Satire A whole-work form that relies on subtle, often undisclosed or unresolved mockery. Generally aimed at human vice and folly. Satire ridicules to shame society, groups, or individuals into change. Powered by irony. “Mockery” is shallow derision; “ridicule” is criticism that derides through biting humor.
If it is powerful, vicious, cruel, and bitter it is probably satire. If some people it is aimed at don’t get it or are infuriated, it is probably satire. If you get in trouble for publishing it or wind up trying to explain humor to the angry, you probably were firmly in the satire zone. Satire requires thick skin and enormous self-confidence. Famous satirists tend to be deeply flawed people, drunks, and/or anti-social monsters. Most of the staff of the foremost European satire magazine was slaughtered by Islamist terrorists in Paris last year. Satire creates more libel suits than anything except celebrity schlock (though most libel suits in the US fail.) Satire is unrepentant and does not have a happy ending. Satire has a mean ending. If you say ‘JK!’ afterward, it isn’t satire.
Satire is a higher, more complex literary purpose than parody. Parody can be a component or vehicle for satire, but satire can’t be a component or vehicle for parody.
Classical satire has two styles, named for Roman poets who were early practitioners of each—or perhaps were just the earliest we can remember. Horace gave us Horatian (light-hearted, intended for fun) and Juvenal got credit for Juvenalian (bitter, angry), though these divisions suffer from some chicken/egg confusion depending upon whether they are applied by the writer, the consumer, or the object of the work. In general, the object of satire tends to see Juvenalian where the amused reader sees Horatian. Ironically, the most frequent reference to Horace in English comes from a Wilfred Owen poem which cites Horace in vicious condemnation. The satirist becomes the satiree.
Irony is actual intent expressed in words which carry the opposite or another meaning. It is lighter and less harsh in wording than sarcasm, though more cutting because of its indirectness and focus. The ability to recognize irony is one of the surest tests of intelligence and sophistication. The ability to recognize irony can be cultivated, but not easily. Irony speaks words of praise to imply blame and words of blame to imply praise. Sometimes described as a “tongue-in-cheek” style though this description is a cliché and is deeply inadequate for even average irony. Irony is achieved through such techniques as hyperbole and understatement but there is no comfortable formula for writing or identifying it. This means that discussion of irony is quite fluid and therefore a good choice to beef up any rhetorical analysis. Irony is such a powerful tool that it is safe to say it can be found in most effective writing. Including this document. Beware: describing something as ‘ironic’ is easier said than proved.
Verbal Irony—an inversion of meaning; say something but mean its opposite. A simpler, more elementary type of verbal irony is sarcasm, though not always “cutting.” Can be complimentary, too. Inflection in speech plays an important role in making verbal irony work, and distinguishes it from sarcasm. Under- or overstatement are types of verbal irony. These can be denominated into a couple of subspecies, including hyperbole—dramatically ironic overstatement--and litotes—use of the double negative to establish a positive. Litotes is not uncommon in the older school of writing and speaking, but it always sounds oddly pompous and silly, so a writer who uses it should not be unsurprised to be described as overly incautious.
Dramatic Irony—when the words or acts of a character carry a meaning unperceived by himself but understood by an audience, or when the words used are interpreted by another person in a way that’s different from the way they are intended. The irony resides in the contrast between the meaning intended by the speaker and the added significance seen by others. Dramatic, of course, implies that this irony is most common in the theater and is heavily reliant on constructions of perspective.
Conscious Hypocrisy, in which the speaker chooses words that are intended to be misunderstood or misconstrued, or the speaker’s words would be understood differently if the hearer or reader had all the facts.
Socratic Irony—Socrates pretended ignorance of a subject in order to draw knowledge out of his students by a question and answer device. Socratic irony is feigning ignorance to achieve some advantage over an opponent. It would be nice if there were a corresponding rhetorical device…(there is. That’s it. It’s called aporia, the intentional expression of doubt to emphasize knowledge, truth, or interest.)
Situational Irony—Depends on a discrepancy between purpose and results. Example: a group of friends prepare a practical joke but the joke backfires. A friend sets you up with a potential romantic interest only to realize he loves you instead. An ugly man with a wonderful poetic spirit provides letters and words to help a handsome oaf woo a beautiful woman whom the ugly man loves.
TYPES and TERMS
Parody General term for a lighter work that gently imitates another work primarily for the purpose of entertainment. Keep this opposed to satire, in which imitation’s purpose is criticism. Parody is often used incorrectly, usually to try to explain failed satire.
