
Contents
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The Opposition to Satire The Opposition to Satire
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Dryden and the Art of Satire Dryden and the Art of Satire
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Pope’s ‘Sacred Weapon’ Pope’s ‘Sacred Weapon’
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Addison’s Sociable Wit Addison’s Sociable Wit
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The Audience for Satire The Audience for Satire
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The Subject of Satire The Subject of Satire
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The Public and Private Dimensions of Satire The Public and Private Dimensions of Satire
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Thinking about Satire’s Legacy Thinking about Satire’s Legacy
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Select Bibliography Select Bibliography
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28 Thinking about Satire
Get accessAshley Marshall is Professor of English at the University of Nevada, Reno. She is the author of The Practice of Satire in England, 1658–1770 (2013) and Swift and History: Politics and the English Past (2015), and has published essays in The Review of English Studies, Huntington Library Quarterly, Swift Studies, Eighteenth-Century Life, Modern Philology, and elsewhere. She is currently completing a book on political journalism in London, 1695–1720.
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Published:04 September 2019
Cite
Abstract
What did eighteenth-century writers and critics have to say about satire? The relevant primary material is voluminous, including Dryden’s Discourse, Pope’s Epilogue to the Satires, essays and sermons on ridicule, authorial prefaces, and passing strictures upon particular satires. The commentary is often occasional, subjective, and partisan, usually either focusing on single works or operating in the realm of abstraction. Satire was a contentious subject for many readers and writers. It produced anxiety, because of its socio-moral consequences and because of the uncertainties of the form. No consensus existed in the realms of definition, terminology, objective, method, or target. Contemporary attitudes towards satire were decidedly mixed; few in the eighteenth century would consider satire the achievement of the age. But 1660–1745 was the aetas mirabilis of English satire, marked by rich debates about ethics and efficacy, about the aesthetics and humanity of humorous judgement—and a time of satiric production that is, quantitatively and qualitatively, astonishing.
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