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"The Literature of Satire is an accessible but sophisticated and widerangingstudy of satire from the classics to the present in plays, novels, and the press aswell as in verse. In it Charles Knight analyses the rhetorical problems created by satire’s complex relations to its community, and examines how it exploits the genres it borrows. He argues that satire derives froman awareness of the differences between appearance, ideas, and discourse. Knight provides illuminating readings of such satirists familiar and unfamiliar as Horace, Lucian, Jonson, Moli`ere, Swift, Pope, Byron, Flaubert, Ostrovsky, Kundera, and Rushdie. This broad-ranging examination sheds new light on the nature and functions of satire as a mode of writing, as well as on theoretical approaches to it. "

"In this groundbreaking study, Jonathan Greenberg locates a satiric sensibility at the heart of the modern. By promoting an antisentimental education, modernism denied the authority of emotion to guarantee moral and literary value. Instead, it fostered sophisticated, detached and apparently cruel attitudes toward pain and suffering. This sensibility challenged the novel's humanistic tradition, set ethics and aesthetics into conflict and fundamentally altered the ways that we know and feel. Through lively and original readings of works by Evelyn Waugh, Stella Gibbons, Nathanael West, Djuna Barnes, Samuel Beckett and others, this book analyzes a body of literature, late modernist satire - that can appear by turns aloof, sadistic, hilarious, ironic and poignant, but which continually questions inherited modes of feeling. By recognizing the centrality of satire to modernist aesthetics, Greenberg offers not only a new chapter in the history of satire but a persuasive new idea of what made modernism modern."

"In this groundbreaking study, Jonathan Greenberg locates a satiric sensibility at the heart of the modern. By promoting an antisentimental education, modernism denied the authority of emotion to guarantee moral and literary value. Instead, it fostered sophisticated, detached and apparently cruel attitudes toward pain and suffering. This sensibility challenged the novel's humanistic tradition, set ethics and aesthetics into conflict and fundamentally altered the ways that we know and feel. Through lively and original readings of works by Evelyn Waugh, Stella Gibbons, Nathanael West, Djuna Barnes, Samuel Beckett and others, this book analyzes a body of literature - late modernist satire - that can appear by turns aloof, sadistic, hilarious, ironic and poignant, but which continually questions inherited modes of feeling. By recognizing the centrality of satire to modernist aesthetics, Greenberg offers not only a new chapter in the history of satire but a persuasive new idea of what made modernism modern."

"As nineteenth-century realism became more and more intrepid in its pursuit of describing and depicting everyday life, it blurred irrevocably into the caustic and severe mode of literature better named satire. Realism's task of portraying the human became indistinguishable from satire's directive to castigate the human. Introducing an entirely new way of thinking about realism and the Victorian novel, Aaron Matz refers to the fusion of realism and satire as 'satirical realism': it is a mode in which our shared folly and error are so entrenched in everyday life, and so unchanging, that they need no embellishment when rendered in fiction. Focusing on the novels of Eliot, Hardy, Gissing, and Conrad, and the theater of Ibsen, Matz argues that it was the transformation of Victorian realism into satire that granted it immense moral authority, but that led ultimately to its demise."

"Professor W. W. Robson is an eminent literary critic, best known for his work on nineteenth- and twentieth-century literature. His natural form of expression is the critical essay, and this book comprises a collection of essays on a variety of topics written in plain and straightforward language. What holds the collection together is a preoccupation with critical theory deployed in the first four essays. In 'The definition of literature', the title essay, the discussion turns on what kind of definition is to be recommended rather than on a particular formulation. 'On liberty of interpreting' examines the much-canvassed question of the relevance or otherwise to criticism of the author's intentions. In another essay it is argued that one widely favoured account of literary appraisal, that it deals with literature as literature, is in fact empty, while in an essay on the novel the author raises the question of how prose fiction can be thought of as being true to life. From these general questions Professor Robson moves on to consider particular works and authors in the light of the preceding discussion of critical principles. Essays on Treasure Island, Kidnapped and The Wind in the Willows are followed by surveys of Tennyson and Robert Frost, while the last four essays discuss literary questions by analysing what has been written about them by four distinguished poet critics: Hopkins, T. S. Eliot, I. A. Richards, and Yvor Winters. The overall aim of the volume is to take conversation about prose and poetry out of the limited and specialized literary or academic worlds in which it so often takes place and open it up to a broader world of reflective people, whoever and wherever they happen to be."