Journal articles: 'Verse satire'

1

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

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

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

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

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

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

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

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

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7

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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16

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

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

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

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18

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Díez, J. Ignacio. "Tres epístolas y un comienzo teóricamente silencioso (Garcilaso, Mendoza, Boscán y Herrera)." Calíope 27, no. 1 (April 2022): 1–21. http://dx.doi.org/10.5325/caliope.27.1.0001.

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The genre or subgenre of the Spanish epistle in verse spreads in a printed volume that collects Las obras de Boscán y algunas de Garcilaso but also an epistle of Mendoza. Of the two options offered to adapt Horace’s epistle, only one of them triumphs, the one entrusted to the tercet and the long extension. The differences between the two models are examined and the notes that favor the triumph of Mendoza-Boscán. The generic limits with the satire and with the elegy are also discussed, and Herrera’s eloquent silences in his Anotaciones are tried to be explained.

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

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

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Ricke, Joe. "‘Text Corruptions’ Corruption: Restoring C.S. Lewis's Critical Satire." Journal of Inklings Studies 14, no. 1 (April 2024): 43–61. http://dx.doi.org/10.3366/ink.2024.0215.

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This essay examines in detail a C.S. Lewis letter, published in The Times Literary Supplement that was, in fact, an example of ‘mock-criticism’ (as in ‘mock-epic’), being a satiric parody of an argument made by eminent Shakespeare scholar John Dover Wilson. Lewis published his ‘minor disagreement’ in March 1950, to which Dover Wilson responded with appreciation for Lewis's good humour but continued disagreement on the point of contention – that Shakespeare would ever include lines of verse in a section of his prose. By close analysis, the essay demonstrates how the editor of The Collected Letters inadvertently ‘corrupted’ Lewis's original by his formatting and editorial changes. Three versions of the letter are compared to show the specifics of the corruption. Further, Lewis's long critical encounter with Dover Wilson from the late 1920s onward as well as his little-known role as a textual criticism scholar at Oxford are demonstrated to provide the context for interpreting and appreciating the letter. Finally, two other Lewis letters, previously pointed out by Stephanie Derrick (neither published in The Collected Letters) are presented from the Dover Wilson archives as evidence of the cordial scholarly relationship that eventually developed between the two. The essay shows Lewis as a clever, thorough, combative, yet friendly scholar (though perhaps not always all at the same time) engaging in and, in fact, initiating important discussions with perhaps the most significant Shakespearean textual scholar of his time.

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

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

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

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

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Seidel, Robert. "Satirisch-elegisch-heroisches Erzählen von ‘Deß gwesten Pfaltzgrafen Glück vnd Unglück’." Daphnis 47, no. 1-2 (March 5, 2019): 193–220. http://dx.doi.org/10.1163/18796583-04701001.

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The year 1621 saw the anonymous publication of a text under the anagrammatically encoded title Querela Sufredi missa Vinoni, reflecting the defeat of the ‘Winterkönig’ and its far-reaching consequences in the medium of elegiac lament. The fictitious speaker is the militarily and politically isolated Elector Palatine Frederick v. who bitterly addresses the dissolving Protestant Union, allegorically represented as an unfaithful wife. The Latin text substantially and structurally combines elements of (love) elegy, heroic epistle, and verse satire. The article confronts this so far unknown piece of poetry with a prominent counterpart, a satirical heroic epistle by the jesuit Jacob Balde, and analyses it with respect to its specific religious and political tendencies.

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Trościński, Grzegorz. "Panów na chłopy uskarżanie się / „The Landlords’ Complaints Against Peasants ”: A Text Found in the MS Collection of the Diocesan Library at Sandomierz Attests The Enduring Popularity of the Medieval Satire Against Cunning Peasants." Ruch Literacki 53, no. 6 (December 1, 2012): 699–710. http://dx.doi.org/10.2478/v10273-012-0043-x.

