By Gary Dyer
Gary Dyer breaks new floor by way of surveying and studying hundreds of thousands of satirical poems and prose narratives released in Britain through the Romantic interval. those works were missed via literary students, chuffed that satire disappeared within the overdue eighteenth century. Dyer argues that satire endured to be an incredible and widely-read style, and that modern political and social conflicts gave new meanings to conventions inherited from classical Rome and eighteenth-century England. He contains a bibliography of greater than seven hundred volumes containing satirical verses.
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Additional resources for British Satire and the Politics of Style, 1789-1832 (Cambridge Studies in Romanticism)
The differences between these two groups extend beyond diction to form, as those between Juvenal's and Horace's satires do not: whereas most Juvenalian satires of the Romantic period are written in heroic couplets of elevated rhetoric, other satires use not only more colloquial language but also intrinsically comic triple meters and iambic tetrameter couplets (hudibrastics). As essential to our conception of satiric possibilities as these polarized modes may be, they are nevertheless inadequate to comprehend the satires produced in this period.
The admiration accorded The Pursuits of Literature points out what Cambridge Books Online © Cambridge University Press, 2009 28 British satire and the politics of style, 1789-1832 many expected of satire, for its anonymous author was praised most as a patriotic moralist, as a man who provided a solid alternative to atheistic Jacobinism at a time of national crisis, and considerable boasts were made for his persuasiveness. "[M]any in this country, whose politics and even religion have been long wavering, are now fixed in their principles by cthe Pursuits of Literature, 5 " the Rev.
According to the author of Modern Poets, A Satire (1791), Wolcot's verse provides no exemplar of behavior by which the acts he describes are to be judged: Yet he, who only knows to chide in verse, Does half his task, and of each half the worse; For the same hand that Satire's steel unsheaths Hangs Virtue's modest brow with fragrant wreaths. "71 Wolcot thus differed from Gifford and Mathias in several ways: he addressed a less elite readership, expressed a more Whiggish politics, and treated satire as a pleasant assertion of one's wit rather than as a duty in a time of crisis.