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Introduction: Humour and Satire

Introduction: Humour and Satire Daniel Norman, Jake Phipps, and Valentina Varinelli Introduction: Humour and Satire Humour is an enigmatic phenomenon. The function almost as a tool of self-analysis. Its absence of a contemporary scholarly consensus ability to subvert assumptions and mores on its biological and social function suggests becomes a means of voicing transgressive that we have not moved on very far from the impulses or shaping personal and authorial speculations of eighteenth-century theorists. identities despite social and rational restraints. Indeed, humour’s defiance of rational In the opening essay, Matthew Ward explanation might even be called one of its explores the interplay between humour and the defining characteristics: as Hazlitt put it, ‘You supernatural and erotic elements in Burns’s cannot force people to laugh: you cannot give a poetry. The satanic and the sexual are identified reason why they should laugh: they must laugh as chief sources of inspiration for the poet, of themselves, or not at all’. which are also inextricably linked to his view of Satire, in which humour is wielded as a rhyme and rhyme making. Ward shows how weapon, shares this inscrutability. Though what he terms Burns’s ‘comic demonic’ ostensibly, as writers since Swift have combines the superstitious component http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Romanticism Edinburgh University Press

Introduction: Humour and Satire

Romanticism , Volume 28 (3): 3 – Oct 1, 2022

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Publisher
Edinburgh University Press
Copyright
Copyright © Edinburgh University Press
ISSN
1354-991X
eISSN
1750-0192
DOI
10.3366/rom.2022.0561
Publisher site
See Article on Publisher Site

Abstract

Daniel Norman, Jake Phipps, and Valentina Varinelli Introduction: Humour and Satire Humour is an enigmatic phenomenon. The function almost as a tool of self-analysis. Its absence of a contemporary scholarly consensus ability to subvert assumptions and mores on its biological and social function suggests becomes a means of voicing transgressive that we have not moved on very far from the impulses or shaping personal and authorial speculations of eighteenth-century theorists. identities despite social and rational restraints. Indeed, humour’s defiance of rational In the opening essay, Matthew Ward explanation might even be called one of its explores the interplay between humour and the defining characteristics: as Hazlitt put it, ‘You supernatural and erotic elements in Burns’s cannot force people to laugh: you cannot give a poetry. The satanic and the sexual are identified reason why they should laugh: they must laugh as chief sources of inspiration for the poet, of themselves, or not at all’. which are also inextricably linked to his view of Satire, in which humour is wielded as a rhyme and rhyme making. Ward shows how weapon, shares this inscrutability. Though what he terms Burns’s ‘comic demonic’ ostensibly, as writers since Swift have combines the superstitious component

Journal

RomanticismEdinburgh University Press

Published: Oct 1, 2022

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