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Summary This article deals with a hitherto unknown text from the late 16th or early 17th century titled „The Landlords’ complaints against peasants”, found by the writer in a volume which belonged to the Franciscan (Bernardine) convent at Radom and is now kept at the Diocesan Library at Sandomierz (MS L 1684). That the poem, reprinted in the article, is a literary offspring of the medieval anti-peasant verse „A Satire on Lazy Peasants” is indicated by the a number of semantic and lexical traits as well its rhyme scheme. However, its line of descent is not direct. It is indebted to (or, represents a textual variant of) another contemporary poem called „A Description of the knavish and artful character of the peasant hard set against his lord”, found in St Petersburg by Aleksander Brückner. „The Landlords’ complaints against peasants” is the only poem physically available in a MS from the legacy of the medieval „Satire on Lazy Peasants”. In the Franciscan MS it faces „A Peasant Lament against the Landlords”, a poem which can also be found in a Czartoryski Library manuscript. Finally, a text quoted in one of the footnotes contains another, hitherto unknown variant of the „Peasant Lament” from 1629.

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Petermon, Jade D. "The Shadow Behind the Real: Spike Lee Does Chicago." Film Quarterly 70, no. 2 (2016): 30–37. http://dx.doi.org/10.1525/fq.2016.70.2.30.

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When he began principal shooting in Chicago in summer 2015, Spike Lee assured audiences that Chi-Raq would engage the issue of violence on Chicago's South Side with intention and purpose. Chicagoans were skeptical because of Lee's use of the portmanteau phrase, which had been the subject of much debate in the city, as the film's title. Written almost entirely in verse, Chi-Raq is an adaptation of classical Greek playwright Aristophanes's comedy Lysistrata that marks an extension of Lee's use of satire. Despite Lee's promises, he flails outside of his native Brooklyn. The film primarily adopts a didactic and reductionist view, blaming black Chicagoans for their own “self-inflicted genocide” and encouraging them to put their trust in the notoriously corrupt Chicago Police Department.

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Myklebust, Nicholas. "John Walton’s Invention of the Iambic Pentameter." Chaucer Review 58, no. 2 (April 2023): 177–207. http://dx.doi.org/10.5325/chaucerrev.58.2.0177.

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ABSTRACT When Geoffrey Chaucer died in 1400, the decasyllable he invented in the late 1370s and raised to prominence in the 1380s and 1390s lay precariously in the hands of scribes and rivals. Of the poets to reform Chaucer’s meter in the first decade of the fifteenth century, John Walton devised the subtlest and most successful alternative to the inherited decasyllable, capitalizing on the full range of formal and grammatical ambiguities in Chaucer’s line and turning them from bugs into features, in an expanding program of new candidate meters. His revision of the decasyllable in De Consolatione Philosophiae (ca. 1410), a verse translation of Boethius and veiled satire on Chaucer’s Boece, uses the decasyllabic resource to fill several vacancies in the scramble for authority following Chaucer’s death.

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Chisholm, David. "Daniel Call’s Schocker: German Knittelvers in the late twentieth century." Studia Metrica et Poetica 4, no. 2 (January 4, 2018): 7–30. http://dx.doi.org/10.12697/smp.2017.4.2.01.

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The word “Knittelvers” has been used since the eighteenth century to describe four-stress rhyming couplets which seem to be rather simply and awkwardly constructed, and whose content is frequently comical, course, vulgar or obscene. Today German Knittelvers is perhaps best known from the works of Goethe and Schiller, as well as other late eighteenth and early nineteenth century writers.Well-known examples occur together with other verse forms in Goethe’s Faust and Schiller’s Wallensteins Lager, as well as in ballads and occasional poems by both poets. While literary critics have shown considerable interest in Knittelvers written from the fifteenth to the eighteenth century, there has been almost no discussion of the further use and development of this verse form from the nineteenth century to the present, despite the fact that it continues to appear in both humorous and serious works by many contemporary German writers. This article focuses on an example of dramatic Knittelvers in a late twentieth century play, namely Daniel Call’s comedy Schocker, a modern parody of Goethe’s Faust. Among other things, Call’s play, as well as other examples of Knittelvers in works by twentieth and early twenty-first century poets, demonstrates that while this verse form has undergone some changes and variations, it still retains metrical characteristics which have remained constant since the fifteenth century. Today these four-stress couplets continue to function as a means of depicting comic, mock-heroic and tragicomic situations by means of parody, farce and burlesque satire.

