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A tradition of indirection
Author: Rachel E. Hile

This book examines the satirical poetry of Edmund Spenser and argues for his importance as a model and influence for younger poets writing satires in the late sixteenth and early seventeenth centuries. The book focuses on reading satirical texts of the late sixteenth and early seventeenth centuries in relation to one another, with specific attention to the role that Edmund Spenser plays in that literary subsystem. The book connects key Spenserian texts in The Shepheardes Calender and the Complaints volume with poems by a range of authors in the late sixteenth and early seventeenth centuries, including Joseph Hall, Thomas Nashe, Tailboys Dymoke, Thomas Middleton, and George Wither to advance the thesis that Spenser was seen by his contemporaries as highly relevant to satire in Elizabethan England. For scholars of satire, the book offers a fuller discussion and theorization of the type of satire that Spenser wrote, “indirect satire,” than has been provided elsewhere. A theory of indirect satire benefits not just Spenser studies, but satire studies as well. For scholars of English Renaissance satire in particular, who have tended to focus on the formal verse satires of the 1590s to the exclusion of attention to more indirect forms such as Spenser’s, this book is a corrective, an invitation to recognize the importance of a style of satire that has received little attention.

Open Access (free)
Theory and Spenserian practice
Rachel E. Hile

1 Indirect satire: theory and Spenserian practice In Edmund Spenser’s Prosopopoia; or, Mother Hubberds Tale, a tonal shift characterizes the final episode, in which the villainous Fox and Ape, having wreaked havoc in the three estates as husbandmen, clerics, and courtiers, go even farther by usurping royal power. The self-conscious Chaucerianism of the first episodes—summarized by Kent van den Berg as “the recreative fiction that animals are like men”—gives way to a more fully developed, and more clearly satirical, fictional world in which “men are like animals

in Spenserian satire
Satire and panegyric as forms of historical writing
Noelle Gallagher

III Satire and panegyric In the dedication to Annus Mirabilis , John Dryden announces the subject matter of his 1667 long poem as an account of ‘a most just and necessary War’, followed by a narrative of the great fire. ‘I have call’d my poem Historical , not Epick ’, he explains, ‘though both the Actions and Actors are as much Heroick

in Historical literatures
Affiliation, allusion, allegory
Rachel E. Hile

2 Spenser’s satire of indirection: affiliation, allusion, allegory The previous chapter provided a preliminary analysis of how indirect satire works to create a sense of an allegorical connection to the real world and real situations and discussed how allusions, symbolism, and analogy prompted allegorical projections that inflected contemporaries’ understanding of the message of Mother Hubberds Tale, Spenser’s best-known satirical work. In this chapter, I will continue analyzing Spenserian indirection in satire, but with an additional concept in play by

in Spenserian satire
Rachel E. Hile

4 Spenserian “entry codes” to  ­indirect  satire In his own satirical poetry, Edmund Spenser criticized indirectly, requiring readers to interpret clues carefully to access satirical meanings. For some readers, such as Joseph Hall and William Bedell, Spenser’s reputation as a decorous, conservative poet seemed to obscure awareness of him as also demonstrating an interest in or affinity for satirical writing, as discussed in Chapter 3. This chapter offers a corrective in the form of “case studies” of three poets who were quite sensitively attuned to the potential

in Spenserian satire
Sue Vice

Television satire in 1976 and 2005 6 Ready When You Are, Mr McGill Comic self-referentiality, and satire at the expense of television, are staples of Rosenthal’s television writing throughout his career. In the situation comedy Sadie, It’s Cold Outside (1975) Sadie Potter only finds happiness at the end of six episodes when her husband Norman promises to sell the television set. In an early episode, she sits unwillingly watching a television play with her husband and daughter. We see only her astonished reactions, her face bathed in television’s unearthly blue

in Jack Rosenthal
Rachel E. Hile

5 Thomas Middleton’s satires before and  after the Bishops’ Ban Among the books burned by order of the Bishops’ Ban on June 4, 1599, was nineteen-year-old Thomas Middleton’s Micro-Cynicon: Sixe Snarling Satyres, a collection of verse satires. T.M. the young satirist would of course soon become Thomas Middleton the seasoned dramatist, and criticism of Middleton’s work has not surprisingly focused primarily on his more mature work for the theater. Nevertheless, early satires such as Micro-Cynicon and Father Hubburds Tales; or, The Ant and the Nightingale (1604

in Spenserian satire
Andrew Teverson

-de-Rome- Occupation ’ are revered (SV, 292). Club Hot Wax is the closest Chamcha comes to radical Black Power politics; and here Rushdie makes a tangential obeisance, albeit through pastiche and gentle satire, to more hard-line anti-racist writers such as the poet Linton Kwesi Johnson. Saladin, however, remains an unwilling student of his experiences, which in turn enables Rushdie to maintain an analytical distance from the various political stances that Saladin is confronted with. As a devil figure Saladin is annexed as an emblem of resistance by a

in Salman Rushdie
Alison Morgan

150 Ballads and songs of Peterloo 5 j ‘Those true sons of Mars’: chivalry, cowardice and the power of satire Perhaps unsurprisingly, given its title, this is the longest chapter in the book, comprising seventeen poems, with many in other chapters also warranting a place here. As Scrivener aptly notes: Parody, burlesque, and other satirically humorous forms are perhaps the most successful genres of reformist poetry. The implied reader of this comic verse is an already committed reformist, so that the object of such poetry is not to persuade but to delight.1

in Ballads and songs of Peterloo
T. B L Webster
Bulletin of the John Rylands Library