The satirists shared a talent for making other individuals feel uncomfortable, particularly by making them aware of their own moral inadequacies. They used irony, derision, and wit to attack human vice or folly. One method the satirist utilized to catch their readers' attention, while also making them feel uncomfortable, was to describe those things that were deemed inappropriate to discuss openly in society. The classical example of a topic that was discussed behind closed doors, yet the satirist used freely, was sex. Mention of such things as sex can always bring a giggle, excite feelings of hidden passion, or make one's cheeks rosy from embarrassment. John Wilmot, Second Earl of Rochester, and Jonathan Swift, were two satirist that were noted for using perverse language and graphic depictions to elicit desired emotions from their readers and to wage their attacks on human folly.
To understand Rochester's use of sex in his work, one must understand his distaste for reason. This can be seen in his poem, A Satyr Against Mankind, when he comments:
"Women and Men of wit, are dang'rous tools, and ever fatal to admiring fools." Rochester viewed reason as a vice rather than an admirable trait in man. When man followed a course of action that was advised by reason he turned into a coward who often betrayed his ideals, his family, and his friends.
Rochester believed that to enjoy true happiness one must follow a course dictated by passion. Unlike reason, the passions do not betray one's senses and ideals. According to Rochester, the passions define who an individual is because the passions encompass one's emotions and desires. Reason cannot fully comprehend such a thing.
Rochester highlights this belief in his poem's with tales of lust and sexual innuendoes. He uses perverse language and topics not only to mock those that believe reason is the human faculty that can bring about self-satisfaction, but also to describe to his readers that sensual pleasure is the highest pleasure because sensual pleasure is derived from passion, not reason.
Rochester's poems rarely discuss love in the traditional sense; rather, he discusses it in a bodily context. Naturally, this would bring about the ire in any moralist. His poems make reference to ancient figures that draw on images of mass orgies and debauchery. He often uses language that elicits images of human...
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...llivers Travels not only excite the attention of the reader but they also leave the reader with a very pessimistic impression of the modern world. If Gulliver had left a description of a pile of soil instead of his urination procedure, the reader would perhaps view his work as boring, but not as comedic or repulsive. The tales would have lost their derogatory tone, their satirical edge, and their comedic nature had Swift not used such images.
Such images and language are a unique element of satirical writing. Satirist wanted to attack the vices of the community and impress an image on their readers. They, however, could not accomplish this through bland social commentary. Every literary style has certain tools to capture its audiences. The romantics used fruitful language and supernatural images. The realist used images and words that photographed how life really was. The satirist used wit, irony, sarcasm, as well as crude images and language. If they failed to use these tools then their attacks were not heeded and their words were not remembered. Rochester and Swift did not fail to use their satirical qualities and their impression on the literary world remains to this day.
In his lengthy literary career, Jonathan Swift wrote many stories that used a broad range of voices that were used to make some compelling personal statements. For example, Swifts, A Modest Proposal, is often heralded as his best use of both sarcasm and irony. Yet taking into account the persona of Swift, as well as the period in which it was written, one can prove that through that same use of sarcasm and irony, this proposal is actually written to entertain the upper-class. Therefore the true irony in this story lies not in the analyzation of minute details in the story, but rather in the context of the story as it is written.
In Jonathan Swift’s satire, “A Modest Proposal”, Swift writes about the starving people of Ireland in the early 1700’s. He makes a wild and absurd proposal to help remedy the problems of overpopulation and poverty. Swift wants to make a political statement by using the “children” as satire to grasp the attention of the audience - the English people, the Irish politicians and the rich – and make them aware of the political, moral, and social problems. In “A Modest Proposal”, Swift’s arguments are presented effectively by using pathos (emotional appeal), ethos (ethics and values), and logos (logic reasoning and facts).
It was their greatest weapon against injustice, and this fact remains true today. A person’s tongue is sharper than any double-edged sword. It can start a war, just as easily as it can prevent one. With Jonathan Swift’s and Oliver Goldsmith’s similar ideas, they tried to portray the injustice and corruption of the upper classes through satire poetry. Their desire in life was to ease their own poverty and to instruct and please the reading public through their literary masterpieces. Jonathan Swift and Oliver Goldsmith had a similar vision for the future: a world without poverty, where justice was prevalent, and the masses were educated. This ideal world cannot be accomplished through government alone; the moral of the people has to change as well. Swift and Goldsmith both recognized this problem, therefore they wrote to the people, not the upper classmen that they distrusted. Both Jonathan Swift and Oliver Goldsmith skillfully portrayed their distrust for the wealthy members of Parliament and the upper class, while displaying their desires for a better world, in their writings. Despite their shared hardships, both Swift and Goldsmith never lost their hope for a brighter
Primarily used in satire is the literary device, irony, which is often displayed in both Swift’s essay and Voltaire’s novella; it is used to convey the duplicity of certain ...
Jane Eyre, a conscientious young governess, tells her master, Mr. Rochester, that she dislikes speaking nonsense. Mr. Rochester tells her quite frankly, "If you did, it would be in such a grave, quiet manner, I should mistake it for sense...I see you laugh rarely; but you can laugh very merrily: believe me, you are not naturally austere" (141). In this way is the inner struggle between feelings and judgment recognized and revealed. In Charlotte Brontë's novel, Jane Eyre, Mr. Rochester, St. John Rivers, and Jane Eyre all struggle with feelings versus judgment.
...nd the re-union of Mr. Rochester and Jane Mr. Rochester can finally be in the relationship he always desired, but at the cost of his hand and eyesight; adding even more to his suffering, but at least now he has his true love to be by his side.
