Satirical Columns

Satire is a genre of the visual, literary, and performing arts, usually in the form of fiction and less frequently non-fiction, in which vices, follies, abuses, and shortcomings are held up to ridicule, often with the intent of shaming or exposing the perceived flaws of individuals, corporations, government, or society itself into improvement. Although satire is usually meant to be humorous, its greater purpose is often constructive social criticism, using wit to draw attention to both particular and wider issues in society.

A feature of satire is strong irony or sarcasm —"in satire, irony is militant", according to literary critic Northrop Frye— but parody, burlesque, exaggeration, 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, music, film and television shows, and media such as lyrics.

Etymology and roots

The word ''satire'' comes from the Latin word ''satur'' and the subsequent phrase '' 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".. However, the use of the word ''lanx'' in this phrase is disputed by B.L. Ullman
Satura and Satire
(Class.Phil. 1913).

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''. 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.

To Quintilian, the satire was a strict literary form, but the term soon escaped from the original narrow definition. Robert Elliott writes:

The word ''satire'' derives from ''satura'', and its origin was not influenced by the Greek mythological figure of the ''satyr''. 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.

Humour

Laughter is not an essential component of satire; 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".

Social and psychological functions

Satire and irony in some cases have been regarded as the most effective source to understand a society, the oldest form of social study. They provide the keenest insights into a group's collective psyche, reveal its deepest values and tastes, and the society's structures of power. Some authors have regarded satire as superior to non-comic and non-artistic disciplines like history or anthropology. 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.

Historically, satire has satisfied the popular need to debunk and ridicule the leading figures in politics, economy, religion and other prominent realms of power. 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's not obligated to solve them. Karl Kraus set in the history of satire a prominent example of a satirist role as confronting public discourse.

For its nature and social role, satire has enjoyed in many societies a special freedom license to mock prominent individuals and institutions. The satiric impulse, and its ritualized expressions, carry out the function of resolving social tension. Institutions like the ritual clowns, 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 repressive aspects of society.

The state of political satire in a given society reflects the tolerance or intolerance that characterizes it, and the state of civil liberties and human rights. Under 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 USSR was allowed, the most prominent satirist being Arkady Raikin, political satire existed in the form of anecdotes 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".

Horatian, Juvenalian, Menippean

Satirical literature can commonly be categorized as either Horatian, Juvenalian, or Menippean.

Horacian

Horacian satire, named for the Roman satirist Horace (65–8 BCE), playfully criticizes some social vice through gentle, mild, and light-footed humour. Horace (Quintus Horatius Flaccus) wrote Satires to gently ridicule the dominant opinions and "philosophical beliefs of ancient Rome and Greece" (Rankin). Rather than writing in harsh or accusing tones, he addressed issues with humor and clever mockery. Horatian satire follows this same pattern of "gently idiculingthe absurdities and follies of human beings" (Drury).

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.

A Horacian satirist's goal is to heal the situation with smiles, rather than by anger. Horacian satire is a gentle reminder to take life less seriously and evokes a wry smile. A Horatian satirist makes fun of general human folly rather than engaging in specific or personal attacks. Shamekia Thomas suggests, "In a work using Horatian satire, readers often laugh at the characters in the story who are the subject of mockery as well as themselves and society for behaving in those ways." Alexander Pope has been established as an author whose satire "heals with morals what it hurts with wit" (Green). Alexander Pope—and Horatian satire—attempt to teach.

Juvenalian

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" (Podzemny). 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. A Juvenal satirist mocks "societal structure, power, and civilization" (Thomas) 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 is critiqueof contemporary English society" (Podzemny).

Menippean

See Menippean satire.

Satire versus 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. 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. Nobel laureate satirical playwright Dario Fo pointed out the difference between satire and teasing (''sfottò''). 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. Fo formulated an 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. 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.

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 impersonation of someone monkeying around with his exterior attributes, tics, 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. ''Sfottò'' directed towards a powerful individual makes him appear more human and draws sympathy towards him. Hermann Göring propagated jests and jokes against himself, with the aim of humanizing his image.

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. 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. Among these, politics in the broader sense is considered the pre-eminent topic of satire. Satire which targets the clergy is a type of political satire, while religious satire is that which targets religious beliefs. Satire on sex may overlap with blue comedy, off-color humor and dick jokes.

