pg=PA136 p.136]</ref> [[Exaggeration]] is one of the most common satirical techniques.<ref name="Claridge2010p257">Claridge, Claudia (2010) ''Hyperbole in English: A Corpus-based Study of Exaggeration'' [https://books.google.com/books?id=aegq_QdX6h8C&pg=PA257 p.257]</ref> Contrarily [[Diminution (satire)|diminution]] is also a satirical technique. ==Legal status== For its nature and social role, satire has enjoyed in many societies a special freedom license to mock prominent individuals and institutions.<ref name="Test1991p9licencequote"/> In Germany,<ref name="Geisler2005p73"/> [[Japan]], and Italy<ref name="Bevere2006p265"/><ref name="Pezzella2009p566"/> satire is protected by the constitution. Since satire belongs to the realm of [[art]] and artistic expression, it benefits from broader lawfulness limits than mere [[freedom of information]] of journalistic kind.<ref name="Pezzella2009p566"/> In some countries a specific "right to satire" is recognized and its limits go beyond the "right to report" of journalism and even the "right to criticize".<ref name="Pezzella2009p566"/> Satire benefits not only of the protection to [[freedom of speech]], but also to that to [[culture]], and that to scientific and artistic production.<ref name="Bevere2006p265"/><ref name="Pezzella2009p566"/> === Australia === {{Main|The Juice Media#Controversy}} In September 2017 [[The Juice Media]] received an e-mail from the Australian National Symbols Officer requesting that the use of a satirical logo, called the "Coat of Harms" based on the [[Coat of arms of Australia|Australian Coat of Arms]], no longer be used as they had received complaints from the members of the public.<ref>{{Cite news|url=https://twitter.com/thejuicemedia/status/906104236789841920/photo/1 |title=theJuice on Twitter|work=Twitter|access-date=June 10, 2018|language=en}}</ref> Coincidentally 5 days later a Bill was proposed to [[Parliament of Australia|Australian parliament]] to amend the [[Criminal law of Australia|Criminal Code Act 1995]].<ref>{{cite web |url=https://www.aph.gov.au/Parliamentary_Business/Bills_LEGislation/Bills_Search_Results/Result?bId=r5973 |title=Criminal Code Amendment (Impersonating a Commonwealth Body) Bill 2017|language=en-AU|access-date=June 10, 2018}}</ref> If passed, those found to be in breach of the new amendment can face 2–5 years imprisonment.<ref>{{cite web|url=http://parlinfo.aph.gov.au/parlInfo/search/display/display.w3p;query=Id:%22legislation/billsdgs/5767580%22 |title=ParlInfo – Criminal Code Amendment (Impersonating a Commonwealth Body) Bill 2017|website=parlinfo.aph.gov.au |language=en-US|access-date=June 10, 2018}}</ref> As of June 2018, the Criminal Code Amendment (Impersonating a Commonwealth Body) Bill 2017 was before the [[Australian Senate]] with the [[Reading (legislature)|third reading]] moved May 10, 2018.<ref>{{cite web |url=https://www.aph.gov.au/Parliamentary_Business/Bills_LEGislation/Bills_Search_Results/Result?bId=r5973# |title=Criminal Code Amendment (Impersonating a Commonwealth Body) Bill 2017|language=en-AU|access-date=June 10, 2018}}</ref> ==Censorship and criticism== Descriptions of satire's biting effect on its target include 'venomous', 'cutting', 'stinging',<ref name="Kinservik2002p21">Kinservik, Matthew J. (2002) ''Disciplining Satire: The Censorship of Satiric Comedy on the Eighteenth...'' [https://books.google.com/books?id=haUcp4-01DMC&pg=PA21 p.21]</ref> vitriol. Because satire often combines anger and humor, as well as the fact that it addresses and calls into question many controversial issues, it can be profoundly disturbing.{{By whom|date=October 2023}} ===Typical arguments=== Because it is essentially ironic or sarcastic, satire is often misunderstood. A typical misunderstanding is to confuse the satirist with their [[persona]].<ref name="Test1991p10"/> ====Bad taste==== Common uncomprehending responses to satire include revulsion (accusations of [[Taste (sociology)|poor taste]], or that "it's just not funny" for instance) and the idea that the satirist actually does support the ideas, policies, or people being ridiculed. 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.{{Citation needed|date=September 2021}} Much later in history, in the weeks following [[9/11]] the American public at large found works of satire to be in bad taste and not appropriate for the social climate at the time. Some media outlets at the time, like essayist [[Roger Rosenblatt]] in an editorial for ''Time'' magazine's September 24 issue, would go so far as to claim that irony was dead.<ref>{{Cite journal|last=Jones|first=William R.|date=2009|title="People Have to Watch What They Say": What Horace, Juvenal, and 9/11 Can Tell Us about Satire and History|url=https://muse.jhu.edu/article/365928|journal=Helios|volume=36|issue=1|pages=27–28|doi=10.1353/hel.0.0017|bibcode=2009Helio..36...27W|s2cid=162089939|issn=1935-0228}}</ref> ====Targeting the victim==== Some critics of [[Mark Twain]] see [[Adventures of Huckleberry Finn (novel)|''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 concerns attacked in ''Huckleberry Finn'').<ref>{{cite book | last1 = Leonard | first1 = James S | first2 = Thomas A | last2 = Tenney | first3 = Thadious M | last3 = Davis | title = Satire or Evasion?: Black Perspectives on Huckleberry Finn | publisher = [[Duke University Press]] |date=December 1992 | page = 224 | url = https://books.google.com/books?id=fdrBtpSSCisC&q=hemingway+%22huckleberry+finn%22+%22green+hills%22&pg=RA1-PA116 | isbn = 978-0-8223-1174-4}}</ref><ref>{{Citation | first = Shelley Fisher | last = Fishin | title = Lighting out for the Territory: Reflections on Mark Twain and American Culture | place = New York | publisher = Oxford University Press | year = 1997}}</ref> This same misconception was suffered by the main character of the 1960s British television comedy satire ''[[Till Death Us Do Part]]''. The character of [[Alf Garnett]] (played by [[Warren Mitchell]]) was created to poke fun at the kind of narrow-minded, racist, [[little Englander]] that Garnett represented. Instead, his character became a sort of [[anti-hero]] to people who actually agreed with his views. (The same situation occurred with [[Archie Bunker]] in American TV show ''[[All in the Family]]'', a character derived directly from Garnett.