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2021.06.07 14:15 OG_Noomps Graffiti_Letters
One stop shop for Singular and unique Graffiti letters from A to Z to inspire artists own styles share your favourites or your own letters. Help the community grow. Looking for moderators
2008.05.08 04:15 Graffiti
The worlds oldest and largest community dedicated to Graffiti. Letters written large and illegally in spray paint No sketches. No self promo
2010.11.22 19:02 wallychamp Vandals & Scribes
Less art, more vandalism. Bombing, wildstyles, freights, handstyles, and any regional graffiti.
2023.03.25 03:36 Verastahl They take away your nightmares. But the price is too high. Part Seven.
Part Six
We’d made it back through the maze of downtown to the side opposite from the gym, but it didn’t matter. Not only were the ones from the gym still after us, along with a few more dreamers they’d picked up along the way, but up ahead was another group of fifteen or so men and women were running towards us with impromptu tools and manic grins that both flashed murder with each bouncing step closer. They were practically skipping towards us as they guffawed and giggled, and it might have been funny if not for the dead ice in their eyes.
“Jesus. We…In here!” I’d spotted the garage door of an old-fashioned service station across the street—it was propped open a foot by a cinder block, and while it might have been a trap set to lure us in, I didn’t really think the people of Braxton had had the time or the sense to arrange it so quickly. These people…they didn’t move or look right, and not just because they were crazy and trying to kill us. They all looked off somehow. Maybe it was the way they moved, or the loose way the skin hung on their cheeks, even when pulled back with their fishhook smiles. They were becoming something different, though whether it was less or more, I couldn’t say.
All of those thoughts were in the back of my mind as we rushed over to the door and I tried to pull it up further for Mrs. Graves and Mr. Holliman to crawl under. The door only budged a few more inches before it let out a protesting rusty squeal and would go no further. Graves had already rolled through the gap, leaving a smear of blood in her wake, and Holliman was grunting as he sucked in his stomach and pulled himself past the door. Gasping with exhaustion and terror, I looked over my shoulder to see how far away the crowds were. The one cutting us off was still some distance away, though they were moving fast, but the ones behind us since the gym were thirty yards at most. I dropped to my belly and rolled through the gap, kicking the cinder block free as I went.
It all happened in a few harried seconds, but as I was getting to my knees I already realized the problem. The block had been so easy to kick away because the door hadn’t dropped back down when I let go to scoot under it. It was stuck, and as I stood up and started pulling on the other side, it immediately became clear that neither me nor Holliman’s frenzied yanks and kicks were doing much good.
“Back here! There are tires! Wedge them under!”
Mrs. Graves’ voice was soft but strident, cutting through my panic as I followed her words to the back wall of the garage. There were several stacks of old tires back there, including several truck tires big enough to block the door gap if put end to end. Holliman ran with me to the back, yanking tires down and sliding them across the concrete floor to jam them into the space between the ground and the edge of the door. They were on the other side, clawing and pounding and laughing their heads off as they told us to let them in, but either they didn’t catch on that we were plugging the hole they could crawl through or they just didn’t care. A couple of minutes later we had five tires jammed across the opening, with the last bit of space partially blocked by a heavy-duty hand truck we stuffed into the corner and ran through with chain to the last tire so it wouldn’t be easily removed.
Yet for all that, I knew it would only take a few minutes for the mob to dismantle our defenses, and that’s assuming they couldn’t force the door up themselves. I looked over and saw the same worries on the faces of Holliman and Graves.
She looked past me and nodded towards the far corner. “There’s a door back there. You better go close it in case they come in that way.”
Turning fast, I saw what she meant—an open door that seemed to lead to the store part of the gas station. Heart in my throat, I went to the door and peered through it. The store itself still seemed empty and intact, but I could see more and more people gathering outside. I jerked backward, afraid they might see me through the glass despite the darkness inside the store, but peeking back out a few moments later, there was no sign that they had. Still, they’d seen us go in here, right? Why weren’t they coming in after us?
Stepping back through the door and closing it behind me, I quietly slid over a mechanic’s creeper and propped it under the knob before turning back to my employers. Holliman had managed to tourniquet Mrs. Graves’ upper arm with her belt and bandage her forearm with a strip from his shirt, and while the strip of cloth was already turning red with blood, it was definitely an improvement from how she’d looked a few minutes earlier. Other, of course, from the fact that she looked as terrified as I felt.
I walked back over to them, keeping my voice low. “Why aren’t they coming in? There’s more around on the store side, but they weren’t even really looking in through the windows. It’s like they forgot we’re in here.”
Holliman grimaced and gave a nod. “That’s probably exactly what has happened. We need to be very careful to not make noise or let them see us.”
I frowned at him. “But how does that work? Are they like so crazy or brain-damaged that they don’t remember chasing us in here just now?”
Graves shook her head. “No, I don’t think so. Based on what we’ve seen and what we know, they may be insane, but they retain a large degree of sophistication. I think this is just…well, a measure of protection we’re being provided by our service, even here.”
I felt a flare of anger at her carefully chosen words. “Oh, so more magic from ‘our service’? And what exactly do we serve again? Because I seem to always miss out on that part.”
Holliman started turning red. “Clint, now is not…”
I raised my hand and cut him off. “Fuck it. Just save your bullshit. You’re actually right. We’re about to die, and I’d rather focus on that not happening. Any ideas?” I glanced between the two of them. “Either of you?”
A look passed between them and then Holliman glanced toward the shadowy back corner of the garage. “I don’t think there’s another way out of here, but even if there was, they’d just be after us again as soon as we ran. But if they’re that discombobulated…Clint, how many do you think are out there right now?”
I shook my head. “Shit, I don’t know. There were probably thirty or forty following us, right? And another twelve or fifteen trying to cut us off.” I glanced back toward the store side of the gas station. But when I was closing the door I could see out the windows pretty good and…yeah, there are still more coming.”
Holliman fluttered his hand in frustration. “Yes, I understand. But how many? By your best guess?”
Scowling, I gave a shrug. “I don’t know. Probably a hundred or more if none of them are leaving again.”
He gave me a grim smile. “Good. That may be enough.”
“Enough for what?”
Wiping his forehead, he gestured up at the fluorescent light sullenly illuminating the dingy garage we were in. “Have you wondered about the electricity? Not every place has power it seems, but some do. And where is that coming from? Is there an active power plant within the bubble of this place, filled with giggling electricians and engineers that are keeping the lights on? Or are there power lines running outside the bubble to where time and nature move differently? Some kind of life line to the world outside this…” he waved around at the garage, his face contorted with disgust. “This insane hell?” He waggled a finger. “No. Neither. The thing that has taken this place and its people is keeping the lights on. Keeping the people asleep until now, feeding on their dreams and using a bit of that power to maintain certain things for whatever reasons. Perhaps to more easily lure in the occasional traveler, though that’s just a guess. And it doesn’t matter. What does matter is that it takes resources, and the more dreamers we take from it, the weaker it will become.”
I rolled my eyes. “Well, no shit. But I don’t think these fuckers are going to let us get near them with the eyedropper. And they don’t look too sleepy either.”
Holliman started to give an angry reply when Mrs. Graves put a hand on his arm and my own. “When they were in that dream state, the Elixir was the only way to end that connection. If we had simply gone around and killed them, their deaths would have provided a powerful boost to this thing, perhaps more than just letting it feed on them until they could no longer be sustained. It would have been akin to a ritual sacrifice.”