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Cairolli, Fábio Paifer. "PÉRSIO, SÁTIRA 4: UMA PROPOSTA DE TRADUÇÃO | PERSIUS, SATURAE 4: A TRANSLATION PROPOSITION." Estudos Linguísticos e Literários, no. 55 (December 1, 2016): 386. http://dx.doi.org/10.9771/2176-4794ell.v0i55.17223.

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Este artigo apresenta uma tradução poética da quarta sátira de Pérsio, poeta latino do século I d.C.. Antecede o texto a exposição dos critérios pelos quais adotei o dodecassílabo para traduzir. A tradução é acompanhada de anotações explicativas, nas quais são brevemente esclarecidas passagens obscuras ou aspectos culturais que demandam mediação. Abstract: This article presents a poetic translation of the fourth satire of Persius, a Latin poet from the first century A.D. The text is preceded by an explanation of the reasons for adopting a twelve-syllable verse to translate the Latin text. The translation is accompanied by brief notes that clarify obscure passages and explain cultural references necessary for the reader’s understanding.

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Ball, Robert J. "‘THE DEATH OF INTESTATE OLD MEN’: GILBERT HIGHET'S PAPER ON JUVENAL 1.144." Classical Quarterly 69, no. 1 (March 27, 2019): 363–69. http://dx.doi.org/10.1017/s0009838819000259.

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The verse hinc subitae mortes atque intestata senectus (Juv. 1.144) has long fuelled considerable debate and discussion among classical scholars. This hexameter occurs in the passage of the first satire that describes the aspect of the patron-client relationship where the rich patron, ignoring the plight of his poor and hungry clients, enjoys a sumptuous but deadly feast. After dining on delicacies such as boar and peacock, he bathes on a bloated stomach, causing him to die suddenly and apparently intestate, and causing those angry at being deprived of their legacy to cheer at his funeral (1.140b–6):quanta est gula quae sibi totosponit apros, animal propter conuiuia natum!poena tamen praesens, cum tu deponis amictusturgidus et crudum pauonem in balnea portas.hinc subitae mortes atque intestata senectus.it noua nec tristis per cunctas fabula cenas;ducitur iratis plaudendum funus amicis.

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Stauffer, Isabelle. "Grobian Trouble: Grobianism and “Invectivity” in Thomas Murner and Martin Luther." Journal of Early Modern Christianity 10, no. 1 (April 1, 2023): 73–88. http://dx.doi.org/10.1515/jemc-2023-2038.

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Abstract Thomas Murner’s verse satire Von dem grossen Lutherischen Narren (1522) and Martin Luther’s pamphlet Wider das Papsttum zu Rom, vom Teufel gestiftet (1545) are known as particularly grobian texts. This paper examines the grobian as a historically new key figure in these two pamphlets and views it in relation to the concept of “invectivity.” Both are performative, violent, and in need of an audience. Moreover, their shared epistemic function is to question the existing order. The grobian also shows the contagiousness of “invectivity”: both Murner and Luther profess grobianism – which they say they were forced into because their opponents adopted it. These attributions of grobianism raise the debate to the level of the metainvective. As a transmedial figure, the grobian helps to make debates about religious conflicts more figurative and visual. As a ridiculous figure, he challenges not only pejorative ridicule but also liberating laughter, and ex negativo demonstrates the utopia of polite behavior – thus going beyond “invectivity.”

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Santosa, Budi. "Menjadi Bodoh Karena Terlalu Pintar: Kritik dan Mistisisme dalam Kidung Cowak." Jumantara: Jurnal Manuskrip Nusantara 15, no. 1 (June 4, 2024): 23–51. http://dx.doi.org/10.37014/jumantara.v15i1.4880.

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“Being stupid for being too smart” is the opening verse written in Kidung Cowak. A statement with a satirical and sarcastic tone displays an unceremonious irony, delivered by the author as the opening line of his work. This is something that is not commonly found in a work of Kawi literature because almost half of the content is criticism. The author of Kidung Cowak is, by consensus, estimated to be associated with the name of Ida Padanda Sakti Talaga, who is one of Dang Hyang Nirartha’s children. Satire and sarcasm are attempts by the author to emphasize the core of his criticism. Not only does it contain criticism, but the other half of Kidung Cowak also contains various symbols about mystical and esoteric teachings that are still closely related to his criticism delivered in an euphemistic style. In addition to presenting a transcription of Kidung Cowak, this article also provides an in-depth analysis and interpretation of the text using Jürgen Habermas’s critical hermeneutics.