{{Citation needed|date=November 2021}}) The Australian satirical television comedy show ''[[The Chaser's War on Everything]]'' has suffered repeated attacks based on various perceived interpretations of the "target" of its attacks. The "Make a Realistic Wish Foundation" sketch (June 2009), which attacked in classical satiric fashion the heartlessness of people who are reluctant to donate to [[Charitable organization|charities]], was widely interpreted as an attack on the [[Make a Wish Foundation]], or even the terminally ill children helped by that organisation. [[Prime Minister of Australia|Prime Minister]] of the time [[Kevin Rudd]] stated that The Chaser team "should hang their heads in shame". He went on to say that "I didn't see that but it's been described to me. ...But having a go at kids with a terminal illness is really beyond the pale, absolutely beyond the pale."<ref>{{cite news|url=http://www.abc.net.au/news/2009-06-04/hang-your-heads-rudd-tells-chaser-boys/1703862 |title='Hang your heads' Rudd tells Chaser boys | publisher = [[Australian Broadcasting Corporation]] |date=June 4, 2009|access-date=June 5, 2009}}</ref> Television station management suspended the show for two weeks and reduced the third season to eight episodes. ====Romantic prejudice==== The romantic prejudice against satire is the belief spread by the [[Romanticism|romantic movement]] that satire is something unworthy of serious attention; this prejudice has held considerable influence to this day.<ref>{{Citation | last = Sutherland | first = James | author-link = James Runcieman Sutherland | year = 1958 | url = https://books.google.com/books?id=4kc4AAAAIAAJ&pg=PA1 | title = English Satire}}</ref> Such prejudice extends to humour and everything that arouses laughter, which are often underestimated as frivolous and unworthy of serious study.<ref>{{Citation | first = Rod A | last = Martin | year = 2007 | url = https://books.google.com/books?id=ieAcp2Z_zkIC&pg=PA27 | title = The Psychology of Humor: An Integrative Approach | pages = 27–8| publisher = Elsevier | isbn = 9780080465999 }}</ref> For instance, humor is generally neglected as a topic of anthropological research and teaching.<ref>{{Citation | last = Apte | first = Mahadev L | year = 1985 | url = https://books.google.com/books?id=4fuAAAAAMAAJ | title = Humor and laughter: an anthropological approach | chapter = Introduction | page = 23 | publisher = Cornell University Press | quote = The general neglect of humor as a topic of anthropological research is reflected in teaching practice. Most introductory textbooks do not even list humor as a significant characteristic of cultural systems together with kinship, social roles, behavioral patterns, religion, language, economic transactions, political institutions, values, and material culture.| isbn = 9780801493072 }}</ref> ===History of opposition toward notable satires=== Because satire criticises in an ironic, essentially indirect way, it frequently escapes [[censorship]] in a way more direct criticism might not. Periodically, however, it runs into serious opposition, and people in power who perceive themselves as attacked attempt to censor it or prosecute its practitioners. In a classic example, [[Aristophanes]] was persecuted by the [[demagogue]] [[Cleon]]. ====1599 book ban==== In 1599, the [[Archbishop of Canterbury]] [[John Whitgift]] and the [[Bishop of London]] [[Richard Bancroft]], whose offices had the function of licensing books for publication in England, issued a decree banning verse satire. The decree, now known as the [[Bishops' Ban of 1599]], ordered the burning of certain volumes of satire by [[John Marston (playwright)|John Marston]], [[Thomas Middleton]], [[Joseph Hall (bishop)|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.<ref>{{Citation | title = A Transcript of the Registers of the Company of Stationers of London, 1554–1640 | volume = III | editor-first = Edward | editor-last = Arber | location = London | year = 1875–94 | page = 677 }}</ref> 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. ====21st-century polemics==== In 2005, the [[Jyllands-Posten Muhammad cartoons controversy]] caused global protests by offended Muslims and violent attacks with many [[wikt:fatality|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; 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 an [[Israeli Anti-Semitic Cartoons Contest]]. In 2006 British comedian [[Sacha Baron Cohen]] released ''[[Borat|Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan]]'', a "[[mockumentary]]" that satirized everyone, from high society to frat boys. The film was criticized by many. Although Baron Cohen is Jewish, some complained that it was [[antisemitism|antisemitic]], and the government of [[Kazakhstan]] boycotted the film. The film itself had been a reaction to a longer quarrel between the government and the comedian. In 2008, popular South African cartoonist and satirist [[Jonathan Shapiro]] (who is published under the pen name Zapiro) came under fire for depicting then-president of the [[African National Congress|ANC]] [[Jacob Zuma]] in the act of undressing in preparation for the implied rape of 'Lady Justice' which is held down by Zuma loyalists.