I felt my stomach twist as I saw where this was heading. “And now?”
She let out a long, tired sigh. “Now? Now it has had to wake up part of them. Sacrificing the power of their dreams to create a standing army to eliminate a threat—us. Unless and until they sleep again, that power is lost.”
Holliman cut in. “And if you’re right, and there are a hundred or more out there, and given those we’ve already dosed, we could move past the breaking point in one fell swoop.”
I stared at her. “You’re talking about killing them, aren’t you? Murdering a hundred people.”
Graves shook her head. “No. Not murder. Self-defense. They will kill us eventually, and in horrible ways. This place…we’re trapped here. Hard as it may be to hear, it’s going to be either them or us.”
Holliman snorted. “Enough of this. We can moralize after we’re no longer in danger.” He pointed to the abandoned sedan sitting in the far corner of the garage. “Clint, go look for gas and oil. If you can’t find much, see if you can syphon some from that car. I’d guess we’ll need at least twenty gallons to spray them all down.”
I backed up a step. “What’re you talking about? You’re going to walk out there and what? Spray them down with oil and gas and set them on fire?”
He chuckled. “No. That’d be suicide. Don’t be an idiot.” He pointed to a skylight above the sedan. “I’m going to have you pry that open and we’ll go onto the roof and spray it down on them. If we’re careful and they don’t see us, they may just let us do it until it’s too late. But first you need to find something liquid that will burn.”
I looked back at Graves. “And you’re okay with this?”
She looked on the edge of tears. “I’m not okay with any of this, but we don’t have a choice. We have a job to do, and they will kill us otherwise. Please Clint.”
Holliman looked ready to argue further, but I cut him off. “Save it. I’m doing this because you’re both right, but that doesn’t mean I like it.”
He nodded. “I appreciate that. I feel the same way. Will you please go find us some flammables while I stay with Gracie?”
“Sure…I…yeah, sure.”
The garage was big enough to hold two cars at a time, but with only the one slot occupied, I didn’t think there’d be much to really search. Most of the walls were lined with tools, and there were miscellaneous pieces of equipment along the perimeter, but it wasn’t until I started around the car that I saw something of interest.
It was a pair of feet.
I let out a gasp and started to back away, but something stopped me. This…wasn’t right. The feet were laying at a weird angle and looked…lifeless. Taking a couple of steps forward, I could see more of the man’s body.
He had clearly been dead awhile, though it was to tell how long in this place, and it wasn’t hard to see how he’d died. A box cutter still lay clasped in his withered hand, stained from the gash he’d put in his own neck at the end. I thought about the cinder block at the door and wondered if he was the one that had put that there, maybe hoping someone else would come along and rescue him for a time before he gave up hope.
Tears springing to my eyes, I looked over at his other hand. It was a plastic grocery bag, and inside were the dried ruins of what had probably once been half an ice cream cake, along with plastic plates, candles, and other party supplies. Jesus. This looks like he was going to his kid’s birthday party.
I stumbled back a step before my eyes caught on a large metal drum in the corner. Black painted letters were stenciled along the side, with the first line saying “50 gal”. Below that, was a longer line. “Waste Oil.” Stepping cautionly by the poor dead man, I gingerly rocked it. It felt most of the way full. Sighing, I looked back down at the birthday bag.
When I came back around, Graves and Holliman were looking at me with expectant desperation. I nodded. “I found a drum back here. I think it has like thirty or forty gallons of old oil in there.” I threw a small plastic bag at Holliman’s chest. Flinching, he fumblingly grabbed it and looked at it before giving me a sullen stare.
“Party balloons?” His face split into a grin as he began to laugh softly. “Oh, I see. Yes. That should work well. Yes, yes.”
“Yeah. Let’s just…let’s hurry and get this done. Come help me get the barrel out.”
Easing up from his spot next to Mrs. Graves, he bustled over past me, still chuckling. “Sure thing, chief. Time for a fire tonight!”
Frowning at him, I turned to look back at Graves, her eyes wide and more fearful than when we’d barely escaped the mob outside. She was mouthing something to me, lips trembling as she tried to enunciate each word clearly across the shadowy space.
"We’re…losing…him."
submitted by Verastahl to nosleep [link] [comments]
“Jesus. We…In here!” I’d spotted the garage door of an old-fashioned service station across the street—it was propped open a foot by a cinder block, and while it might have been a trap set to lure us in, I didn’t really think the people of Braxton had had the time or the sense to arrange it so quickly. These people…they didn’t move or look right, and not just because they were crazy and trying to kill us. They all looked off somehow. Maybe it was the way they moved, or the loose way the skin hung on their cheeks, even when pulled back with their fishhook smiles. They were becoming something different, though whether it was less or more, I couldn’t say.
All of those thoughts were in the back of my mind as we rushed over to the door and I tried to pull it up further for Mrs. Graves and Mr. Holliman to crawl under. The door only budged a few more inches before it let out a protesting rusty squeal and would go no further. Graves had already rolled through the gap, leaving a smear of blood in her wake, and Holliman was grunting as he sucked in his stomach and pulled himself past the door. Gasping with exhaustion and terror, I looked over my shoulder to see how far away the crowds were. The one cutting us off was still some distance away, though they were moving fast, but the ones behind us since the gym were thirty yards at most. I dropped to my belly and rolled through the gap, kicking the cinder block free as I went.
It all happened in a few harried seconds, but as I was getting to my knees I already realized the problem. The block had been so easy to kick away because the door hadn’t dropped back down when I let go to scoot under it. It was stuck, and as I stood up and started pulling on the other side, it immediately became clear that neither me nor Holliman’s frenzied yanks and kicks were doing much good.
“Back here! There are tires! Wedge them under!”
Mrs. Graves’ voice was soft but strident, cutting through my panic as I followed her words to the back wall of the garage. There were several stacks of old tires back there, including several truck tires big enough to block the door gap if put end to end. Holliman ran with me to the back, yanking tires down and sliding them across the concrete floor to jam them into the space between the ground and the edge of the door. They were on the other side, clawing and pounding and laughing their heads off as they told us to let them in, but either they didn’t catch on that we were plugging the hole they could crawl through or they just didn’t care. A couple of minutes later we had five tires jammed across the opening, with the last bit of space partially blocked by a heavy-duty hand truck we stuffed into the corner and ran through with chain to the last tire so it wouldn’t be easily removed.
Yet for all that, I knew it would only take a few minutes for the mob to dismantle our defenses, and that’s assuming they couldn’t force the door up themselves. I looked over and saw the same worries on the faces of Holliman and Graves.
She looked past me and nodded towards the far corner. “There’s a door back there. You better go close it in case they come in that way.”
Turning fast, I saw what she meant—an open door that seemed to lead to the store part of the gas station. Heart in my throat, I went to the door and peered through it. The store itself still seemed empty and intact, but I could see more and more people gathering outside. I jerked backward, afraid they might see me through the glass despite the darkness inside the store, but peeking back out a few moments later, there was no sign that they had. Still, they’d seen us go in here, right? Why weren’t they coming in after us?
Stepping back through the door and closing it behind me, I quietly slid over a mechanic’s creeper and propped it under the knob before turning back to my employers. Holliman had managed to tourniquet Mrs. Graves’ upper arm with her belt and bandage her forearm with a strip from his shirt, and while the strip of cloth was already turning red with blood, it was definitely an improvement from how she’d looked a few minutes earlier. Other, of course, from the fact that she looked as terrified as I felt.
