Editing Satire (section)

==Classifications==
Satire is a diverse genre which is complex to classify and define, with a wide range of satiric "modes".<ref>{{Citation|title=The Shape of Change: Essays in Early Modern Literature and La Fontaine in Honor of David Lee Rubin|last1=Birberick|url=https://books.google.com/books?id=ikGt9gkXv74C&pg=PA163|year=2002|last2=Ganim|publisher=Rodopi |isbn=90-420-1449-0 |language=en}}</ref><ref>David Worcester (1968) [https://books.google.com/books?id=foUbAQAAIAAJ ''The Art of Satire''] p.16</ref>

===Horatian, Juvenalian, Menippean===
[[File:Satire (Orazio) - pag. 12.JPG|thumb|upright|{{center|"Le satire e l'epistole di Q. Orazio Flacco", printed in 1814}}]]
Satirical literature can commonly be categorized as either Horatian, Juvenalian, or [[Menippean satire|Menippean]].<ref>{{cite book|last=Müller|first=Rolf Arnold|title=Komik und Satire|year=1973|publisher=Juris-Verlag|location=Zürich|isbn=978-3-260-03570-8|language=de|page= 92}}</ref>

====Horatian====
Horatian satire, named for the Roman satirist [[Horace]] (65–8 BCE), playfully criticizes some social vice through gentle, mild, and light-hearted humour. Horace (Quintus Horatius Flaccus) wrote Satires to gently ridicule the dominant opinions and "philosophical beliefs of ancient Rome and Greece".<ref>{{cite web|url=http://www.wisegeek.com/what-is-horatian-satire.htm|title=What Is Horatian Satire?|work=wiseGEEK|date=May 3, 2023}}</ref> Rather than writing in harsh or accusing tones, he addressed issues with humor and clever mockery. Horatian satire follows this same pattern of "gently [ridiculing] the absurdities and follies of human beings".<ref name=nku.edu>{{cite web|url=http://www.nku.edu/~rkdrury/422/satire_terms.html|title=Satire Terms|work=nku.edu}}</ref>

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.<ref>{{cite book|first=Raja|last=Sharma|title="Comedy" in New Light-Literary Studies|year=2011}}</ref> A Horatian satirist's goal is to heal the situation with smiles, rather than by anger. Horatian satire is a gentle reminder to take life less seriously and evokes a wry smile.<ref name="nku.edu"/>

====Juvenalian====
{{See also|Satires of Juvenal}}

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 Empire and actively attacked them through his literature. "He utilized the satirical tools of exaggeration and parody to make his targets appear monstrous and incompetent".<ref name="wisegeek.com">{{Cite web |last=Podzemny |first=Todd |date=2011-11-09 |title=What Is Juvenalian Satire? |url=https://www.languagehumanities.org/what-is-juvenalian-satire.htm |access-date=2024-09-16 |website=Language & Humanities}}</ref> 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.<ref>{{cite web|url=http://www.literarydevices.com/satire/|title=Satire Examples and Definition|work=Literary Devices|date=January 30, 2015}}</ref> A Juvenal satirist mocks "societal structure, power, and civilization"<ref name="k887">{{Cite web |date=2013-09-02 |title=Definition, Types & Examples |url=https://study.com/academy/lesson/satire-in-literature-definition-types-examples.html |access-date=2024-09-16 |website=Study.com}}</ref> 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 [his critique] of contemporary English society".<ref name="wisegeek.com" />