<ref>{{cite web|url= http://www.mg.co.za/article/2008-12-18-zuma-claims-r7m-over-zapiro-cartoon| work = Mail and Guardian | date = December 18, 2008 | location = [[South Africa|ZA]] | title= Zuma claims R7m over Zapiro cartoon}}</ref> The cartoon was drawn in response to Zuma's efforts to duck corruption charges, and the controversy was heightened by the fact that Zuma was himself acquitted of [[Jacob Zuma rape trial|rape]] in May 2006. In February 2009, the [[SABC|South African Broadcasting Corporation]], viewed by some opposition parties as the mouthpiece of the governing ANC,<ref>{{cite web| url = http://www.mg.co.za/articlePage.aspx?articleid=248529&area=/breaking_news/breaking_news__national/ | work = Mail and Guardian | title = How a lone cameraman 'dented' SABC's credibility | location = ZA |archive-url = https://web.archive.org/web/20050912184428/https://mg.co.za/articlePage.aspx?articleid=248529&area=/breaking_news/breaking_news__national/ |archive-date=September 12, 2005 }}</ref> shelved a satirical TV show created by Shapiro,<ref>{{cite web |url = http://www.dispatch.co.za/article.aspx?id=308632 |work=Dispatch |location=ZA |title=ZNews: Zapiro's puppet show |url-status=dead |archive-url = https://web.archive.org/web/20120326004224/http://www.dispatch.co.za/article.aspx?id=308632 |archive-date=March 26, 2012 }}</ref> and in May 2009 the broadcaster pulled a documentary about political satire (featuring Shapiro among others) for the second time, hours before scheduled broadcast.<ref>{{cite web|url=http://www.mg.co.za/article/2009-05-26-sabc-pulls-zapiro-doccie-again| work = Mail and Guardian | date = September 26, 2009 | location = ZA | title=SABC pulls Zapiro doccie, again}}</ref> On December 29, 2009, Samsung sued [[Michael Breen (author)|Mike Breen]], and the ''[[The Korea Times|Korea Times]]'' for $1&nbsp;million, claiming criminal defamation over a satirical column published on Christmas Day, 2009.<ref>{{cite web | url =http://www.techdirt.com/articles/20100510/1820159367.shtml |title=Samsung Sues Satirist, Claiming Criminal Defamation, Over Satirical Column Poking Fun At Samsung |publisher=Techdirt |date=May 11, 2010 |access-date= June 9, 2012}}</ref><ref>{{cite news| url=http://www.latimes.com/news/nationworld/world/asia/la-fg-korea-samsung-20100510,0,7395282,full.story | archive-url=https://wayback.archive-it.org/all/20171019205601/http://articles.latimes.com/2010/may/10/world/la-fg-korea-samsung-20100510 | url-status=dead | archive-date=October 19, 2017 | work=Los Angeles Times | first=John M | last=Glionna | date=May 10, 2010 | title=Samsung doesn't find satirical spoof amusing}}</ref> On April 29, 2015, the [[UK Independence Party]] (UKIP) requested [[Kent Police]] investigate the [[BBC]], claiming that comments made about Party leader [[Nigel Farage]] by a panelist on the comedy show ''[[Have I Got News For You]]'' might hinder his chances of success in the general election (which would take place a week later), and claimed the BBC breached the Representation of the People Act.<ref name="UKIP"/> Kent Police rebuffed the request to open an investigation, and the BBC released a statement, "Britain has a proud tradition of satire, and everyone knows that the contributors on ''Have I Got News for You'' regularly make jokes at the expense of politicians of all parties."<ref name="UKIP">[http://www.itv.com/news/2015-04-29/ukip-asks-police-to-investigate-the-bbc-over-have-i-got-news-for-you/ "Ukip asks police to investigate the BBC over Have I Got News for You"] {{Webarchive|url=https://web.archive.org/web/20150826200302/http://www.itv.com/news/2015-04-29/ukip-asks-police-to-investigate-the-bbc-over-have-i-got-news-for-you/ |date=August 26, 2015 }}. BBC. Retrieved June 18, 2015</ref> ==Satirical prophecy== Satire is occasionally prophetic: the jokes precede actual events.<ref>{{Citation | author-link = Paul Krassner | first = Paul | last = Krassner | url = http://nypress.com/terminal-velocity-television-is-here/ | title = Terminal velocity television is here | journal = New York Press | volume = 16 | issue = 35 | date = August 26, 2003}}</ref><ref name="LuttazziProphetic">{{Citation | author-link = Daniele Luttazzi | first = Daniele | last = Luttazzi | title = Lepidezze postribolari | year = 2007 | publisher = Feltrinelli | page = 275 | language = it}}</ref> Among the eminent examples are: * 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 [[Paris]]ians economise on candles by arising earlier to use morning sunlight.<ref name='Franklin'>{{cite journal |author-link = Benjamin Franklin | first = Benjamin | last = Franklin |title=Aux auteurs du Journal |journal=[[Journal de Paris]]|date=April 26, 1784 |issue= 117 |language = fr }} Wrote [[anonymously]]. Its first publication was in the journal's "Économie" section. {{Citation | url = http://webexhibits.org/daylightsaving/franklin3.html | edition = revised English version | access-date = May 26, 2007 | title = An Economical Project}} has a title that is not Franklin's; see {{cite journal |first = A. O. |last = Aldridge |title=Franklin's essay on daylight saving |journal=American Literature |issue=1 |pages=23–29 |year=1956 |doi = 10.2307/2922719 |volume = 28 |jstor=2922719 }}</ref> * In the 1920s, an English [[cartoonist]] imagined a laughable thing for the time: a hotel for cars. He drew a [[multi-story car park]].<ref name="LuttazziProphetic" /> * The second episode of ''[[Monty Python's Flying Circus]]'', which debuted in 1969, featured a ''[[Sketch comedy|sketch]]'' entitled "[[The Mouse Problem]]" (meant to satirize contemporary media exposés on homosexuality), which depicted a cultural phenomenon similar to some aspects of the modern [[furry fandom]] (which did not become widespread until the 1980s, over a decade after the sketch was first aired). * The comedy film ''[[Americathon]]'', released in 1979 and set in the United States of 1998, predicted a number of trends and events that would eventually unfold in the near future, including an American debt crisis, Chinese [[capitalism]], the fall of the [[Soviet Union]], a presidential sex scandal, and the popularity of [[reality shows]]. * In January 2001, a satirical news article in ''[[The Onion]]'', entitled "Our Long National Nightmare of Peace and Prosperity Is Finally Over"<ref>{{cite