I walked back over to them, keeping my voice low. “Why aren’t they coming in? There’s more around on the store side, but they weren’t even really looking in through the windows. It’s like they forgot we’re in here.”
Holliman grimaced and gave a nod. “That’s probably exactly what has happened. We need to be very careful to not make noise or let them see us.”
I frowned at him. “But how does that work? Are they like so crazy or brain-damaged that they don’t remember chasing us in here just now?”
Graves shook her head. “No, I don’t think so. Based on what we’ve seen and what we know, they may be insane, but they retain a large degree of sophistication. I think this is just…well, a measure of protection we’re being provided by our service, even here.”
I felt a flare of anger at her carefully chosen words. “Oh, so more magic from ‘our service’? And what exactly do we serve again? Because I seem to always miss out on that part.”
Holliman started turning red. “Clint, now is not…”
I raised my hand and cut him off. “Fuck it. Just save your bullshit. You’re actually right. We’re about to die, and I’d rather focus on that not happening. Any ideas?” I glanced between the two of them. “Either of you?”
A look passed between them and then Holliman glanced toward the shadowy back corner of the garage. “I don’t think there’s another way out of here, but even if there was, they’d just be after us again as soon as we ran. But if they’re that discombobulated…Clint, how many do you think are out there right now?”
I shook my head. “Shit, I don’t know. There were probably thirty or forty following us, right? And another twelve or fifteen trying to cut us off.” I glanced back toward the store side of the gas station. But when I was closing the door I could see out the windows pretty good and…yeah, there are still more coming.”
Holliman fluttered his hand in frustration. “Yes, I understand. But how many? By your best guess?”
Scowling, I gave a shrug. “I don’t know. Probably a hundred or more if none of them are leaving again.”
He gave me a grim smile. “Good. That may be enough.”
“Enough for what?”
Wiping his forehead, he gestured up at the fluorescent light sullenly illuminating the dingy garage we were in. “Have you wondered about the electricity? Not every place has power it seems, but some do. And where is that coming from? Is there an active power plant within the bubble of this place, filled with giggling electricians and engineers that are keeping the lights on? Or are there power lines running outside the bubble to where time and nature move differently? Some kind of life line to the world outside this…” he waved around at the garage, his face contorted with disgust. “This insane hell?” He waggled a finger. “No. Neither. The thing that has taken this place and its people is keeping the lights on. Keeping the people asleep until now, feeding on their dreams and using a bit of that power to maintain certain things for whatever reasons. Perhaps to more easily lure in the occasional traveler, though that’s just a guess. And it doesn’t matter. What does matter is that it takes resources, and the more dreamers we take from it, the weaker it will become.”
I rolled my eyes. “Well, no shit. But I don’t think these fuckers are going to let us get near them with the eyedropper. And they don’t look too sleepy either.”
Holliman started to give an angry reply when Mrs. Graves put a hand on his arm and my own. “When they were in that dream state, the Elixir was the only way to end that connection. If we had simply gone around and killed them, their deaths would have provided a powerful boost to this thing, perhaps more than just letting it feed on them until they could no longer be sustained. It would have been akin to a ritual sacrifice.”
I felt my stomach twist as I saw where this was heading. “And now?”
She let out a long, tired sigh. “Now? Now it has had to wake up part of them. Sacrificing the power of their dreams to create a standing army to eliminate a threat—us. Unless and until they sleep again, that power is lost.”
Holliman cut in. “And if you’re right, and there are a hundred or more out there, and given those we’ve already dosed, we could move past the breaking point in one fell swoop.”
I stared at her. “You’re talking about killing them, aren’t you? Murdering a hundred people.”
Graves shook her head. “No. Not murder. Self-defense. They will kill us eventually, and in horrible ways. This place…we’re trapped here. Hard as it may be to hear, it’s going to be either them or us.”
Holliman snorted. “Enough of this. We can moralize after we’re no longer in danger.” He pointed to the abandoned sedan sitting in the far corner of the garage. “Clint, go look for gas and oil. If you can’t find much, see if you can syphon some from that car. I’d guess we’ll need at least twenty gallons to spray them all down.”
I backed up a step. “What’re you talking about? You’re going to walk out there and what? Spray them down with oil and gas and set them on fire?”
He chuckled. “No. That’d be suicide. Don’t be an idiot.” He pointed to a skylight above the sedan. “I’m going to have you pry that open and we’ll go onto the roof and spray it down on them. If we’re careful and they don’t see us, they may just let us do it until it’s too late. But first you need to find something liquid that will burn.”
I looked back at Graves. “And you’re okay with this?”
She looked on the edge of tears. “I’m not okay with any of this, but we don’t have a choice. We have a job to do, and they will kill us otherwise. Please Clint.”
Holliman looked ready to argue further, but I cut him off. “Save it. I’m doing this because you’re both right, but that doesn’t mean I like it.”
He nodded. “I appreciate that. I feel the same way. Will you please go find us some flammables while I stay with Gracie?”
“Sure…I…yeah, sure.”
The garage was big enough to hold two cars at a time, but with only the one slot occupied, I didn’t think there’d be much to really search. Most of the walls were lined with tools, and there were miscellaneous pieces of equipment along the perimeter, but it wasn’t until I started around the car that I saw something of interest.
It was a pair of feet.
I let out a gasp and started to back away, but something stopped me. This…wasn’t right. The feet were laying at a weird angle and looked…lifeless. Taking a couple of steps forward, I could see more of the man’s body.
He had clearly been dead awhile, though it was to tell how long in this place, and it wasn’t hard to see how he’d died. A box cutter still lay clasped in his withered hand, stained from the gash he’d put in his own neck at the end. I thought about the cinder block at the door and wondered if he was the one that had put that there, maybe hoping someone else would come along and rescue him for a time before he gave up hope.
Tears springing to my eyes, I looked over at his other hand. It was a plastic grocery bag, and inside were the dried ruins of what had probably once been half an ice cream cake, along with plastic plates, candles, and other party supplies. Jesus. This looks like he was going to his kid’s birthday party.
I stumbled back a step before my eyes caught on a large metal drum in the corner. Black painted letters were stenciled along the side, with the first line saying “50 gal”. Below that, was a longer line. “Waste Oil.” Stepping cautionly by the poor dead man, I gingerly rocked it. It felt most of the way full. Sighing, I looked back down at the birthday bag.
When I came back around, Graves and Holliman were looking at me with expectant desperation. I nodded. “I found a drum back here. I think it has like thirty or forty gallons of old oil in there.” I threw a small plastic bag at Holliman’s chest. Flinching, he fumblingly grabbed it and looked at it before giving me a sullen stare.
“Party balloons?” His face split into a grin as he began to laugh softly. “Oh, I see. Yes. That should work well. Yes, yes.”
“Yeah. Let’s just…let’s hurry and get this done. Come help me get the barrel out.”
Easing up from his spot next to Mrs. Graves, he bustled over past me, still chuckling. “Sure thing, chief. Time for a fire tonight!”
Frowning at him, I turned to look back at Graves, her eyes wide and more fearful than when we’d barely escaped the mob outside. She was mouthing something to me, lips trembling as she tried to enunciate each word clearly across the shadowy space.
"We’re…losing…him."