====Menippean====
{{Main|Menippean satire}}

===Satire vis-à-vis 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.<ref name="Fo1990p9"/> [[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.<ref>{{Citation|author-link=Max Eastman|first=Max|last=Eastman|year=1936|chapter-url=https://books.google.com/books?id=Tyd5wwn8acwC&pg=PA236|title=Enjoyment of Laughter|chapter=IV. Degrees of Biting|pages=236–43|publisher=Transaction Publishers|isbn=9781412822626}}</ref> [[Nobel Prize in Literature|Nobel laureate]] satirical playwright [[Dario Fo]] pointed out the difference between satire and teasing (''sfottò'').<ref name="Lorch1997p128">{{Citation|author1-link=Dario Fo|first1=Dario|last1=Fo|first2=Jennifer|last2=Lorch|url=https://books.google.com/books?id=u12fXi_HDO4C&pg=PA128|title=Dario Fo|page=128|quote=In other writings Fo makes an important distinction between ''sfottò'' and satire.|isbn=9780719038488|year=1997|publisher=Manchester University Press}}</ref> 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.<ref name="Fo1990p2" /><ref name="Fo1990pn" /><ref name = "Arroyop303">{{Citation|first1=José Luís Blas|last1=Arroyo|first2=Mónica Velando|last2=Casanova|url=https://books.google.com/books?id=CxZ_zH44PVkC&pg=PA303|title=Discurso y sociedad: contribuciones al estudio de la lengua en...|volume=1|pages=303–4|isbn=9788480215381|year=2006|publisher=Publicacions de la Universitat Jaume I|language=es}}</ref><ref name="Morson1988p114">{{Citation|last=Morson|first=Gary Saul|year=1988|url=https://books.google.com/books?id=PpLiINhO83MC&pg=PA114|title=Boundaries of Genre|page=114|publisher=Northwestern University Press|quote=second, that parodies can be, as Bakhtin observes, "shallow" as well as "deep" (''Problems of Dostoevsky's Poetics'', 160), which is to say, directed at superficial as well as fundamental faults of the original. [...] the distinction between shallow and deep [...] [is] helpful in understanding the complex ways in which parodies are used. For instance, shallow parody is sometimes used to pay an author an indirect compliment. The opposite of damning with faint praise, this parody with faint criticism may be designed to show that no more fundamental criticism ''could'' be made.|isbn=9780810108110}}</ref> Fo formulated an [[Operational definition|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.<ref>{{Citation|author-link=Daniele Luttazzi|first=Daniele|last=Luttazzi|year=2005|url=http://news.danieleluttazzi.it/?q=node/147|archive-date=December 25, 2005|place=[[Italy|IT]]|archive-url=https://web.archive.org/web/20051225171452/http://news.danieleluttazzi.it/?q=node%2F147|title=Matrix|quote=Dario Fo disse a Satyricon: —La satira vera si vede dalla reazione che suscita.|url-status=dead|df=mdy-all}}</ref> 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.<ref name="Fo1990p9"/><ref name="Fo1990p2"/>

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 [[Impressionist (entertainment)|impersonation]] of someone monkeying around with his exterior attributes, [[tic]]s, 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.<ref name="Fo1990p2"/><ref name="Arroyop303"/> ''Sfottò'' directed towards a powerful individual makes him appear more human and draws sympathy towards him.<ref>{{Citation|author-link=Daniele Luttazzi|first=Daniele|last=Luttazzi|language=it|url=http://www.nazioneindiana.com/2003/10/28/state-a-casa-a-fare-i-compiti-2/|title=State a casa a fare i compiti|format=interview|editor1-first=Federica|editor1-last=Fracassi|editor2-first=Jacopo|editor2-last=Guerriero|journal=Nazione Indiana|date=October 2003|quote=Lo sfottò è reazionario. Non cambia le carte in tavola, anzi, rende simpatica la persona presa di mira. La Russa, oggi, è quel personaggio simpatico, con la voce cavernosa, il doppiatore dei Simpson di cui Fiorello fa l'imitazione. Nessuno ricorda più il La Russa picchiatore fascista. Nessuno ricorda gli atti fascisti e reazionari di questo governo in televisione.}}</ref> [[Hermann Göring]] propagated [[jest]]s and jokes against himself, with the aim of humanizing his image.<ref>{{Citation|last=Kremer|first=S Lillian|year=2003|url=https://books.google.com/books?id=Gvfxm_YuGT4C&pg=PA100|title=Holocaust Literature: Agosín to Lentin|page=100|publisher=Routledge|isbn=9780415929837}}</ref><ref>{{Citation|last=Lipman|first=Stephen 'Steve'|year=1991|title=Laughter in hell: the use of humour during the Holocaust|place=Northvale, NJ|publisher=J Aronson|page=40}}</ref>

===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]].<ref name="Clark91p116"/><ref name="Clark73p20"/><ref name="Clark80p45"/><ref>Ferdie Addis (2012) ''Qual è il tuo "tallone da killer"?'' [https://books.google.com/books?id=kKysGIQV4SgC&pg=PT20 p.20]</ref> 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]].<ref name="Clark91p116"/><ref name="Hodgart2009p33"/> Among these, politics in the broader sense is considered the pre-eminent topic of satire.<ref name="Hodgart2009p33"/> Satire which targets the [[clergy]] is a type of [[political satire]], while [[religious satire]] is that which targets [[religious belief]]s.<ref name="Hodgart2009p39"/> Satire on sex may overlap with [[blue comedy]], [[off-color humor]] and [[dick joke]]s.