web|url=http://www.theonion.com/content/node/28784 |title=Bush: 'Our Long National Nightmare of Peace And Prosperity Is Finally Over' | publisher= The Onion |access-date= June 9, 2012}}</ref> had newly elected President George Bush vowing to "develop new and expensive weapons technologies" and to "engage in at least one Gulf War-level armed conflict in the next four years". Furthermore, he would "bring back economic stagnation by implementing substantial tax cuts, which would lead to a recession". This prophesied the [[Iraq War]], the [[Bush tax cuts]], and the [[Great Recession]]. * In 1975, the first episode of ''[[Saturday Night Live]]'' included an ad for a triple blade razor called the Triple-Trac; in 2001, [[Gillette (brand)|Gillette]] introduced the Mach3. In 2004, ''[[The Onion]]'' satirized [[Schick (razors)|Schick]] and Gillette's marketing of ever-increasingly multi-blade razors with a mock article proclaiming Gillette will now introduce a five-blade razor.<ref>{{cite web|title=Fuck Everything, We're Doing Five Blades|date=February 18, 2004 |url=https://www.theonion.com/fuck-everything-were-doing-five-blades-1819584036|url-status=live|archive-url=https://web.archive.org/web/20171116162510/https://www.theonion.com/fuck-everything-were-doing-five-blades-1819584036|archive-date=November 16, 2017|access-date=October 30, 2020|publisher=The Onion}}</ref> In 2006, Gillette released the [[Gillette Fusion]], a five-blade razor. * After the [[Joint Comprehensive Plan of Action|Iran nuclear deal]] in 2015, ''[[The Onion]]'' ran an article with the headline "U.S. Soothes Upset Netanyahu With Shipment Of Ballistic Missiles". Sure enough, reports broke the next day of the Obama administration offering military upgrades to Israel in the wake of the deal.<ref>{{cite news|url=http://www.haaretz.com/israel-news/1.666977 |title=Where Satire Meets Truth: Did The Onion Just Predict a Real Israeli Headline? |newspaper=Haaretz |access-date=January 1, 2016}}</ref> * In July 2016, ''[[The Simpsons]]'' released the most recent in a string of satirical references to a potential [[Donald Trump]] presidency (although the first was made back [[Bart to the Future|in a 2000 episode]]). Other media sources, including the popular film ''[[Back to the Future Part II]]'' have also made similar satirical references.<ref>{{cite news|url=https://www.theguardian.com/us-news/2016/nov/10/simpsons-predicted-president-trump-back-to-the-future |title=Back to the future: how the Simpsons and others predicted President Trump |work=[[The Guardian]] |access-date=February 5, 2017 |first=Esther |last=Addley |date=2016-11-10}}</ref> * ''[[Infinite Jest]]'', published in 1996, described an alternate America following the presidency of Johnny Gentle, a celebrity who had not held prior political office. Gentle's signature policy was the erection of a wall between the United States and Canada for use as a hazardous waste dump. The US territory behind the wall was "given" to Canada, and the Canadian government was forced to pay for the wall. This appeared to parody the signature campaign promise and background of [[Donald Trump]].<ref>{{cite news|url=https://www.pbs.org/weta/washingtonweek/blog-post/donald-trump-wants-build-wall-border-mexico-can-he-do-it |title=Donald Trump wants to build a wall on the border with Mexico. Can he do it? |newspaper=PBS |access-date=August 3, 2020}}</ref> ==See also== *[[Culture jamming]] *[[Freedom of the press]] *[[Onomasti komodein]] *[[Parody religion]] *[[Satiric misspellings]] *[[Sage writing]] == Notes == {{NoteFoot}} == References == === Citations === {{Reflist |refs = <ref name="Andries2000p10">Lise Andries ''Etat des recherche. Présentation'' in ''Dix-Huitième Siècle'' n.32, 2000, special on ''Rire'' p.10, as quoted in Jean-Michel Racault (2005) ''Voyages badins, burlesques et parodiques du XVIIIe siècle'', p.7, quotation: "Le corps grotesque dans ses modalités clasiques – la scatologie notamment – ..."</ref> <ref name="Anspaugh94">Anspaugh, Kelly (1994)'' 'Bung Goes the Enemay': Wyndham Lewis and the Uses of Disgust.'' in ''Mattoid'' (ISSN 0314-5913) issue 48.3, pp.21–29. As quoted in Wilson (2002): {{blockquote|The turd is the ultimate dead object.}}</ref> <ref name="Babcock1984">{{Citation | last = Babcock | first = Barbara A. | year = 1984 | contribution = Arrange Me Into Disorder: Fragments and Reflections on Ritual Clowning | editor-last = MacAloon | title = Rite, Drama, Festival, Spectacle}}. Also collected as {{Citation | last = Babcock | first = Barbara A Grimes | editor-last = Ronald | editor-first = L | year = 1996 | url = https://books.google.com/books?id=FKZMAAAAYAAJ | title = Readings in ritual studies | page = 5 | publisher = Prentice Hall | isbn = 9780023472534 | quote = Harold Rosenberg has asserted that sociology needs to bring comedy into the foreground, including "an awareness of the comedy of sociology with its disguises", and, like Burke and Duncan, he has argued that comedy provides "the radical effect of self- knowledge which the anthropological bias excludes.}}</ref> <ref name="Bevere2006p265">Bevere, Antonio and Cerri, Augusto (2006) ''Il Diritto di informazione e i diritti della persona'' [https://books.google.com/books?id=upIO4EwTwTwC&pg=PA265 pp.265–6] {{Webarchive|url=https://web.archive.org/web/20221122073915/https://books.google.com/books?id=upIO4EwTwTwC&pg=PA265 |date=November 22, 2022 }} quotation: {{blockquote|nella storia della nostra cultura, la satira ha realizzato il bisogno popolare di irridere e dissacrare il ''gotha'' politico ed economico, le cui reazioni punitive non sono certo state condizionate da critiche estetiche, ma dalla tolleranza o intolleranza caratterizzanti in quel momento storico la società e i suoi governanti. (...) la reale esistenza della satira in una società deriva, (...) dal margine di tolleranza espresso dai poteri punitivi dello Stato.