2023.03.25 02:52 FitInvestigator5945 SATIRE RESEARCH NAIJAH CLOVER FROM THE GET GO
4:04AM EST
SSTURDAY APRIL 25TH, 2020
Horatian: Horatian satire is tolerant, funny, sophisticated witty, wise, self-effacing and aims to correct through humor...
Juvenalian: Juvenalian satire is angry, caustic, personal, relentless, bitter, and serious...
SATIRICAL DEVICE
Genre of arts and literature in the form of humor or ridicule
In fiction and less frequently in non-fiction, satire is a genre of literature and performing arts, in which vices, follies, abuses and shor... en.wikipedia.org
Satire is a technique in art and literature that pokes fun at established artistic or cultural norms. Satirists practice their craft for the sake of social criticism, comedy, or, often, both. The different satire genres include spoof, parody, and classic literary satire techniques.
Definition of satire
1: a literary work holding up human vices and follies to ridicule or scorn
2: trenchant wit, irony, or sarcasm used to expose and discredit vice or folly
https://www.merriam-webster.com/dictionary/satire
The Culinary Roots of Satire
Satire came into English at the beginning of the 16th century, and the meaning of the word has not strayed very far from its original sense. The initial uses were primarily applied to poems, and the term now has a broader applicability. Satire has a semantic and etymological overlap with both farce and lampoon. Farce ("a light dramatic composition marked by broadly satirical comedy and improbable plot") came into English as a synonym for forcemeat, meaning "finely chopped and highly seasoned meat or fish that is either served alone or used as a stuffing." Lampoon ("a harsh satire usually directed against an individual") is thought to come from the French lampons!, meaning "let us guzzle!" And satire is believed to trace back to the Latin satur, meaning "well-fed."
Examples of satire in a Sentence
By contrast, Martial's friend, Juvenal, learned to transmute Martial's epigrammatic wit into savage satire. Juvenal's fierce, if occasionally obscene, tirades against immorality fit easily into the propaganda of the new era.
— G. W. Bowersock, New York Review of Books, 26 Feb. 2009
Unlike late-night talk shows that traffic in Hollywood interviews and stupid pet tricks, "The Daily Show" is a fearless social satire. Not many comedy shows would dare do five minutes on the intricacies of medicare or a relentlessly cheeky piece on President George W. Bush's Thanksgiving trip to Iraq …
— Marc Peyser, Newsweek, 29 Dec. 2003 - 5 Jan. 2004
In fiction and less frequently in non-fiction, satire is a genre of literature and performing arts, in which vices, follies, abuses and shortcomings are held up to ridicule, ideally with the intent of shaming individuals, corporations, government, or society itself into improvement.[1] Although satire is usually meant to be humorous, its greater purpose is often constructive social criticism, using wit to draw attention to both particular and wider issues in society.
A feature of satire is strong irony or sarcasm —"in satire, irony is militant", according to literary critic Northrup Frye—[2] but parody, burlesque, exaggeration,[3] juxtaposition, comparison, analogy, and double entendre are all frequently used in satirical speech and writing. This "militant" irony or sarcasm often professes to approve of (or at least accept as natural) the very things the satirist wishes to question.
Satire is nowadays found in many artistic forms of expression, including internet memes, literature, plays, commentary, television shows, and media such as lyrics.
Etymology and roots
The word satire comes from the Latin word satur and the subsequent phrase lanx satura. Satur meant "full" but the juxtaposition with lanx shifted the meaning to "miscellany or medley": the expression lanx satura literally means "a full dish of various kinds of fruits".[4]
The word satura as used by Quintilian, however, was used to denote only Roman verse satire, a strict genre that imposed hexameter form, a narrower genre than what would be later intended as satire.[4][5] Quintilian famously said that satura, that is a satire in hexameter verses, was a literary genre of wholly Roman origin (satura tota nostra est). He was aware of and commented on Greek satire, but at the time did not label it as such, although today the origin of satire is considered to be Aristophanes' Old Comedy. The first critic to use the term "satire" in the modern broader sense was Apuleius.[4]
To Quintilian, the satire was a strict literary form, but the term soon escaped from the original narrow definition. Robert Elliott writes:
As soon as a noun enters the domain of metaphor, as one modern scholar has pointed out, it clamours for extension; and satura (which had had no verbal, adverbial, or adjectival forms) was immediately broadened by appropriation from the Greek word for “satyr” (satyros) and its derivatives. The odd result is that the English “satire” comes from the Latin satura; but "satirize", "satiric", etc., are of Greek origin. By about the 4th century AD the writer of satires came to be known as satyricus; St. Jerome, for example, was called by one of his enemies 'a satirist in prose' ('satyricus scriptor in prosa'). Subsequent orthographic modifications obscured the Latin origin of the word satire: satura becomes satyra, and in England, by the 16th century, it was written 'satyre.'[1]
The word satire derives from satura, and its origin was not influenced by the Greek mythological figure of the satyr.[6] In the 17th century, philologist Isaac Casaubon was the first to dispute the etymology of satire from satyr, contrary to the belief up to that time.[7]
Humour
“ The rules of satire are such that it must do more than make you laugh. No matter how amusing it is, it doesn't count unless you find yourself wincing a little even as you chuckle.[8] ”
Laughter is not an essential component of satire;[9] in fact there are types of satire that are not meant to be "funny" at all. Conversely, not all humour, even on such topics as politics, religion or art is necessarily "satirical", even when it uses the satirical tools of irony, parody, and burlesque.
Even light-hearted satire has a serious "after-taste": the organizers of the Ig Nobel Prize describe this as "first make people laugh, and then make them think".[10]
Social and psychological functions
Satire and irony in some cases have been regarded as the most effective source to understand a society, the oldest form of social study.[11] They provide the keenest insights into a group's collective psyche, reveal its deepest values and tastes, and the society's structures of power.[12][13] Some authors have regarded satire as superior to non-comic and non-artistic disciplines like history or anthropology.[11][14][15][16] In a prominent example from ancient Greece, philosopher Plato, when asked by a friend for a book to understand Athenian society, referred him to the plays of Aristophanes.[17][18]
Historically, satire has satisfied the popular need to debunk and ridicule the leading figures in politics, economy, religion and other prominent realms of power.[19] Satire confronts public discourse and the collective imaginary, playing as a public opinion counterweight to power (be it political, economic, religious, symbolic, or otherwise), by challenging leaders and authorities. For instance, it forces administrations to clarify, amend or establish their policies. Satire's job is to expose problems and contradictions, and it's not obligated to solve them.[20] Karl Kraus set in the history of satire a prominent example of a satirist role as confronting public discourse.[21]
For its nature and social role, satire has enjoyed in many societies a special freedom license to mock prominent individuals and institutions.[22] The satiric impulse, and its ritualized expressions, carry out the function of resolving social tension.[23] Institutions like the ritual clowns, by giving expression to the antisocial tendencies, represent a safety valve which re-establishes equilibrium and health in the collective imaginary, which are jeopardized by the repressive aspects of society.[24][25]
The state of political satire in a given society reflects the tolerance or intolerance that characterizes it,[19] and the state of civil liberties and human rights. Under totalitarian regimes any criticism of a political system, and especially satire, is suppressed. A typical example is the Soviet Union where the dissidents, such as Aleksandr Solzhenitsyn and Andrei Sakharov were under strong pressure from the government. While satire of everyday life in the USSR was allowed, the most prominent satirist being Arkady Raikin, political satire existed in the form of anecdotes[26] that made fun of Soviet political leaders, especially Brezhnev, famous for his narrow-mindedness and love for awards and decorations.
