We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
To save content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about saving content to .
To save content items to your Kindle, first ensure no-reply@cambridge.org
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about saving to your Kindle.
Note you can select to save to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
This chapter considers major aspects of Defoe’s output in verse, touching on his debt to influential predecessors from the Restoration era, where his most important models were Andrew Marvell, Samuel Butler, and John Dryden. A discussion follows of characteristic poems that exhibit various modes of satiric writing, including ballads and quasi-Pindaric items such as A Hymn to the Pillory (1703) and The Vision (1706); allusive productions in the fashionable form of heroic couplets, such as The Mock Mourners (1702) and The Dyet of Poland (1705); and his longest poem, Jure Divino (1706), labelled a satire, but centrally an exercise in political theory. The discussion culminates in an analysis of the most successful work in the canon, a biting interrogation of nationhood, The True-Born Englishman (1701), with an exploration of the methods by which Defoe undermined the Little Englander rhetoric of his principal target, the journalist John Tutchin.
The dream of political satire - to fearlessly speak truth to power - is not matched by its actual effects. This study explores the role of satirical communication in licensing public expression of harsh emotions defined in neuroscience as the CAD (contempt, anger, disgust) triad. The mobilisation of these emotions is a fundamental distinction between satirical and comic laughter. Phiddian pursues this argument particularly through an account of Jonathan Swift and his contemporaries. They played a crucial role in the early eighteenth century to make space in the public sphere for intemperate dissent, an essential condition of free political expression.
Recommend this
Email your librarian or administrator to recommend adding this to your organisation's collection.