}}</ref> <ref name="Bloom1979">{{Citation | first1 = Edward Alan | last1 = Bloom | first2 = Lillian D. | last2 = Bloom | year = 1979 | url = https://books.google.com/books?id=i5JZAAAAMAAJ | title = Satire's persuasive voice| publisher = Cornell University Press | isbn = 9780801408397 }}.{{Rp| needed = yes|date=October 2012}}</ref> <ref name="Cazeneuve1957p244">Cazeneuve (1957) p.244-5 quotation: {{blockquote|Ils constituent donc pour la tribu un moyen de donner une satisfaction symbolique aux tendances anti-sociales. Les Zunis, précisément parce qu'ils sont un peuple apollinien [où la règle prédomine], avaient besoin de cette soupape de sûreté. Les Koyemshis représentent ce que M. Caillois nomme le « Sacré de transgression ».}}</ref> <ref name="Clark1946p32">{{Citation | last = Clark | first = Arthur Melville | year = 1946 | contribution = The Art of Satire and the Satiric Spectrum | title = Studies in literary modes | page = 32}}</ref> <ref name="Clark73p20">{{Citation | last1 = Clark | first1 = John R | last2 = Motto | first2 = Anna Lydia | year = 1973 | url = https://books.google.com/books?id=A5NZAAAAMAAJ | title = Satire–that blasted art | page = 20| publisher = Putnam | isbn = 9780399110597 }}</ref> <ref name="Clark80p45">{{Citation | last1 = Clark | first1 = John R | last2 = Motto | first2 = Anna Lydia | year = 1980 | url = https://books.google.com/books?id=SnwhAQAAIAAJ | title = Menippeans & Their Satire: Concerning Monstrous Leamed Old Dogs and Hippocentaurs | journal = Scholia Satyrica | volume = 6 | issue = 3/4 | page = 45 | quote = [Chapple's book ''Soviet satire of the twenties'']... classifying the very ''topics'' his satirists satirized: housing, food, and fuel supplies, poverty, inflation, "hooliganism", public services, religion, stereotypes of nationals (the Englishman, German, &c), &c. Yet the truth of the matter is that no satirist worth his salt (Petronius, Chaucer, Rabelais, Swift, Leskov, Grass) ever avoids man's habits and living standards, or scants those delicate desiderata: religion, politics, and sex.}}</ref> <ref name="Clark91p116">Clark (1991) [https://books.google.com/books?id=LOeLRDzui_wC&pg=PA116 pp.116–8] quotation: {{blockquote|...religion, politics, and sexuality are the primary stuff of literary satire. Among these sacret targets, matters costive and defecatory play an important part. ... from the earliest times, satirists have utilized scatological and bathroom humor. Aristophanes, always livid and nearly scandalous in his religious, political, and sexual references...}}</ref> <ref name="Coppola">{{Citation | author-link = Jo Coppola | first = Jo | last = Coppola | year = 1958 | journal = [[The Realist]] | issue = 1 | title=An Angry Young Magazine ...| language=en| url=http://www.ep.tc/realist/01/02.html| quote = Good comedy is social criticism—although you might find that hard to believe if all you ever saw were some of the so-called clowns of videoland.... Comedy is dying today because criticism is on its deathbed... because telecasters, frightened by the threats and pressure of sponsors, blacklists and viewers, helped introduce conformity to this age... In such a climate, comedy cannot flourish. For comedy is, after all, a look at ourselves, not as we pretend to be when we look in the mirror of our imagination, but as we really are. Look at the comedy of any age and you will know volumes about that period and its people which neither historian nor anthropologist can tell you.}}</ref> <ref name="Davidson 1993p85">[[Hilda Ellis Davidson]] (1993) [https://books.google.com/books?id=QHPYAAAAMAAJ ''Boundaries & Thresholds''] p.85 quotation: {{blockquote|It is this fear of what the dead in their uncontrollable power might cause which has brought forth apotropaic rites, protective rites against the dead. (...) One of these popular rites was the funeral rite of sin-eating, performed by a sin-eater, a man or woman. Through accepting the food and drink provided, he took upon himself the sins of the departed.}}</ref> <ref name="Deloria69p146">{{Citation | author-link = Vine Deloria, Jr. | first = Vine | last = Deloria | year = 1969 | title = Custer Died For Your Sins: An Indian Manifesto | chapter = Indian humor | chapter-url = https://books.google.com/books?id=eeIazzLJChMC&pg=PA146 | page = 146 | quote = Irony and satire provide much keener insights into a group's collective psyche and values than do years of [conventional] research| title-link = Custer Died For Your Sins: An Indian Manifesto | publisher = University of Oklahoma Press | isbn = 9780806121291 }} as quoted in {{Citation | first = Allan J | last = Ryan | url = https://books.google.com/books?id=EwEDxskm3ycC&pg=PA9 | title = The trickster shift: humour and irony in contemporary native art | page = 9| isbn = 9780774807043 | year = 1999 | publisher = UBC Press }}</ref> <ref name="Duprat1982p178">Duprat, Annie (1982) ''La dégradation de l'image royale dans la caricature révolutionnaire'' [https://books.google.com/books?id=lsrAGZWHpK4C&pg=PA178 p.178] quotation: {{blockquote|Le corps grotesque est una realite populaire detournee au profit d'une representation du corps a but politique, plaquege du corps scatologique sur le corps de ceux qu'il covient de denoncer. Denonciation scatologique projetee sur le corps aristocratique pour lui signifier sa degenerescence.}}</ref> <ref name="Durand1984p106">Durand (1984) p.106 quotation: {{blockquote|Déjà Cazeneuve (2) [''Les dieux dansent à Cibola''] avait mis auparavant en relief, dans la Société « apollinienne » des Zuñi, l'institution et le symbolisme saturnal des clowns Koyemshis, véritable soupape de sûreté « dionysienne ».