Classifications
Satire is a diverse genre which is complex to classify and define, with a wide range of satiric "modes".[27][28]
Horatian, Juvenalian, Menippean
"Le satire e l'epistole di Q. Orazio Flacco", printed in 1814.
Satirical literature can commonly be categorized as either Horatian, Juvenalian, or Menippean.[29]
Horatian
Horatian satire, named for the Roman satirist Horace (65–8 BCE), playfully criticizes some social vice through gentle, mild, and light-hearted humour. Horace (Quintus Horatius Flaccus) wrote Satires to gently ridicule the dominant opinions and "philosophical beliefs of ancient Rome and Greece" (Rankin).[30] Rather than writing in harsh or accusing tones, he addressed issues with humor and clever mockery. Horatian satire follows this same pattern of "gently [ridiculing] the absurdities and follies of human beings" (Drury).[31]
It directs wit, exaggeration, and self-deprecating humour toward what it identifies as folly, rather than evil. Horatian satire's sympathetic tone is common in modern society.[32]
A Horatian satirist's goal is to heal the situation with smiles, rather than by anger. Horatian satire is a gentle reminder to take life less seriously and evokes a wry smile.[31] A Horatian satirist makes fun of general human folly rather than engaging in specific or personal attacks. Shamekia Thomas suggests, "In a work using Horatian satire, readers often laugh at the characters in the story who are the subject of mockery as well as themselves and society for behaving in those ways." Alexander Pope has been established as an author whose satire "heals with morals what it hurts with wit" (Green).[33] Alexander Pope—and Horatian satire—attempt to teach.
Examples of Horatian satire:
The Ig Nobel Prizes.
Bierce, Ambrose, The Devil's Dictionary.
Defoe, Daniel, The True-Born Englishman.
The Savoy Operas of Gilbert and Sullivan.
Trollope, Anthony, The Way We Live Now.
Gogol, Nikolai, Dead Souls.
Groening, Matthew "Matt", The Simpsons.
Lewis, Clive Staples, The Screwtape Letters.
Mercer, Richard ‘Rick’, The Rick Mercer Report.
More, Thomas, Utopia
Pope, Alexander, The Rape of the Lock.
Reiner, Rob, This Is Spinal Tap.
Twain, Mark, Adventures of Huckleberry Finn.
Ralston Saul, John, The Doubter's Companion: A Dictionary of Aggressive Common Sense.
Juvenalian
See also: Satires of Juvenal
Juvenalian satire, named for the writings of the Roman satirist Juvenal (late first century – early second century AD), is more contemptuous and abrasive than the Horatian. Juvenal disagreed with the opinions of the public figures and institutions of the Republic and actively attacked them through his literature. "He utilized the satirical tools of exaggeration and parody to make his targets appear monstrous and incompetent" (Podzemny).[34] Juvenal's satire follows this same pattern of abrasively ridiculing societal structures. Juvenal also, unlike Horace, attacked public officials and governmental organizations through his satires, regarding their opinions as not just wrong, but evil.
Following in this tradition, Juvenalian satire addresses perceived social evil through scorn, outrage, and savage ridicule. This form is often pessimistic, characterized by the use of irony, sarcasm, moral indignation and personal invective, with less emphasis on humor. Strongly polarized political satire can often be classified as Juvenalian.
A Juvenal satirist's goal is generally to provoke some sort of political or societal change because he sees his opponent or object as evil or harmful.[35] A Juvenal satirist mocks "societal structure, power, and civilization" (Thomas)[36] by exaggerating the words or position of his opponent in order to jeopardize their opponent's reputation and/or power. Jonathan Swift has been established as an author who "borrowed heavily from Juvenal's techniques in [his critique] of contemporary English society" (Podzemny).[34]
Examples of Juvenalian satire:
Barnes, Julian, England, England.
Beatty, Paul, The Sellout.
Bradbury, Ray, Fahrenheit 451.
Brooker, Charlie, Black Mirror.
Bulgakov, Mikhail, Heart of a Dog.
Burgess, Anthony, A Clockwork Orange.
Burroughs, William, Naked Lunch.
Byron, George Gordon, Lord, Don Juan.
Barth, John, The Sot-Weed Factor; or, A Voyage to Maryland,—a satire, in which is described the laws, government, courts, and constitutions of the country, and also the buildings, feasts, frolics, entertainments, and drunken humors of the inhabitants in that part of America.
Ellis, Bret Easton, American Psycho.
Golding, William, Lord of the Flies.
Hall, Joseph, Virgidemiarum.
Heller, Joseph, Catch-22.
Huxley, Aldous, Brave New World.
Johnson, Samuel, London, an adaptation of Juvenal, Third Satire.
Junius, Letters.
Kubrick, Stanley, Dr. Strangelove.
Mencken, HL, Libido for the Ugly.
Morris, Chris, Brass Eye.
———, The Day Today.
Orwell, George, Nineteen Eighty-Four.
Orwell, George, Animal Farm.
Palahniuk, Chuck, Fight Club.
Swift, Jonathan, A Modest Proposal.
Voltaire, Candide.
Zamyatin, Yevgeny, We.
Menippean
See Menippean satire.
Satire versus teasing
In the history of theatre there has always been a conflict between engagement and disengagement on politics and relevant issue, between satire and grotesque on one side, and jest with teasing on the other.[37] Max Eastman defined the spectrum of satire in terms of "degrees of biting", as ranging from satire proper at the hot-end, and "kidding" at the violet-end; Eastman adopted the term kidding to denote what is just satirical in form, but is not really firing at the target.[38] Nobel laureate satirical playwright Dario Fo pointed out the difference between satire and teasing (sfottò).[39] Teasing is the reactionary side of the comic; it limits itself to a shallow parody of physical appearance. The side-effect of teasing is that it humanizes and draws sympathy for the powerful individual towards which it is directed. Satire instead uses the comic to go against power and its oppressions, has a subversive character, and a moral dimension which draws judgement against its targets.[40][41][42][43] Fo formulated an operational criterion to tell real satire from sfottò, saying that real satire arouses an outraged and violent reaction, and that the more they try to stop you, the better is the job you are doing.[44] Fo contends that, historically, people in positions of power have welcomed and encouraged good-humoured buffoonery, while modern day people in positions of power have tried to censor, ostracize and repress satire.[37][40]
Teasing (sfottò) is an ancient form of simple buffoonery, a form of comedy without satire's subversive edge. Teasing includes light and affectionate parody, good-humoured mockery, simple one-dimensional poking fun, and benign spoofs. Teasing typically consists of an impersonation of someone monkeying around with his exterior attributes, tics, physical blemishes, voice and mannerisms, quirks, way of dressing and walking, and/or the phrases he typically repeats. By contrast, teasing never touches on the core issue, never makes a serious criticism judging the target with irony; it never harms the target's conduct, ideology and position of power; it never undermines the perception of his morality and cultural dimension.[40][42] Sfottò directed towards a powerful individual makes him appear more human and draws sympathy towards him.[45] Hermann Göring propagated jests and jokes against himself, with the aim of humanizing his image.[46][47]
Classifications by topics
Types of satire can also be classified according to the topics it deals with. From the earliest times, at least since the plays of Aristophanes, the primary topics of literary satire have been politics, religion and sex.[48][49][50][51] This is partly because these are the most pressing problems that affect anybody living in a society, and partly because these topics are usually taboo.[48][52] Among these, politics in the broader sense is considered the pre-eminent topic of satire.[52] Satire which targets the clergy is a type of political satire, while religious satire is that which targets religious beliefs.[53] Satire on sex may overlap with blue comedy, off-color humor and dick jokes.
