English Satires | Page 4

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whatever of the life of his time, and pointing its moral.
Finally, Martial exchanged the epic tirade for the epigram as the vehicle of his satire, and handled this lighter missile with unsurpassed brilliance and verve. Despite his sycophancy and his fulsome flattery of prospective benefactors, he displays more of the sober moderation and sane common-sense of Horace than either of his contemporaries. There are few better satirists of social and literary pretenders either in ancient or modern times. No ancient has more vividly painted the manners of antiquity. If Juvenal enforces the lesson of that time, and has penetrated more deeply into the heart of society, Martial has sketched its external aspect with a much fairer pencil, and from a much more intimate contact with it.
In the first and second centuries of our era two other forms of satire took their rise, viz.:--the Milesian or "Satiric Tale" of Petronius and Apuleius, and the "Satiric Dialogue" of Lucian. Both are admirable pictures of their respective periods. The Tales of the two first are conceived with great force of imagination, and executed with a happy blending of humour, wit, and cynical irony that suggests Gil Blas or Barry Lyndon. The Supper of Trimalchio, by Petronius, reproduces with unsparing hand the gluttony and the blatant vice of the Neronic epoch. The Golden Ass of Apuleius is a clever sketch of contemporary manners in the second century, painting in vivid colours the reaction that had set in against scepticism, and the general appetite that prevailed for miracles and magic.
Finally, ancient satire may be said to close with the famous Dialogues of Lucian, which, although written in Greek, exhibited all the best features of Roman satire. Certainly the ethical purpose and the reformative element are rather implied than insistently expressed in Lucian; but he affords in his satiric sketches a capital glimpse of the ludicrous perplexity into which the pagan mind was plunged when it had lost faith in its mythology, and when a callous indifference towards the Pantheon left the Roman world literally without a rational creed. As a satire on the old Hellenic religion nothing could be racier than The Dialogues of the Gods and The Dialogues of the Dead.
It is impossible in this brief survey to discuss at large the vast chaotic epoch in the history of satire which lies between the end of the ancient world and the dawn of humanism. For satire, as a literary genre, belongs to these two. The medi?val world, inexhaustible in its capacity and relish for abuse, full of rude laughter and drastic humour--prompt, for all its superstition, to make a jest of the priest, and, for all its chivalry, to catalogue the foibles of women--had the satirical animus in abundance, and satirical songs, visions, fables, fabliaux, ballads, epics, in legion, but no definite and recognised school of satire. It is sufficient to name, as examples of the extraordinary range of the medi?val satiric genius, the farce of Pathelin, the beast-epic of Renart, the rhymes of Walter Map, and the Inferno of Dante.
Of these satirists before the rise of "satire", medi?val England produced two great examples in Chaucer and Langland. They typify at the outset the two classes into which Dryden divided English satirists--the followers of Horace's way and the followers of Juvenal's--the men of the world, who assail the enemies of common-sense with the weapons of humour and sarcasm; and the prophets, who assail vice and crime with passionate indignation and invective scorn. Since Dryden's time neither line has died out, and it is still possible, with all reserves, to recognise the two strains through the whole course of English literature: the one represented in Chaucer, Donne, Marvell, Addison, Arbuthnot, Swift, Young, Goldsmith, Canning, Thackeray, and Tennyson; the others in Langland, Skelton, Lyndsay, Nash, Marston, Dryden, Pope, Churchill, Johnson, Junius, Burns, and Browning.
Langland was a na?ve medi?val Juvenal. The sad-visaged, world-weary dreamer of the Malvern hills, sorrowing over the vice, the abuses, and the social misery of his time, finding, as he tells us, no comfort in any of the established institutions of his day, because confronted with the fraud and falsehood that infected them all, is one of the most pathetic figures in literature. As Skeat suggests, the object of his great poem was to secure, through the latitude afforded by allegory, opportunities of describing the life and manners of the poorer classes, of inveighing against clerical abuses and the rapacity of the friars, of representing the miseries caused by the great pestilences then prevalent, and by the hasty and ill-advised marriages consequent thereon; of denouncing lazy workmen and sham beggars, the corruption and bribery then too common in the law-courts--in a word, to lash all the numerous forms of falsehood, which are at all times the fit subjects for satire and indignant exposure.
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