Jane and Rochester have similar natures, but they must learn to give up their self-sufficient inclinations. Jane relinquishes her independence, submitting to Rochester as his wife. Rochester loses his independence through the loss of his sight and arm. Jane relies on Rochester for protection and comfort, and Rochester relies on Jane for support and assistance. Charlotte Brontë draws a striking parallel between Jane’s desire for independence and Rochester’s same desire. However, in the end they both must surrender some of their independence for the sake of each other. They find depending on one another is better than lonely independence.
...would have to sacrifice her passion for the sake of religious duty. On the other hand with Rochester, Jane would be forced to sacrifice her morality for the sake of her passion whilst Bertha was alive. When she heard of Bertha’s death she realised that with Rochester she could live a happy life full of love. Rochester and St John Rivers both have passion, Rochester’s is a passion for his love of Jane whereas St John Rivers is a passion for his work as a missionary, and he allows this passion to quell his love for Miss Oliver. St John Rivers is prepared to come to love Jane over time; however this is a sign of his lack of passion while Rochester truly loves Jane despite their differences, and his love for her is true love. For Jane it is a choice between a marriage of passion and a marriage of practicality, for Jane it is her passion and heart that eventually wins.
Passion and reason, their opposition and eventual bringing together, serve as constant themes throughout the book. "Unjust!--unjust! Said my reason...How all my brain was in tumult, and all my heart in resurrection!" (Bronte, 17) Jane's passions are uncontrolled because she is not using reason. We see the dangers of nature and passion tempered by reason in the scene in which Rochester almost marries. Jane must get over her overwhelming passion for Mr. Rochester or Jane runs the risk of losing herself. In this case, passion nearly gains a victory over reason. Jane nearly loses her own personality in her overwhelming love. "Feeling without judgment is a washy draught indeed; but judgment untempered by feeling is too bitter and husky a morsel for human deglutition" (Bronte, 247). In other words, the individual must attain a balance between reason and passion, not be dominated by one or the other.
...s is the next worst thing to buying a slave" (317). Jane feels that becoming Rochester's mistress would be "degrading", highlighting Jane's strong, feministic values (317). Jane conceals her passion for reason, as she is firm in her morality.
“Satire is a sort of glass, wherein beholders do generally discover everybody’s face but their own” (Swift). Such beholders, as Jonathan Swift astutely emphasizes, are intended, through guidance of satiric narrative, to recognize social or political plights. In some satires, as in Swift’s own A Modest Proposal, the use of absurd, blatant exaggeration is intended to capture an indolent audience’s attention regarding the social state of the poor. Yet even in such a direct satire, there exists another layer of meaning. In regards to A Modest Proposal, the interchange between the voice of the proposer and Swift’s voice introduces another medium of criticism, as well as the opportunity for readers to reflect on how well they may fit the proposer’s persona. In such as case, the satire exists on multiple levels of meaning—not only offering conclusions about moral problems, but also allowing the audience to an interpretation of their place among the criticism.
Jane Austen used two literary devices, irony and satire, to poke fun on the accepted standards of community of England during early nineteenth century in her novel Pride and Prejudice. These devices make this research paper important because it highlights the inequalities and flaws of pre-Victorian era. Basically, the purpose is to mock the ignorance and stupidity of people in a humorous way, because the irony or satire is very “subtle to a fault”. (Conrad) It emphasize on satire, also called as Horatian satire, and irony which may be confined my investigations to reveal realities that will make a sense that Jane Austen’s satire is very subtle, not like Jonathan Swift’s Juvenalian satire. By using light-hearted satire and irony, the questions
Christopher Marlowe and Sir Walter Raleigh both create speakers who disagree about the nature of romantic love. The titles of the twin poems, “The Passionate Shepherd to His Love,” by Marlowe, and “The Nymph’s Reply to the Shepherd,” by Raleigh, show that they are two sides of a rhetorical exchange. The poems’ structures are identical; each of the shepherd’s optimistic requests has a corresponding refusal from the nymph. Although the word choice and meters are similar in the two poems, the shepherd uses an optimistic tone while the nymph uses a pessimistic one. While both speakers are addressing the concept of love, their distinct uses of diction and imagery underscore how the shepherd’s optimism conflicts with the nymph’s skepticism.
In lieu of the married Bertha fulfilling the feminine standards of an “angel of the house,” Bertha’s circumstances alter her into a “demon of the house” in her violent attacks and physical appearance. As Rochester approaches Bertha during his admittance of his first marriage, “the lunatic [Bertha] sprang and grappled his throat viciously, and laid her teeth to his cheek” (Bronte 381). Shortly after, Rochester explains to his audience that “Such is the sole conjugal embrace [he is] to know — such are the endearments which are to solace [his] leisure hours” (Bronte 381). In the second quotation, Rochester admits to desiring a wife that would perform some of the duties that Patmore outlines as a woman’s responsibility. By vocalizing his desire for a wife to hold and to amuse him with sentiments during his free time, readers can then deduce that Rochester expected Bertha to fulfill many of the same restrictive expectations that Patmore championed. In Patmore’s opinion, this type of relationship would result in “passionate duty love flames higher, / As grass grows taller round a stone” (Patmore 23-24). According to this depiction, the duty a woman faces in her relationship stokes the flames of her love for her husband. However, Bronte’s characterization of Bertha as beastly along with her many
...rontë developing the idea that just being good was religious enough. Rochester is not especially religious. He has even attempted bigamy, a dreadful sin to Jane. But Brontë redeems him through his actions when he attempts to save his crazy wife. Brontë even goes so far as to have God reward Rochester by allowing him to regain his sight.