Scatology has a long literary association with satire,[48][54][55] as it is a classical mode of the grotesque, the grotesque body and the satiric grotesque.[48][56] Shit plays a fundamental role in satire because it symbolizes death, the turd being "the ultimate dead object".[54][55] The satirical comparison of individuals or institutions with human excrement, exposes their "inherent inertness, corruption and dead-likeness".[54][57][58] The ritual clowns of clown societies, like among the Pueblo Indians, have ceremonies with filth-eating.[59][60] In other cultures, sin-eating is an apotropaic rite in which the sin-eater (also called filth-eater),[61][62] by ingesting the food provided, takes "upon himself the sins of the departed".[63] Satire about death overlaps with black humor and gallows humor.
Another classification by topics is the distinction between political satire, religious satire and satire of manners.[64] Political satire is sometimes called topical satire, satire of manners is sometimes called satire of everyday life, and religious satire is sometimes called philosophical satire. Comedy of manners, sometimes also called satire of manners, criticizes mode of life of common people; political satire aims at behavior, manners of politicians, and vices of political systems. Historically, comedy of manners, which first appeared in British theater in 1620, has uncritically accepted the social code of the upper classes.[65] Comedy in general accepts the rules of the social game, while satire subverts them.[66]
Another analysis of satire is the spectrum of his possible tones: wit, ridicule, irony, sarcasm, cynicism, the sardonic and invective.[67][68]
The type of humour that deals with creating laughter at the expense of the person telling the joke is called reflexive humour[69].Reflexive humour can take place at dual levels of directing humour at self or at the larger community the self identifies with. The audience's understanding of the context of reflexive humour is important for its receptivity and success [69]. Satire is found not only in written literary forms. In preliterate cultures it manifests itself in ritual and folk forms, as well as in trickster tales and oral poetry.[23]
It appears also in graphic arts, music, sculpture, dance, cartoon strips, and graffiti. Examples are Dada sculptures, Pop Art works, music of Gilbert and Sullivan and Erik Satie, punk and rock music.[23] In modern media culture, stand-up comedy is an enclave in which satire can be introduced into mass media, challenging mainstream discourse.[23] Comedy roasts, mock festivals, and stand-up comedians in nightclubs and concerts are the modern forms of ancient satiric rituals.[23]
Development
Ancient Egypt
The satirical papyrus at the British Museum
Satirical ostracon showing a cat guarding geese, c.1120 BC, Egypt.
Figured ostracon showing a cat waiting on a mouse, Egypt
One of the earliest examples of what we might call satire, The Satire of the Trades,[70] is in Egyptian writing from the beginning of the 2nd millennium BC. The text's apparent readers are students, tired of studying. It argues that their lot as scribes is not only useful, but far superior to that of the ordinary man. Scholars such as Helck[71] think that the context was meant to be serious.
The Papyrus Anastasi I[72] (late 2nd millennium BC) contains a satirical letter which first praises the virtues of its recipient, but then mocks the reader's meagre knowledge and achievements.
Ancient Greece
The Greeks had no word for what later would be called "satire", although the terms cynicism and parody were used. Modern critics call the Greek playwright Aristophanes one of the best known early satirists: his plays are known for their critical political and societal commentary,[73] particularly for the political satire by which he criticized the powerful Cleon (as in The Knights). He is also notable for the persecution he underwent.[73][74][75][76] Aristophanes' plays turned upon images of filth and disease.[77] His bawdy style was adopted by Greek dramatist-comedian Menander. His early play Drunkenness contains an attack on the politician Callimedon.
The oldest form of satire still in use is the Menippean satire by Menippus of Gadara. His own writings are lost. Examples from his admirers and imitators mix seriousness and mockery in dialogues and present parodies before a background of diatribe. As in the case of Aristophanes plays, menippean satire turned upon images of filth and disease.[77]
Roman world
The first Roman to discuss satire critically was Quintilian, who invented the term to describe the writings of Gaius Lucilius. The two most prominent and influential ancient Roman satirists are Horace and Juvenal, who wrote during the early days of the Roman Empire. Other important satirists in ancient Latin are Gaius Lucilius and Persius. Satire in their work is much wider than in the modern sense of the word, including fantastic and highly coloured humorous writing with little or no real mocking intent. When Horace criticized Augustus, he used veiled ironic terms. In contrast, Pliny reports that the 6th-century-BC poet Hipponax wrote satirae that were so cruel that the offended hanged themselves.[78]
In the 2nd century AD, Lucian wrote True History, a book satirizing the clearly unrealistic travelogues/adventures written by Ctesias, Iambulus, and Homer. He states that he was surprised they expected people to believe their lies, and stating that he, like them, has no actual knowledge or experience, but shall now tell lies as if he did. He goes on to describe a far more obviously extreme and unrealistic tale, involving interplanetary exploration, war among alien life forms, and life inside a 200 mile long whale back in the terrestrial ocean, all intended to make obvious the fallacies of books like Indica and The Odyssey.
Medieval Islamic world
Main articles: Arabic satire and Persian satire
Medieval Arabic poetry included the satiric genre hija. Satire was introduced into Arabic prose literature by the author Al-Jahiz in the 9th century. While dealing with serious topics in what are now known as anthropology, sociology and psychology, he introduced a satirical approach, "based on the premise that, however serious the subject under review, it could be made more interesting and thus achieve greater effect, if only one leavened the lump of solemnity by the insertion of a few amusing anecdotes or by the throwing out of some witty or paradoxical observations. He was well aware that, in treating of new themes in his prose works, he would have to employ a vocabulary of a nature more familiar in hija, satirical poetry."[79] For example, in one of his zoological works, he satirized the preference for longer human penis size, writing: "If the length of the penis were a sign of honor, then the mule would belong to the (honorable tribe of) Quraysh". Another satirical story based on this preference was an Arabian Nights tale called "Ali with the Large Member".[80]
In the 10th century, the writer Tha'alibi recorded satirical poetry written by the Arabic poets As-Salami and Abu Dulaf, with As-Salami praising Abu Dulaf's wide breadth of knowledge and then mocking his ability in all these subjects, and with Abu Dulaf responding back and satirizing As-Salami in return.[81] An example of Arabic political satire included another 10th-century poet Jarir satirizing Farazdaq as "a transgressor of the Sharia" and later Arabic poets in turn using the term "Farazdaq-like" as a form of political satire.[82]
The terms "comedy" and "satire" became synonymous after Aristotle's Poetics was translated into Arabic in the medieval Islamic world, where it was elaborated upon by Islamic philosophers and writers, such as Abu Bischr, his pupil Al-Farabi, Avicenna, and Averroes. Due to cultural differences, they disassociated comedy from Greek dramatic representation and instead identified it with Arabic poetic themes and forms, such as hija (satirical poetry). They viewed comedy as simply the "art of reprehension", and made no reference to light and cheerful events, or troubled beginnings and happy endings, associated with classical Greek comedy. After the Latin translations of the 12th century, the term "comedy" thus gained a new semantic meaning in Medieval literature.[83]
Ubayd Zakani introduced satire in Persian literature during the 14th century. His work is noted for its satire and obscene verses, often political or bawdy, and often cited in debates involving homosexual practices. He wrote the Resaleh-ye Delgosha, as well as Akhlaq al-Ashraf ("Ethics of the Aristocracy") and the famous humorous fable Masnavi Mush-O-Gorbeh (Mouse and Cat), which was a political satire. His non-satirical serious classical verses have also been regarded as very well written, in league with the other great works of Persian literature. Between 1905 and 1911, Bibi Khatoon Astarabadi and other Iranian writers wrote notable satires.