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

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

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Wahyudi, Ateng, Rochmat Tri Sudrajat, and Reka Yuda Mahardika. "ANALISIS GAYA BAHASA PADA PUISI MENYESAL KARYA ALI HASJMI." Parole : Jurnal Pendidikan Bahasa dan Sastra Indonesia 5, no. 3 (May 26, 2022): 213–20. http://dx.doi.org/10.22460/parole.v5i3.5881.

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Poetry is a literary work whose language is bound by rhyme and is a person's ideas and feelings about something that are poured into beautiful words. Â Language style is one of the media in stylistic studies that can be used as a medium in assessing the beauty of fictional poetry and prose works. Â The background of this research is to analyze the language style (figure of speech) used in Ali Hasjmi's sorry poetry, as well as to assist in the development of Indonesian language learning in analyzing the language style of the poetry. Â The method used by researchers is a qualitative descriptive method. Â The data analysis was carried out through several stages including literature study by reading, writing the required content, and identifying the verse and lines of poetry that contained language styles. Â The results found in Ali Hasjmi's regretful poetry include three styles of language including affirmation, satire and comparison. Â The figures used are personification, metaphoric, hyperbole, sinekdoke, rhetorical, and irony. Â In regret poetry there are four stanzas and fifteen lines.

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Wahyudi, Ateng, Rochmat Tri Sudrajat, and Reka Yuda Mahardika. "ANALISIS GAYA BAHASA PADA PUISI MENYESAL KARYA ALI HASJMI." Parole : Jurnal Pendidikan Bahasa dan Sastra Indonesia 5, no. 3 (December 30, 2022): 213–20. http://dx.doi.org/10.22460/p.v5i3p213-220.5881.

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Poetry is a literary work whose language is bound by rhyme and is a person's ideas and feelings about something that are poured into beautiful words. Â Language style is one of the media in stylistic studies that can be used as a medium in assessing the beauty of fictional poetry and prose works. Â The background of this research is to analyze the language style (figure of speech) used in Ali Hasjmi's sorry poetry, as well as to assist in the development of Indonesian language learning in analyzing the language style of the poetry. Â The method used by researchers is a qualitative descriptive method. Â The data analysis was carried out through several stages including literature study by reading, writing the required content, and identifying the verse and lines of poetry that contained language styles. Â The results found in Ali Hasjmi's regretful poetry include three styles of language including affirmation, satire and comparison. Â The figures used are personification, metaphoric, hyperbole, sinekdoke, rhetorical, and irony. Â In regret poetry there are four stanzas and fifteen lines.

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Marvin, Jamie. "Julian’s Misopogon and the Food Shortage in Antioch." Studies in Late Antiquity 7, no. 2 (2023): 286–326. http://dx.doi.org/10.1525/sla.2023.7.2.286.

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When Emperor Julian departed from Antioch in early 363 after eight months in the city, he left behind a biting satire that he had posted in its forum. That satire, the Misopogon, is the emperor’s response to the Antiochenes’ criticisms, which they composed in verse and sang through the city streets. He claims that what aroused the Antiochenes’ animosity most of all was his handling of the food shortage that afflicted the city during his stay. Julian details the measures he took to alleviate the shortage, yet despite generous measures he had undertaken, he claims Antiochenes were dissatisfied. He blames powerful citizens for undercutting the effect of his measures and exacerbating the shortage, and he belittles their distress by depicting it as the result of insatiable appetites rather than genuine deprivation. This article focuses neither on the nature nor cause of the shortage, nor on the accuracy of its depiction in the Misopogon. Instead, it draws upon the theory of crisis management that underpins Julian’s defense against accusations that he responded poorly to the shortages. Although explicit references to the food shortage constitute a small fraction of the Misopogon, an examination of the Misopogon’s conceptual dependence on Plato’s De legibus reveals that the text in its entirety contributes to Julian’s defense of his conduct. Julian’s allusions throughout the Misopogon to Plato’s De legibus works to absolve him of any responsibility for the distress caused by the food shortage. In brief, De legibus correlates virtue and vulnerability to crisis: the soul determines behavior, and the behavior of the political community determines its vulnerability to crisis. Virtue is the proper cognitive and emotional disposition of the soul. Besides making explicit the way virtue incites behavior that reduces risk and increases resiliency to crises, Plato’s De legibus also details how an individual’s lifestyle habits indicate their soul’s disposition. In this way, the De legibus provided the framework for Julian’s defense.