Scatology has a long literary association with satire, as it is a classical mode of the grotesque, the grotesque body and the satiric grotesque. Shit plays a fundamental role in satire because it symbolizes death, the turd being "the ultimate dead object". The satirical comparison of individuals or institutions with human excrement, exposes their "inherent inertness, corruption and dead-likeness". The ritual clowns of clown societies, like among the Pueblo Indians, have ceremonies with filth-eating. In other cultures, sin-eating is an apotropaic rite in which the sin-eater (also called filth-eater), by ingesting the food provided, takes "upon himself the sins of the departed". 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. 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. Comedy in general accepts the rules of the social game, while satire subverts them.

Another analysis of satire is the spectrum of his possible tones: wit, ridicule, irony, sarcasm, cynicism, the sardonic and invective.

The type of humour that deals with creating laughter at the expense of the person telling the joke is called reflexive humour. 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. Satire is found not only in written literary forms. In preliterate cultures it manifests itself in ritual and folk forms, as well as in trickster tales and oral poetry.

It appears also in graphic arts, music, sculpture, dance, cartoon strips, and graffiti. Examples are Dada sculptures, Pop Art works, music of Gilbert and Sullivan and Erik Satie, punk and rock music. In modern media culture, stand-up comedy is an enclave in which satire can be introduced into mass media, challenging mainstream discourse. Comedy roasts, mock festivals, and stand-up comedians in nightclubs and concerts are the modern forms of ancient satiric rituals.

Development

Ancient Egypt

One of the earliest examples of what might be called satire, The Satire of the Trades, 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 think that the context was meant to be serious.

The Papyrus Anastasi I (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 playwright Aristophanes one of the best known early satirists: his plays are known for their critical political and societal commentary, 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. Aristophanes' plays turned upon images of filth and disease. 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 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 diatribe. As in the case of Aristophanes plays, menippean satire turned upon images of filth and disease.

Ancient China

Satire, or fengci (諷刺) the way it's called in Chinese, goes back at least to Confucius, being mentioned in the 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 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.

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 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 veiled ironic terms. In contrast, Pliny reports that the 6th-century-BC poet Hipponax wrote ''satirae'' that were so cruel that the offended hanged themselves.

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'' and '' The Odyssey''.

Medieval Islamic world

Medieval Arabic poetry included the satiric genre ''hija''. Satire was introduced into 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 and 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." For example, in one of his 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". Another satirical story based on this preference was an ''Arabian Nights'' tale called "Ali with the Large Member".

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 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. 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.

The terms "comedy" and "satire" became synonymous after Aristotle's ''Poetics'' was translated into Arabic in the medieval Islamic world, where it was elaborated upon by Islamic philosophers and writers, such as Abu Bischr, his pupil Al-Farabi, Avicenna, and Averroes. Due to cultural differences, they disassociated comedy from Greek dramatic representation and instead identified it with 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.

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 Goliards or vagants 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 (~1178), and some of Chaucer's ''Canterbury Tales''. Sometimes 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.

Early modern western satire

Direct social commentary via satire returned with a vengeance in the 16th century, when farcical texts such as the works of François Rabelais tackled more serious issues (and incurred the wrath of the crown as a result).

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 ''Narrenschiff'' (1494), Erasmus's ''Moriae Encomium'' (1509), Thomas More's ''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 Hall's ''Virgidemiarum'', six books of verse satires targeting everything from literary fads to corrupt noblemen. Although Donne had already circulated satires in manuscript, Hall's was the first real attempt in English at verse satire on the Juvenalian model. 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.

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.

Ancient and modern India

Satire (''Kataksh'' or ''Vyang'') has played a prominent role in Indian and Hindi literature, and is counted as one of the "ras" of literature in ancient books. With the commencement of printing of books in local language in the nineteenth century and especially after India's freedom, this grew. Many of the works of Tulsi Das, Kabir, Munshi Premchand, village minstrels, Hari katha singers, poets, Dalit singers and current day stand up Indian comedians incorporate satire, usually ridiculing authoritarians, fundamentalists and incompetent people in power. 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. 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).

Age of Enlightenment

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 Tory and 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, 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". 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.Weinbrot, Howard D. (2007) ''Eighteenth-Century Satire: Essays on Text and Context from Dryden to Peter...'
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" 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 18th century, Pope died in 1744. 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.
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 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. The medium developed under the direction of its greatest exponent, James Gillray from London. 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.