Medieval Europe
In the Early Middle Ages, examples of satire were the songs by Goliards or vagants now best known as an anthology called Carmina Burana and made famous as texts of a composition by the 20th-century composer Carl Orff. Satirical poetry is believed to have been popular, although little has survived. With the advent of the High Middle Ages and the birth of modern vernacular literature in the 12th century, it began to be used again, most notably by Chaucer. The disrespectful manner was considered "unchristian" and ignored, except for the moral satire, which mocked misbehaviour in Christian terms. Examples are Livre des Manières by Étienne de Fougères [fr] (~1178), and some of Chaucer's Canterbury Tales. Sometimes epic poetry (epos) was mocked, and even feudal society, but there was hardly a general interest in the genre.
Early modern western satire
Pieter Bruegel's 1568 satirical painting The Blind Leading the Blind.
Direct social commentary via satire returned with a vengeance in the 16th century, when farcical texts such as the works of François Rabelais tackled more serious issues (and incurred the wrath of the crown as a result).
Two major satirists of Europe in the Renaissance were Giovanni Boccaccio and François Rabelais. Other examples of Renaissance satire include Till Eulenspiegel, Reynard the Fox, Sebastian Brant's Narrenschiff (1494), Erasmus's Moriae Encomium (1509), Thomas More's Utopia (1516), and Carajicomedia (1519).
The Elizabethan (i.e. 16th-century English) writers thought of satire as related to the notoriously rude, coarse and sharp satyr play. Elizabethan "satire" (typically in pamphlet form) therefore contains more straightforward abuse than subtle irony. The French Huguenot Isaac Casaubon pointed out in 1605 that satire in the Roman fashion was something altogether more civilised. Casaubon discovered and published Quintilian's writing and presented the original meaning of the term (satira, not satyr), and the sense of wittiness (reflecting the "dishfull of fruits") became more important again. Seventeenth-century English satire once again aimed at the "amendment of vices" (Dryden).
In the 1590s a new wave of verse satire broke with the publication of Hall's Virgidemiarum, six books of verse satires targeting everything from literary fads to corrupt noblemen. Although Donne had already circulated satires in manuscript, Hall's was the first real attempt in English at verse satire on the Juvenalian model.[84][page needed] The success of his work combined with a national mood of disillusion in the last years of Elizabeth's reign triggered an avalanche of satire—much of it less conscious of classical models than Hall's — until the fashion was brought to an
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SSTURDAY APRIL 25TH, 2020
Horatian: Horatian satire is tolerant, funny, sophisticated witty, wise, self-effacing and aims to correct through humor...
Juvenalian: Juvenalian satire is angry, caustic, personal, relentless, bitter, and serious...
SATIRICAL DEVICE
- Humor:Exaggeration or overstatement: Something that does happen, but is exaggerated to absurd lengths...
Genre of arts and literature in the form of humor or ridicule
In fiction and less frequently in non-fiction, satire is a genre of literature and performing arts, in which vices, follies, abuses and shor... en.wikipedia.org
Satire is a technique in art and literature that pokes fun at established artistic or cultural norms. Satirists practice their craft for the sake of social criticism, comedy, or, often, both. The different satire genres include spoof, parody, and classic literary satire techniques.
Definition of satire
1: a literary work holding up human vices and follies to ridicule or scorn
2: trenchant wit, irony, or sarcasm used to expose and discredit vice or folly
https://www.merriam-webster.com/dictionary/satire
The Culinary Roots of Satire
Satire came into English at the beginning of the 16th century, and the meaning of the word has not strayed very far from its original sense. The initial uses were primarily applied to poems, and the term now has a broader applicability. Satire has a semantic and etymological overlap with both farce and lampoon. Farce ("a light dramatic composition marked by broadly satirical comedy and improbable plot") came into English as a synonym for forcemeat, meaning "finely chopped and highly seasoned meat or fish that is either served alone or used as a stuffing." Lampoon ("a harsh satire usually directed against an individual") is thought to come from the French lampons!, meaning "let us guzzle!" And satire is believed to trace back to the Latin satur, meaning "well-fed."
Examples of satire in a Sentence
By contrast, Martial's friend, Juvenal, learned to transmute Martial's epigrammatic wit into savage satire. Juvenal's fierce, if occasionally obscene, tirades against immorality fit easily into the propaganda of the new era.
— G. W. Bowersock, New York Review of Books, 26 Feb. 2009
Unlike late-night talk shows that traffic in Hollywood interviews and stupid pet tricks, "The Daily Show" is a fearless social satire. Not many comedy shows would dare do five minutes on the intricacies of medicare or a relentlessly cheeky piece on President George W. Bush's Thanksgiving trip to Iraq …
— Marc Peyser, Newsweek, 29 Dec. 2003 - 5 Jan. 2004
In fiction and less frequently in non-fiction, satire is a genre of literature and performing arts, in which vices, follies, abuses and shortcomings are held up to ridicule, ideally with the intent of shaming individuals, corporations, government, or society itself into improvement.[1] Although satire is usually meant to be humorous, its greater purpose is often constructive social criticism, using wit to draw attention to both particular and wider issues in society.
A feature of satire is strong irony or sarcasm —"in satire, irony is militant", according to literary critic Northrup Frye—[2] but parody, burlesque, exaggeration,[3] juxtaposition, comparison, analogy, and double entendre are all frequently used in satirical speech and writing. This "militant" irony or sarcasm often professes to approve of (or at least accept as natural) the very things the satirist wishes to question.
Satire is nowadays found in many artistic forms of expression, including internet memes, literature, plays, commentary, television shows, and media such as lyrics.
Etymology and roots
The word satire comes from the Latin word satur and the subsequent phrase lanx satura. Satur meant "full" but the juxtaposition with lanx shifted the meaning to "miscellany or medley": the expression lanx satura literally means "a full dish of various kinds of fruits".[4]
The word satura as used by Quintilian, however, was used to denote only Roman verse satire, a strict genre that imposed hexameter form, a narrower genre than what would be later intended as satire.[4][5] Quintilian famously said that satura, that is a satire in hexameter verses, was a literary genre of wholly Roman origin (satura tota nostra est). He was aware of and commented on Greek satire, but at the time did not label it as such, although today the origin of satire is considered to be Aristophanes' Old Comedy. The first critic to use the term "satire" in the modern broader sense was Apuleius.[4]
To Quintilian, the satire was a strict literary form, but the term soon escaped from the original narrow definition. Robert Elliott writes:
As soon as a noun enters the domain of metaphor, as one modern scholar has pointed out, it clamours for extension; and satura (which had had no verbal, adverbial, or adjectival forms) was immediately broadened by appropriation from the Greek word for “satyr” (satyros) and its derivatives. The odd result is that the English “satire” comes from the Latin satura; but "satirize", "satiric", etc., are of Greek origin. By about the 4th century AD the writer of satires came to be known as satyricus; St. Jerome, for example, was called by one of his enemies 'a satirist in prose' ('satyricus scriptor in prosa'). Subsequent orthographic modifications obscured the Latin origin of the word satire: satura becomes satyra, and in England, by the 16th century, it was written 'satyre.'[1]
The word satire derives from satura, and its origin was not influenced by the Greek mythological figure of the satyr.[6] In the 17th century, philologist Isaac Casaubon was the first to dispute the etymology of satire from satyr, contrary to the belief up to that time.[7]
Humour
“ The rules of satire are such that it must do more than make you laugh. No matter how amusing it is, it doesn't count unless you find yourself wincing a little even as you chuckle.[8] ”
Laughter is not an essential component of satire;[9] in fact there are types of satire that are not meant to be "funny" at all. Conversely, not all humour, even on such topics as politics, religion or art is necessarily "satirical", even when it uses the satirical tools of irony, parody, and burlesque.