}}</ref> <ref name="Ehrenberg1962p39">{{Citation | author-link = Victor Ehrenberg (historian)| last = Ehrenberg | first = Victor | year = 1962 | url = https://books.google.com/books?id=oikOAAAAQAAJ&pg=PA39 | title = The people of Aristophanes: a sociology of old Attic comedy | page = 39}}</ref> <ref name="Fo1990p9">Fo (1990) p.9 quotation: {{blockquote|Nella storia del teatro si ritrova sempre questo conflitto in cui si scontrano impegno e disimpegno ... grottesco, satirico e lazzo con sfottò. E spesso vince lo sfotto. tanto amato dal potere. Quando si dice che il potere ama la satira}}</ref> <ref name="Fo1990p2">Fo (1990) pp.2–3 {{blockquote|... Una caricatura che, è ovvio, risulta del tutto bonaria, del tutto epidermica, che indica, come dicevo prima, soltanto la parte più esteriore del loro carattere, i tic la cui messa in risalto non lede assolutamente l'operato, l'ideologia, la morale e la dimensione culturale di questi personaggi. ... ricordando che i politici provano un enorme piacere nel sentirsi presi in giro; è quasi un premio che si elargisce loro, nel momento stesso in cui li si sceglie per essere sottoposti alla caricatura, a quella caricatura. ... Di fatto questa è una forma di comicità che non si può chiamare satira, ma solo sfottò. ... Pensa quanti pretesti satirici si offrirebbero se solo quei comici del "Biberon" volessero prendere in esame il modo in cui questi personaggi gestiscono il potere e lo mantengono, o si decidessero a gettare l'occhio sulle vere magagne di questa gente, le loro violenze più o meno mascherate, le loro arroganze e soprattutto le loro ipocrisie. ...un teatro cabaret capostipite: il Bagaglino, un teatro romano che, già vent'anni fa, si metteva in una bella chiave politica dichiaratamente di estrema destra, destra spudoratamente reazionaria, scopertamente fascista. Nelle pieghe del gruppo del Bagaglino e del suo lavoro c'era sempre la caricatura feroce dell'operaio, del sindacalista, del comunista, dell'uomo di sinistra, e una caricatura bonacciona invece, e ammiccante, accattivante, degli uomini e della cultura al potere}}</ref> <ref name="Fo1990pn">Fo (1990) quotation: {{blockquote|L'ironia fatta sui tic, sulla caricatura dei connotati più o meno grotteschi dei politici presi di mira, dei loro eventuali difetti fisici, della loro particolare pronuncia, dei loro vezzi, del loro modo di vestire, del loro modo di camminare, delle frasi tipiche che vanno ripetendo. ...[lo sfottò è] una chiave buffonesca molto antica, che viene di lontano, quella di giocherellare con gli attributi esteriori e non toccare mai il problema di fondo di una critica seria che è l'analisi messa in grottesco del comportamento, la valutazione ironica della posizione, dell'ideologia del personaggio.}}{{page needed|date=October 2012}}</ref> <ref name="Geisler2005p73">Geisler, Michael E. (2005) ''National Symbols, Fractured Identities: Contesting the National Narrative'' [https://books.google.com/books?id=CLVaSxt-sV0C&pg=PA73 p.73]</ref> <ref name="Hodgart2009p33">Hodgart (2009) ch 2 ''The topics of satire: politics'' [https://books.google.com/books?id=dGrCooK63TsC&pg=PA33 p.33] {{Webarchive|url=https://web.archive.org/web/20221122073814/https://books.google.ca/books?id=dGrCooK63TsC&pg=PA33 |date=November 22, 2022 }} {{blockquote|The most pressing of the problems that face us when we close the book or leave the theatre are ultimately political ones; and so politics is the pre-eminent topic of satire. ...to some degree public affairs vex every man, if he pays taxes, does military service or even objects to the way his neighbour is behaving. There is no escape from politics where more than a dozen people are living together.<br />There is an essential connection between satire and politics in the widest sense: satire is not only the commonest form of political literature, but, insofar as it tries to influence public behaviours, it is the most political part of all literature.}}</ref> <ref name="Hodgart2009p39">Hodgart (2009) [https://books.google.com/books?id=dGrCooK63TsC&pg=PA39 p.39]</ref> <ref name="Hodgart2009p189">Hodgart (2009) [https://books.google.com/books?id=dGrCooK63TsC&pg=PA189 p.189]</ref> <ref name="Hyers96">{{cite book | last = Hyers | first = M. Conrad | title = The Spirituality of Comedy: comic heroism in a tragic world | orig-year = 1996 | url = https://books.google.com/books?id=_0KjfR6U4VwC | publisher = Transaction Publishers | isbn = 1-56000-218-2 | page = 145 | year = 1996 }}</ref> <ref name="Klein1993p20">Klein, Cecelia F. (1993) [http://www.accessmylibrary.com/article-1G1-14538980/teocuitlatl-divine-excrement-significance.html ''Teocuitlatl, 'Divine Excrement': The Significance of 'Holy Shit' in Ancient Mexico''], in ''[[Art Journal (CAA)]]'', Vol.52, n.3, Fall 1993, pp.20–7</ref> <ref name="Nash1970p203">{{Citation | author-link = Roderick Frazier Nash | first = Roderick Frazier | last = Nash | year = 1970 | title = The Call of the Wild: 1900–1916 | chapter = 21. The New Humor | page = 203 | quote = Humor is one of the best indicators of popular thought. To ask what strikes a period as funny is to probe its deepest values and tastes.}}</ref> <ref name="Nicoll1951p179">{{Citation | last = Nicoll | first = Allardyce | year = 1951 | url = https://books.google.com/books?id=Vyzyna4URIYC&pg=PA179 | title = British drama: an historical survey from the beginnings to the present time | page = 179 }}</ref> <ref name="Parsons34">{{cite journal | last1 = Parsons | first1 = Elsie Clews | author1-link = Elsie Clews Parsons | last2 = Beals | first2 = Ralph L. | date = October–December 1934 | title = The Sacred Clowns of the Pueblo and Mayo-Yaqui Indians | journal = American Anthropologist | volume = 36 | issue = 4 | pages = 491–514 | doi = 10.1525/aa.1934.36.4.02a00020 | jstor=661824 | doi-access = }}</ref> <ref name="Pezzella2009p566">Pezzella, Vincenzo (2009) ''La diffamazione: responsabilità penale e civile'' [https://books.google.com/books?id=TRPEO2aSOvgC&pg=PA566 pp.566–7] quotation: {{blockquote|Il diritto di satira trova il suo fondamento negli artt. 21 e 33 della Costituzione che tutelano, rispettivamente, la libertà di manifestazione del pensiero e quella di elaborazione artistica e scientifica. (...) la satira, in quanto operante nell'ambito di ciò che è arte, non è