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

Several satiric papers competed for the public's attention in the Victorian era (1837–1901) and Edwardian period, such as ''Punch'' (1841) and ''Fun'' (1861).

Perhaps the most enduring examples of Victorian satire, however, are to be found in the Savoy Operas 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 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 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. 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 Irish Famine and the mistreatment of British soldiers during the Crimean War.

A number of works of fiction during this time, influenced by Egyptomania, 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 gaslamps) in an effort to satire the notion of progress. Other works, like Jane Loudon's '' The Mummy!: Or a Tale of the Twenty-Second Century'', satirized Victorian curiosities with the afterlife.

Later in the nineteenth century, in the United States, Mark Twain (1835–1910) grew to become American's greatest satirist: his novel '' Huckleberry Finn'' (1884) is set in the 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 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 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 received wisdom.

20th-century satire

Karl Kraus is considered the first major European satirist since Jonathan Swift.Knight, Charles A. (2004) ''Literature of Satire'
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 Zamyatin's Russian 1921 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.’ 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 syllogisms" in the persuasion of the public to accept a criticism. Novelist Sinclair Lewis was known for his satirical stories such as '' Main Street'' (1920), '' Babbitt'' (1922), ''Elmer Gantry'' (1927; dedicated by Lewis to H. L. Menchen), 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 concentration camps.Chaplin (1964) ''My Autobiography'', p.392, quotation:

Modern 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, the modern Soviet satire is focused on the quality of life.

In the United States 1950s, satire was introduced into American stand-up comedy most prominently by Lenny Bruce and Mort Sahl. As they challenged the taboos and conventional wisdom of the time, were ostracized by the mass media establishment as ''sick comedians''. 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; 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, 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. Prominent satiric stand-up comedian George Carlin acknowledged the influence ''The Realist'' had in his 1970s conversion to a satiric comedian.Sullivan, James (2010) ''Seven Dirty Words: The Life and Crimes of George Carlin'
p.94
/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''.

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. Departing from traditional Hollywood farce and screwball, director and comedian Jerry Lewis used satire in his self-directed films '' The Bellboy'' (1960), ''The Errand Boy'' (1961) and '' The Patsy'' (1964) to comment on celebrity and the star-making machinery of Hollywood.
The film ''Dr. Strangelove'' (1964) starring Peter Sellers was a popular satire on the Cold War.

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:

Satire is used on many UK television programmes, particularly popular panel shows and quiz shows such as '' Mock the Week'' (2005–ongoing) 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–ongoing). One of the most watched UK television shows of the 1980s and early 1990s, the puppet show ''Spitting Image'' was a satire of the royal family, politics, entertainment, sport and British culture of the era. Court Flunkey from ''Spitting Image'' is a caricature of James Gillray, intended as a homage to the father of political cartooning.

Created by DMA Design in 1997, satire features prominently in the British video game series '' Grand Theft Auto''. Another example is the ''Fallout'' series, namely Interplay-developed '' Fallout: A Post Nuclear Role Playing Game'' (1995). Other games utilizing satire include '' Postal'' (1997),Byron G, Townshend D (2013). ''The Gothic World''. Routledge. p. 456. . Quote: " esent themselves as deliberately controversial, incorporating hyper-violent gameplay, dark social satire and conspicuous political incorrectness ''State of Emergency'' (2002), ''Phone Story'' (2011), and ''7 Billion Humans'' (2018).

Trey Parker and Matt Stone's ''South Park'' (1997–ongoing) relies almost exclusively on satire to address issues in American culture, with episodes addressing racism, anti-Semitism, militant atheism, homophobia, sexism, environmentalism, corporate culture, political correctness and anti-Catholicism, among many other issues.

Satirical web series and sites include Emmy-nominated ''Honest Trailers'' (2012–), Internet phenomena-themed Encyclopedia Dramatica (2004–),. Uncyclopedia (2005–), self-proclaimed "America's Finest News Source" '' The Onion'' (1988–). and ''The Onion's'' conservative counterpart ''The Babylon Bee'' (2016–).

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 Hillary ClintonLiz Raftery – "Who Did the Best Hillary Clinton Impression on SNL?", ''TV Guide'', April 30, 2015. (Video)
Retrieved August 15, 2015 and of Sarah Palin. 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, 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

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