Political satire

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Political satire is a subgenre of general satire that specializes in gaining entertainment from politics, politicians and public affairs. It has also been used with subversive intent where political speech and dissent are forbidden by a regime, as a method of advancing political arguments where such arguments are expressly forbidden.

1 Distinctions
2 Origins and genres
3 19th Century
4 See also

[edit] Distinctions

Political satire is usually distinguished from political protest or political dissent, as it does not necessarily carry an agenda nor seek to influence the political process. Whilst occasionally it can, it more commonly aims simply to provide entertainment. By its very nature, it rarely offers a constructive view in itself; when it is used as part of protest or dissent, it tends to simply establish the error of matters rather than provide solutions.

[edit] Origins and genres

Satire can be traced back throughout history; wherever organized government has existed, so has satire. The oldest example that as survived till today is Aristophanes. The Roman period, for example, gives us the satirical poems and epigrams of Martial while some social satire exists in the writings of Paul of Tarsus in the New Testament of the Bible. During the twentieth century satire moved from print media (in cartoons as political cartoons with heavy caricature and exaggeration, and political magazines), and the parallel exposure of political scandals, to performances (including television shows). Examples include musicians such as Tom Lehrer, live performance groups like The Capitol Steps, and public television and live performer Mark Russell. Additional subgenres include such literary classics as Gulliver's Travels and Animal Farm, and more recently, internet Ezine and website sources such as The Onion, ArnoldSpeaks.com and the Happening Happy Hippy Party.

[edit] 19th Century

One example is Maurice Joly's 1864 pamphlet entitled The Dialogue in Hell Between Machiavelli and Montesquieu (Dialogue aux enfers entre Machiavel et Montesquieu), which attacks the political ambitions of Napoleon III. It was first published in Brussels in 1864. The piece used the literary device of a dialogue between two diabolical plotters in Hell, the historical characters of Machiavelli and Montesquieu, to cover up a direct, and illegal, attack on Napoleon's rule. The noble baron Montesquieu made the case for liberalism; the Florentine wizard Machiavelli would present the case for cynical despotism. In this manner, Joly would communicate the secret ways in which liberalism might spawn a despot like Napoleon III.