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Parody, Satire, and the Novel Parody, Satire, and the Novel
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‘Pavonian’ and ‘Menippean’ Satire ‘Pavonian’ and ‘Menippean’ Satire
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The Migration to Magazines The Migration to Magazines
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Notes Notes
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Further Reading Further Reading
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49 Literary Parody and Satire
Get accessNicholas Mason is Professor of English at Brigham Young University. He has published widely on Romantic-era satire, periodicals, and print culture. His recent publications include the book Literary Advertising and the Shaping of British Romanticism (Johns Hopkins University Press, 2013), the co-edited collection Romantic Periodicals in the Twenty-First Century: Eleven Case Studies from Blackwood’s Edinburgh Magazine (Edinburgh University Press, 2020), and a digital scholarly edition of William Wordsworth’s Guide to the Lakes (Romantic Circles, 2020).
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Published:22 May 2024
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Abstract
While it may no longer be controversial to claim that satire and parody not only survived the rise of Romantic sincerity but remained central to British poetry, drama, and prints well into the nineteenth century, the achievements of Romantic-era prose satirists are still broadly underappreciated. As a corrective to this tendency, this chapter emphasizes how literary fads and follies were especially apt to inspire innovative experiments in parodic and satiric prose. After briefly contrasting the respective lineages and functions of parody and satire, it highlights three exemplary instances of the tradition of Jonathan Swift, Henry Fielding, and Laurence Sterne being kept alive: the wave of novelistic parodies of the 1790s (most famously, Jane Austen’s Northanger Abbey) lampooning Gothic excess, Thomas Love Peacock’s deployment of Menippean satire to bring Romantic poets back to earth, and Blackwood’s transformation of the monthly magazine into the principal medium for literary parody and satire of the late Romantic age.
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