Use ‘parody’ only if you follow it with more precise language. Parody can be a verb but it’s an awkward one. Avoid pairing ‘parody’ with words that are more precise such as satire; more is not better.
Spoof (also called ‘send-up’) A good-natured parody of a written, performed, or sung work or style that is not intended to damage or criticize. Should be accurate; may be daring. If the object is not offended or hurt, ‘spoof’ is an apt word.
Use ‘spoof’ if you want to dismiss the work as shallow, insignificant, or simple. It may be clever, even funny, but ‘spoof’ doesn’t sort with ‘intelligent’, ‘critical,’ ‘sharp’, ‘weighty’, ‘original,’ etc.
Burlesque A parody that presents ‘high’ literature for ‘low’ purposes. Burlesques present the original material unaltered generally but intentionally flawed, exaggerated, overacted, or otherwise emphasized to entertain with lewdness, violence, error, weakness, failure. Example: A version of Hamlet in which Ophelia and Gertrude abandon their lines and take off their clothes then wrestle in mud.
In certain situations ‘burlesque’ could describe an intelligent commentary or critique, but generally it’s a critical word, maybe condemning. It suggests that the artist is infantile, irrelevant, or crude, though a burlesque can be clever, consistent, and even effective.
Travesty A burlesque of literature that presents ‘high’ literature for ‘high’ purposes—criticism of style instead of humor. A travesty attacks style. It works through crude, exaggerated, or grotesque imitation. Often a travesty becomes a burlesque, though it’s unlikely for the shift to go the other way.
Avoid this word, as it has become a cliché. As in all clichés, the common or clichéd usage overpowers the actual usage, making usage a lose-lose situation: if you use it as it is commonly understood (this is a travesty! = this makes me angry!) then your usage is incorrect and thoughtful people will reject your choice. If you use it properly (Jameson has created an accurate travesty of McDonald’s original poetry) fools are likely to think you ignorant of the real meaning, or just foolish.
Pastiche A hodgepodge of borrowings from another work or style without originality or intelligent purpose; a vague imitation, copy, collection, or reproduction that fails to suggest understanding, mastery, or even familiarity with the original. The lowest form of parody, and embarrassing. Example: A student represents Ulysses’ journey home from Troy with a collage of vaguely related photographs clipped from magazines and pasted carelessly on a poster. A student attempts to imitate Shakespeare by randomly inserting ‘thou’ and ‘thy’ and changing the ending of some verbs to ‘-eth.’
‘Pastiche’ is contemptuous and critical. If the goal is good schoolwork, a thoughtful critique, demonstration of understanding, then using the word ‘pastiche’ implies failure to reach the goal. It means incoherent and hasty by definition.
Lampoon A virulent, nasty species of parody. Clumsy, or even too-vicious, satire. Sharper and meaner than a spoof. A lampoon is more likely to offend its object, and may be intended to do so. They may also offend their readers. Lampoons are inherently critical, occasionally abusive. A lampoon that fails to make legitimate criticism of its subject should be demoted to the status of burlesque. Example: A student imitates and exaggerates the mannerisms of a teacher with the goal of mocking or attacking him to damage his reputation. “Lampoon” can also describe a magazine or publication. If the lampoon is presented in public—posted on walls, published—it can be called a pasquinade.
Lampoon is most effective as a verb. Its distinctive cadence and sound make it a tasty verb, too.
Caricature Visual spoof or parody—usually an illustration (though now “photoshop” qualifies) that exaggerates certain qualities of a person. Can be critical but also can be proud.
Also functions well as both noun and verb. A common critical term to describe a failure of description or characterization: “Morrison’s police detective is a caricature of a real cop, the product of too many hours spent watching reruns of Cagney and Lacey.
Farce A humorous play that is situation- rather than character-driven. Features improbable situations, extravagant behavior and complexity, and obviously contrived collisions between characters. Mistaken identity, verbal and physical humor, increasing plot speed, Deus ex machina, aliens, ghosts. “Curb Your Enthusiasm,” “Scooby-Doo.” “Ferris Bueller’s Day Off” is a memorable example that also qualifies as satire (of public school teachers); contains a burlesque of the boring history teacher (the famous Ben Stein lesson on the Smoot-Hawley act), Ferris as the popular kid who is always successful and loved—and even a spoof, of the Beatles’ Twist and Shout.