[[Scatology]] has a long literary association with satire,<ref name="Clark91p116"/><ref name="Wilson2002pp"/><ref name="Anspaugh94"/> as it is a classical mode of the [[grotesque]], the [[grotesque body]] and the satiric grotesque.<ref name="Clark91p116"/><ref name="Andries2000p10"/> [[Shit]] plays a fundamental role in satire because it symbolizes [[death]], the turd being "the ultimate dead object".<ref name="Wilson2002pp"/><ref name="Anspaugh94"/> The satirical comparison of individuals or institutions with human [[excrement]], exposes their "inherent inertness, corruption and dead-likeness".<ref name="Wilson2002pp"/><ref name="Klein1993p20"/><ref name="Duprat1982p178"/> The [[ritual clown]]s of [[clown societies]], like among the [[Pueblo Indians]], have ceremonies with [[Coprophagia|filth-eating]].<ref name="Parsons34"/><ref name="Hyers96"/> In other cultures, [[sin-eating]] is an [[Apotropaic magic|apotropaic]] rite in which the sin-eater (also called filth-eater),<ref>Donald Alexander Mackenzie (1923) ''Myths of Pre-Columbian America'' [https://books.google.com/books?id=6chKHROa1icC&pg=PA229 p.229]</ref><ref>Patrick Marnham (2000) ''Dreaming with His Eyes Open: A Life of Diego Rivera'' [https://books.google.com/books?id=pcddElQo9JkC&pg=PA297 p.297]</ref> by ingesting the food provided, takes "upon himself the sins of the departed".<ref name="Davidson 1993p85"/> 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.<ref name="Bloom1979"/> 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.<ref name="Nicoll1951p179"/> Comedy in general accepts the rules of the social game, while satire subverts them.<ref name="Hodgart2009p189"/>

Another analysis of satire is the spectrum of his possible [[Tone (literature)|tone]]s: [[wit]], [[ridicule]], [[irony]], [[sarcasm]], [[Cynicism (philosophy)|cynicism]], the [[sardonic]] and [[invective]].<ref name="Pollard1970p66"/><ref name="Clark1946p32"/>

The type of humour that deals with creating laughter at the expense of the person telling the joke is called reflexive humour.<ref name=":0">{{Cite journal|last=Zekavat|first=Massih|title=Reflexive humour and satire: a critical review|journal=European Journal of Humour Research|year=2020|volume=7|issue=4|pages=125–136|doi=10.7592/EJHR2019.7.4.zekavat|doi-access=free}}</ref> 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.<ref name=":0" /> Satire is found not only in written literary forms. In [[preliterate culture]]s it manifests itself in [[ritual clown|ritual]] and folk forms, as well as in [[trickster]] tales and [[oral poetry]].<ref name="Test1991p8" />

It appears also in graphic arts, music, sculpture, dance, [[cartoon strip]]s, and [[graffiti]]. Examples are [[Dada]] sculptures, [[Pop Art]] works, music of [[Gilbert and Sullivan]] and [[Erik Satie]], [[Punk rock|punk]] and [[rock music]].<ref name="Test1991p8"/> In modern [[media culture]], [[stand-up comedy]] is an enclave in which satire can be introduced into [[mass media]], challenging mainstream discourse.<ref name="Test1991p8"/> [[Roast (comedy)|Comedy roast]]s, mock festivals, and stand-up comedians in nightclubs and concerts are the modern forms of ancient satiric rituals.<ref name="Test1991p8"/><ref>{{Cite book|last1=Vuong|first1=Quan-Hoang|title=The Kingfisher Story Collection|date=2022|publisher=AISDL|isbn=979-8353946595}}</ref>