Richard Garnett

Summary

Richard Garnett 1911 Encyclopædia Britannica (1911)

Satire, in its literary aspect, may be defined as the expression in adequate terms of the sense of amusement or disgust excited by the ridiculous or unseemly, provided that humour is a distinctly recognizable element, and that the utterance is invested with literary form. Without humour, satire is invective; without literary form, it is mere clownish jeering. It is indeed exceedingly difficult to define the limits between satire and the regions of literary sentiment into which it shades. The first exercise of satire was no doubt coarse and boisterous.
Source: Wikisource

Richard Garnett 1911 Encyclopædia Britannica (1911)

Jerrold’s comedies sparkle with epigrams, and his tales and sketches overflow with quaint humour; Mallock, in his New Republic, made the most of personal mimicry, the lowest form of satire; Samuel Butler (Erewhon) holds an inverting mirror to the world’s face with imperturbable gravity; the humour of Bernard Shaw has always an essential character of satire the sharpest social lash.
Source: Wikisource

Richard Garnett 1911 Encyclopædia Britannica (1911)

In process of time imaginative power revives in Goldsmith and Rousseau; meanwhile Fielding and Smollett have fitted the novel to be the vehicle of satire and much beside, and the literary stage has for a time been almost wholly engrossed by a colossal satirist, a man who has dared the universal application of Shaftesbury’s maxim that ridicule is the test of truth. The world had never before seen a satirist on the scale of Voltaire, nor had satire ever played such a part as a factor in impending change. As a master of sarcastic mockery he is unsurpassed; his manner is entirely his own
Source: Wikisource

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