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Henderson, John. "M. Plaza, The Function of Humour in Roman Verse Satire: Laughing and Lying. Oxford: Oxford University Press, 2006. Pp. x + 370. ISBN 0-19-929111-4. £55.99." Journal of Roman Studies 97 (November 2007): 318–20. http://dx.doi.org/10.1017/s0075435800003750.

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Henderson, John. "M. Plaza, The Function of Humour in Roman Verse Satire: Laughing and Lying. Oxford: Oxford University Press, 2006. Pp. x + 370. ISBN 0-19-929111-4. £55.99." Journal of Roman Studies 97, no. 01 (November 2007): 318–20. http://dx.doi.org/10.1017/s007543580001529x.

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FREUDENBURG, KIRK. "(M.) Plaza The Function of Humour in Roman Verse Satire. Laughing and Lying. Pp. x + 370. Oxford: Oxford University Press, 2006. Cased, £55. ISBN: 978-0-19-928111-4." Classical Review 58, no. 1 (January 2008): 138–40. http://dx.doi.org/10.1017/s0009840x07002193.

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

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

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Pucci, Joseph. "Jan M. Ziolkowski, Bridget K. Balint with Justin Lake, Laura Light and Prydwyn O. Piper, eds. A Garland of Satire, Wisdom, and History: Latin Verse from Twelfth-Century France (Carmina Houghtoniensia)." Journal of Medieval Latin 20 (January 2010): 348–50. http://dx.doi.org/10.1484/j.jml.3.74.

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Al-halhooli, Mah’d Ahmad, Nisreen Al-Khawaldeh, and Halla Shureteh. "The Linguistic Technique of Parallelism in Al-Ahwas Al-Ansari’s Poetry: A Stylistic Study." International Journal of Applied Linguistics and English Literature 6, no. 1 (November 19, 2016): 189. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.1p.189.

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Parallelism is one of the most conspicuous stylistic techniques that are marked by the receiver's ear, and it also has an excellent musical rhythm. Al-Ahwas[1] thoroughly familiarizes readers with an entire host of parallelistic arrangements in his poetry, which makes the semantic units a rich material for the aesthetic study. The present study presents the most beautiful uses of all varieties of parallelism in a corpus of Al-Ahwas's poetry, as the reader of his poetry would never miss observing the many images of parallelism based on semantic concordance, as well as the parallelism that appears in one line, or in a stanza, based on structural concordance, in addition to the parallelism formed by the morphological rhythm which is based on the repetition of a morphological derivative formulae. Al-Ahwas did not suffice himself with the similar morphological formulae to achieve rhythm, but he also aimed at the parallelism achieved by repetition, which falls into several patterns. They can be included in one verse line, or within a number lines conforming to one idea, but with different contexts. The second pattern of repetition in terms of rhythm and structure is Epanaphora, or Epanalepsis: which is a repetitive structure based on inserting a word at the beginning of the speech and then repeating the same word at the end of the speech. Al-Ahwas achieved a high rhythmical harmony using parallelism besides a semantic goal by deliberately intensifying parallel words and functioning units in a network revolving around the dominant idea. This study hopes to pave the way for future avenues of studies in poetry under the category of stylistics.Keywords: Parallelism, stylistics, Al-Ahwas’s poetry [1]. The poet Al-Ahwas Al-Ansari. He is Abdullah bin Mohammed bin Abdullah bin Asim bin Thabit al-Ansari, one of the Umayyad poets, died in Damascus in 105 AH / 723 AD. He was called Al-Ahwas for a tightness in his eye. He is an Islamic satire poet.

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Journal articles on the topic 'Verse satire'

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