strettamente correlata ad esigenze informative, dal che deriva che i suoi limiti di liveità siano ben più ammpi di quelli propri del diritto di cronaca}}</ref> <ref name="Pollard1970p66">{{Citation | last = Pollard | first = Arthur | year = 1970 | url = https://books.google.com/books?id=TccOAAAAQAAJ | title = Satire | chapter = 4. Tones | page = [https://books.google.com/books?id=TccOAAAAQAAJ&pg=PA66 66]}}</ref> <ref name="Rosenberg1960p155">{{Citation | author-link = Harold Rosenberg | first = Harold | last = Rosenberg | year = 1960 | title = Community, Values, Comedy | journal = Commentary | volume = 30 | publisher = The [[American Jewish Committee]] | page = 155 | quote = the oldest form of social study is comedy... If the comedian, from Aristophanes to Joyce, does not solve sociology's problem of "the participant observer", he does demonstrate his objectivity by capturing behavior in its most intimate aspects yet in its widest typicality. Comic irony sets whole cultures side by side in a multiple exposure (e.g., ''Don Quixote, Ulysses''), causing valuation to spring out of the recital of facts alone, in contrast to the hidden editorializing of tongue-in-cheek ideologists.}}</ref> <ref name="Test1991p9licencequote">Test (1991) [https://books.google.com/books?id=QkhMi6mKmUMC&pg=PA9 p.9] {{Webarchive|url=https://web.archive.org/web/20221122073815/https://books.google.com/books?id=QkhMi6mKmUMC&pg=PA9 |date=November 22, 2022 }} quotation: {{blockquote|A surprising variety of societies have allowed certain persons the freedom to mock other individuals and social institutions in rituals. From the earliest times the same freedom has been claimed by and granted to social groups at certain times of the year, as can be seen in such festivals as the Saturnalia, the Feast of Fools, Carnival, and similar folk festivals in India, nineteenth-century Newfoundland, and the ancient Mediterranean world.}}</ref> <ref name="Test1991p10">Test (1991) [https://books.google.com/books?id=QkhMi6mKmUMC&pg=PA10 p.10]</ref> <ref name="Test1991p8">Test (1991) [https://books.google.com/books?id=QkhMi6mKmUMC&pg=PA8 pp.8–9]</ref> <ref name="WieseForbes2010p.xv">Amy Wiese Forbes (2010) The Satiric Decade: Satire and the Rise of Republicanism in France, 1830–1840 [https://books.google.com/books?id=ryI7MnlYAi4C&pg=PR15 p.xv] {{Webarchive|url=https://web.archive.org/web/20221122073815/https://books.google.com/books?id=ryI7MnlYAi4C&pg=PR15 |date=November 22, 2022 }}, quotation: {{blockquote|a critical public discourse (...) Satire rose the daunting question of what role public opinion would play in government. (...) satirists criticized government activities, exposed ambiguities, and forced administrators to clarify or establish policies. Not surprisingly, heated public controversy surrounded satiric commentary, resulting in an outright ban on political satire in 1835 (...) Government officials cracked down on their humorous public criticism that challenged state authority through both its form and content. Satire had been a political resource in France for a long time, but the anxious political context of the July Monarchy had unlocked its political power. Satire also taught lessons in democracy. It fit into the July Monarchy's tense political context as a voice in favor of public political debate. Satiric expression took place in the public sphere and spoke from a position of public opinion-that is, from a position of the nation's expressing a political voice and making claims on its government representatives and leadership. Beyond mere entertainment, satire's humor appealed to and exercised public opinion, drawing audiences into new practices of representative government.}}</ref> <ref name="Willi2003p1">{{Citation | first = Andreas | last = Willi | year = 2003 | url = https://books.google.com/books?id=vzMqorCIh4cC&pg=PA1 | title = The Languages of Aristophanes: Aspects of Linguistic Variation in Classical Attic Greek | publisher = Oxford University Press | pages = 1–2| isbn = 9780199262649 }}</ref> <ref name="Wilson2002pp">Wilson (2002) [https://archive.org/details/hydrastaleimagin00wils/page/14 pp. 14–5, 20] and notes 25 (p. 308), 32 (p. 309)</ref> }} === Sources === {{refbegin}} * {{cite book |url = https://books.google.com/books?id=5CL1ONLMCCQC&q=bishop&pg=PA72 |title=Every Man in His Humour: Quarto Version |isbn=9780719015656 |first1=Ben|last1=Jonson|first2=Robert S. |last2=Miola |publisher=Manchester University Press|year=2000}} {{refend}} == Bibliography == * {{Citation |title=The Mediaeval Islamic Underworld: The Banu Sasan in Arabic Society and Literature|first= Clifford Edmund |last=Bosworth|publisher=[[Brill Publishers]]|year=1976|isbn=90-04-04392-6}}. * {{cite book | contribution-url = https://books.google.com/books?id=XrNEns3_yd0C | contributor-last1 = Branham | contributor-first1 = R Bracht | contributor-last2 = Kinney | contributor-first2 = Daniel | year = 1997 | contribution = Introduction| isbn = 9780520211186 | author-link = Petronius | last = Petronius | title = Satyrica | title-link = Satyrica | publisher = University of California Press }} * {{Citation | last = Clark | first = John R | year = 1991 | url = https://books.google.com/books?id=LOeLRDzui_wC | title = The Modern Satiric Grotesque and its traditions | place = Lexington | publisher = U of Kentucky P| isbn = 9780813130323 }}. * {{Citation |last=Corum |first=Robert T. |year=2002 |url=https://books.google.com/books?id=ikGt9gkXv74C&pg=PA175 |contribution=The rhetoric of disgust and contempt in Boileau |editor1-first=Anne Lynn |editor1-last=Birberick |editor2-first=Russell |editor2-last=Ganim |title=The Shape of Change: Essays in Early Modern Literature and La Fontaine in Honor of David Lee Rubin|publisher=Rodopi | isbn=9042014490}}. * {{Citation | editor-last = Davenport | editor-first = A | title = The Poems | publisher = Liverpool University Press | year = 1969}}. * {{Citation | last = Elliott | first = Robert C | section = The nature of satire | title = Encyclopædia Britannica | year=2004}}. * {{Citation | author-link = Dario Fo| last = Fo | first = Dario | year = 1990 | title = Dialogo provocatorio sul comico, il tragico, la follia e la ragione | format = interview | editor-first = Luigi | editor-last = Allegri | pages = 2, 9 | language = it | url = http://www.arengario.net/poli/poli12.html | contribution = Satira e sfottò}}. ** {{Citation|last=Fo|first=Dario|publisher=[[Methuen Publishing]]|place=London|title=Provocative Dialogue on the Comic, the Tragic, Folly and Reason|year=1993}} (transl.). * {{Citation|author-link=Northrop Frye|last=Frye|first=Northrop|year=1957|title=Anatomy of Criticism|title-link=Anatomy of Criticism}} (in particular the discussion of the 4 "myths"). * {{harvc|last=Hall|first=Joseph|c=Virgidemiae|in=Davenport|year=1969}} * {{Citation|last1=Hodgart|first1=Matthew|first2=Brian|last2=Connery|year=2009|orig-year=1969|url=https://books.google.com/books?id=dGrCooK63TsC|title=Satire: Origins and Principles|publisher=Transaction Publishers|isbn=9781412833646}}. * {{Citation|last=Pietrasik|first=Vanessa|year=2011|title=La satire en jeu. Critique et scepticisme en Allemagne à la fin du XVIIIe siècle|place=Tusson|publisher=Du Lérot éditeur, Charente|language=fr|url=http://www.fabula.org/actualites/v-pietrasik-la-satire-en-jeu-critique-et-scepticisme-en-allemagne-a-la-fin-du-xviiie-siecle_43779.php}}. * {{Citation|last=Test|first=George Austin|year=1991|url=https://books.google.com/books?id=QkhMi6mKmUMC|title=Elliott's Bind; or, What Is Satire, Anyway? ''in'' Satire: Spirit & Art|publisher=University of South Florida Press|isbn=9780813010878}} * {{Citation|last=Wilson|first=R Rawdon|year=2002|url=https://books.google.com/books?id=BxSMGjkLbyoC&pg=PA14|title=The hydra's tale: imagining disgust|publisher=University of Alberta|isbn=9780888643681}}. * Massimo Colella, ''Seicento satirico: Il Viaggio di Antonio Abati (con edizione critica in appendice)'', in «La parola del testo», XXVI, 1-2, 2022, pp.&nbsp;77–100. ==Further reading== * {{Citation|last=Bloom|first=Edward A|title=Sacramentum Militiae: The Dynamics of Religious Satire|journal=Studies in the Literary Imagination|volume=5|year=1972|pages=119–42}}. * {{Citation|author1-link=Jacob Bronowski|last1=Bronowski|first1=Jacob|author2-link=Bruce Mazlish|first2=Bruce|last2=Mazlish|title=The Western Intellectual Tradition From Leonardo to Hegel|page=252|orig-year=1960|year=1993|publisher=Barnes & Noble}}. * {{Citation|last=Connery|first=Brian A|title=Theorizing Satire: A Bibliography|publisher=Oakland University}}. * {{Citation|last=Dooley|first=David Joseph|year=1972|url=https://books.google.com/books?id=LGYIAQAAIAAJ|title=Contemporary satire|publisher=Holt, Rinehart and Winston of Canada|isbn=9780039233853}}. * {{Citation|first=Leonard|last=Feinberg|title=The satirist}}. * {{Citation|last=Lee|first=Jae Num|title=Scatology in Continental Satirical Writings from Aristophanes to Rabelais and English Scatological Writings from Skelton to Pope, 1,2,3 maldita madre. Swift and Scatological Satire|place=Albuquerque|publisher=U of New Mexico P|year=1971|pages=7–22; 23–53}}. ===Theories/critical approaches to satire as a genre=== * {{Cite book|editor1-last=Connery|editor1-first=Brian|editor2-last=Combe|editor2-first=Kirk|title=Theorizing Satire: Essays in Literary Criticism|year=1995|publisher=St. Martin's Press|location=New York|isbn=0-312-12302-7|page=212}} * {{Citation|author-link=Emil Draitser|first=Emil|last=Draitser|title=Techniques of Satire: The Case of Saltykov-Shchedrin|place=Berlin-New York|publisher=Mouton de Gruyter|year=1994|isbn=3-11-012624-9}}. * {{Citation|last=Hammer|first=Stephanie|title=Satirizing the Satirist}}. * {{Citation|last=Highet|first=Gilbert|title=Satire}}. * {{Citation|last=Kernan|first=Alvin|title=The Cankered Muse}}. * {{Citation|first=Udo|last=Kindermann|title=Satyra. Die Theorie der Satire im Mittellateinischen|series=Vorstudie zu einer Gattungsgeschichte|publisher=Nürnberg|year=1978|language=de}}. *{{Citation|last=Κωστίου|first=Αικατερίνη|title=Εισαγωγή στην Ποιητική της Ανατροπής: σάτιρα, ειρωνεία, παρωδία, χιούμορ|publisher=Αθήνα: Νεφέλη|year=2005|language=el}} ===The plot of satire=== * {{Citation|last=Seidel|first=Michael|title=Satiric Inheritance}}. * {{Citation|title=Entopia: Revolution of the Ants|year=2008|first=Rad|last=Zdero}}. ==External links== {{Wikiquote}} {{Wiktionary}} {{Commons category|Satire}} *{{cite EB1911|author=Garnett, Richard|author-link=Richard Garnett (writer)|wstitle=Satire|volume=24|pages=228–229}} *[https://www.parliament.uk/about/living-heritage/evolutionofparliament/parliamentwork/communicating/from-the-parliamentary-collections/furniss1/furniss6/ Harry Furniss Parliamentary Satire Book – 1890s – UK Parliament Living Heritage] {{Fiction writing}} {{LitlessSatire}} {{Comedy footer}} {{Conformity}} {{Authority control}} [[Category:Satire| ]] [[Category:Film genres]] [[Category:Genres]] [[Category:Humanities]] [[Category:Humour]] [[Category:Literary genres]] [[Category:Rhetoric]] [[Category:Television genres]] [[Category:Theatrical genres]] </textarea><div class="templatesUsed"><div class="mw-templatesUsedExplanation"><p><span id="templatesused">Pages transcluded onto the current version of this page<span class="posteditwindowhelplinks"> (<a href="/wiki/Help:Transclusion" title="Help:Transclusion">help</a>)</span>:</span> </p></div><ul> <li><a href="/wiki/Satires" class="mw-redirect" title="Satires">Satires</a> (<a href="/w/index.php?title=Satires&action=edit" class="mw-redirect" title="Satires">edit</a>) </li><li><a href="/wiki/Template:Authority_control" title="Template:Authority control">Template:Authority control</a> (<a href="/w/index.php?title=Template:Authority_control&action=edit" title="Template:Authority control">view source</a>) (template editor protected)</li><li><a 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