...John W. Dodds Copyright © 1941 by Duke University Press 1941 THACKERAY AS A SATIRIST PREVIOUS TO VANITY FAIR By JOHN W. DODDS To one interested in tracing the growth of Thackeray’s mind and art the years before Vanity...

... satirist. And to “succeed as a satirist,” writes Beaty, “Byron needed to resolve the conflict between romanticism and realism, create an interesting and con- vincing persona, establish his own ethical norm, find a poetical medium compatible with his mobile nature, and strike a balance between...

... of man, the beauty of the universe, circularity in drama, and other vastnesses in such a way as to shed light on nothing but the German worship of Goethe. FRANKW. JONES University of Washington John Marston, Satirist...

...Karl S. Weimar Karl S. Weimar Copyright © 1963 by Duke University Press 1963 218 Rm*ews Hsine, ‘Ihe Tragic Satirist. By S. S. PRAWER.Cambridge: At the University Press, 1961. Pp. x + 315. $6.50. Rilke, Europe, and the English-Speaking World...

...G. Norman Laidlaw Donal O'Gorman. Toronto: University of Toronto Press, Romance Series, 17, 1971. viii + 265 pp. $10.00 Copyright © 1972 by Duke University Press 1972 198 KEVIEWS Diderot the Satirist: “Le h’eveu cle ICamenu...

...Ashley Marshall Most modern scholars have taken for granted that Henry Fielding admired and sought to emulate the great “Scriblerian” satirists we consider the titans of their age. That Alexander Pope, Jonathan Swift, and John Gay exerted a major influence on his development is a critical...

... purpose: to dispose once and for all of the conventional notion that Pope, the imitator of Horace, is essentially a “Horatian” satirist. The new book naturally grows out of the previous one and in some cases overlaps it. Horace, “court slave” to the tyrant Augustus, could provide no very good...

... energies satire exploits. These critics suggest that Pope works out and expresses deep personal issues in his poems (Griffin); that Swift reacts mainly to stimuli from outside himself (Probyn and Schakel); that the post-Augustan satirists demonstrate a new concern with their pri- vate...

... of the decaying literature of the seicento. Yet Umberto Limentani has done exactly this in dedicating his philological skills to the biography, bibliography, and detailed analysis of the works of eight satirists of the seicento: Jacopo Soldani, Michelangelo Buonarroti il Giovane, Antonio Abbondanti...

... character, the scholar Chrisoganus, changes froni an academic philosopher to a biting satirist similar to W. Kinsayder, the satiric speaker in Marston’s The Scourge of ViZZanie. It has been contended that Chrisoganus was a philosopher throughout the old play, and that in revising, chiefly...

... learn that most of satire’s critics in the period are like Richardson and “have in mind particular satirists, or a particular sort of satire” (p. 55) or are “more concerned with contemporary practice than general principles” (pp. 59-60). And ultimately something prompts Elkin to admit that his...

... Career. By JOHN M. ADEN.Knoxville: University of Tennessee Press, 1978. xiv + 218 pp. $12.50. According to conventional wisdom, (1) the early Pope was not a satirist, (2) he was a nondoctrinaire Erasmian sort of Catholic, with broad rather than narrow religious sympathies, and (3) he...

... of Horace, is essentially a “Horatian” satirist. The new book naturally grows out of the previous one and in some cases overlaps it. Horace, “court slave” to the tyrant Augustus, could provide no very good model for an Opposition satirist. Readers of Augustus Caesar in “Augustan”England...

... professors will bundle you up with background 1 Edward W. Rosenheim, Jr. Sw‘ift ad the Satirist’s Art. Chicago: University of Chicago Press, 1963. ix + 243 pp. $5.95. 205 206 THE REFRACTORY SWIFT and form, ready to wear...

... techniques and strategies. He uses virtually all of the methods of the great satirists of the past, and he uses some of them more fre- quently and more effectively. He is particularly adept in the art of satiric reduction. In the tradition of Aristophanes, Rabelais, and Swift, Huxley often evokes...

... satirist. And to “succeed as a satirist,” writes Beaty, “Byron needed to resolve the conflict between romanticism and realism, create an interesting and con- vincing persona, establish his own ethical norm, find a poetical medium compatible with his mobile nature, and strike a balance between...

... role as satirist, have paid scant attention to the role played in the poem by the satire’s second agent, John Ar- buthnot. There are reasons for this neglect. Arbuthnot’s own position in the original version of the poem is relatively unobtrusive; it was Warburton, after Pope’s death, who...

... at the balance of satiric energies between persuasion and por- trayal, between portrayal of the object and of the satirist, between blame for the object and for the satirist himself. From a series of observations and axioms, Paulson tries to plot out the potential shapes of a satiric fiction. He...

..., in stark relief, the actual standards manifest in their be- havior. The contrast revealed in this way between creed and action is often a startling one, and the satirist is concerned to make it as startling as possible. The tone of satire, in theory, is even more militantly moral than...

... a group of poems in 1730 which begin by attacking Delany’s desire for preferment, but which become examina tioris arid affirniations of Swift as a person and a satirist. Swift’s poetic responses to Delany’s “Epistle,” and their relationship to “Verses on the Death of Dr. Swift” (1731), have...