Even light-hearted satire has a serious "after-taste": the organizers of the Ig Nobel Prize describe this as "first make people laugh, and then make them think".[10]
Social and psychological functions
Satire and irony in some cases have been regarded as the most effective source to understand a society, the oldest form of social study.[11] They provide the keenest insights into a group's collective psyche, reveal its deepest values and tastes, and the society's structures of power.[12][13] Some authors have regarded satire as superior to non-comic and non-artistic disciplines like history or anthropology.[11][14][15][16] In a prominent example from ancient Greece, philosopher Plato, when asked by a friend for a book to understand Athenian society, referred him to the plays of Aristophanes.[17][18]
Historically, satire has satisfied the popular need to debunk and ridicule the leading figures in politics, economy, religion and other prominent realms of power.[19] Satire confronts public discourse and the collective imaginary, playing as a public opinion counterweight to power (be it political, economic, religious, symbolic, or otherwise), by challenging leaders and authorities. For instance, it forces administrations to clarify, amend or establish their policies. Satire's job is to expose problems and contradictions, and it's not obligated to solve them.[20] Karl Kraus set in the history of satire a prominent example of a satirist role as confronting public discourse.[21]
For its nature and social role, satire has enjoyed in many societies a special freedom license to mock prominent individuals and institutions.[22] The satiric impulse, and its ritualized expressions, carry out the function of resolving social tension.[23] Institutions like the ritual clowns, by giving expression to the antisocial tendencies, represent a safety valve which re-establishes equilibrium and health in the collective imaginary, which are jeopardized by the repressive aspects of society.[24][25]
The state of political satire in a given society reflects the tolerance or intolerance that characterizes it,[19] and the state of civil liberties and human rights. Under totalitarian regimes any criticism of a political system, and especially satire, is suppressed. A typical example is the Soviet Union where the dissidents, such as Aleksandr Solzhenitsyn and Andrei Sakharov were under strong pressure from the government. While satire of everyday life in the USSR was allowed, the most prominent satirist being Arkady Raikin, political satire existed in the form of anecdotes[26] that made fun of Soviet political leaders, especially Brezhnev, famous for his narrow-mindedness and love for awards and decorations.
Classifications
Satire is a diverse genre which is complex to classify and define, with a wide range of satiric "modes".[27][28]
Horatian, Juvenalian, Menippean
"Le satire e l'epistole di Q. Orazio Flacco", printed in 1814.
Satirical literature can commonly be categorized as either Horatian, Juvenalian, or Menippean.[29]
Horatian
Horatian satire, named for the Roman satirist Horace (65–8 BCE), playfully criticizes some social vice through gentle, mild, and light-hearted humour. Horace (Quintus Horatius Flaccus) wrote Satires to gently ridicule the dominant opinions and "philosophical beliefs of ancient Rome and Greece" (Rankin).[30] Rather than writing in harsh or accusing tones, he addressed issues with humor and clever mockery. Horatian satire follows this same pattern of "gently [ridiculing] the absurdities and follies of human beings" (Drury).[31]
It directs wit, exaggeration, and self-deprecating humour toward what it identifies as folly, rather than evil. Horatian satire's sympathetic tone is common in modern society.[32]
A Horatian satirist's goal is to heal the situation with smiles, rather than by anger. Horatian satire is a gentle reminder to take life less seriously and evokes a wry smile.[31] A Horatian satirist makes fun of general human folly rather than engaging in specific or personal attacks. Shamekia Thomas suggests, "In a work using Horatian satire, readers often laugh at the characters in the story who are the subject of mockery as well as themselves and society for behaving in those ways." Alexander Pope has been established as an author whose satire "heals with morals what it hurts with wit" (Green).[33] Alexander Pope—and Horatian satire—attempt to teach.
Examples of Horatian satire:
The Ig Nobel Prizes.
Bierce, Ambrose, The Devil's Dictionary.
Defoe, Daniel, The True-Born Englishman.
The Savoy Operas of Gilbert and Sullivan.
Trollope, Anthony, The Way We Live Now.
Gogol, Nikolai, Dead Souls.
Groening, Matthew "Matt", The Simpsons.
Lewis, Clive Staples, The Screwtape Letters.
Mercer, Richard ‘Rick’, The Rick Mercer Report.
More, Thomas, Utopia
Pope, Alexander, The Rape of the Lock.
Reiner, Rob, This Is Spinal Tap.
Twain, Mark, Adventures of Huckleberry Finn.
Ralston Saul, John, The Doubter's Companion: A Dictionary of Aggressive Common Sense.
Juvenalian
See also: Satires of Juvenal
Juvenalian satire, named for the writings of the Roman satirist Juvenal (late first century – early second century AD), is more contemptuous and abrasive than the Horatian. Juvenal disagreed with the opinions of the public figures and institutions of the Republic and actively attacked them through his literature. "He utilized the satirical tools of exaggeration and parody to make his targets appear monstrous and incompetent" (Podzemny).[34] Juvenal's satire follows this same pattern of abrasively ridiculing societal structures. Juvenal also, unlike Horace, attacked public officials and governmental organizations through his satires, regarding their opinions as not just wrong, but evil.
Following in this tradition, Juvenalian satire addresses perceived social evil through scorn, outrage, and savage ridicule. This form is often pessimistic, characterized by the use of irony, sarcasm, moral indignation and personal invective, with less emphasis on humor. Strongly polarized political satire can often be classified as Juvenalian.
A Juvenal satirist's goal is generally to provoke some sort of political or societal change because he sees his opponent or object as evil or harmful.[35] A Juvenal satirist mocks "societal structure, power, and civilization" (Thomas)[36] by exaggerating the words or position of his opponent in order to jeopardize their opponent's reputation and/or power. Jonathan Swift has been established as an author who "borrowed heavily from Juvenal's techniques in [his critique] of contemporary English society" (Podzemny).[34]
Examples of Juvenalian satire:
Barnes, Julian, England, England.
Beatty, Paul, The Sellout.
Bradbury, Ray, Fahrenheit 451.
Brooker, Charlie, Black Mirror.
Bulgakov, Mikhail, Heart of a Dog.
Burgess, Anthony, A Clockwork Orange.
Burroughs, William, Naked Lunch.
Byron, George Gordon, Lord, Don Juan.
Barth, John, The Sot-Weed Factor; or, A Voyage to Maryland,—a satire, in which is described the laws, government, courts, and constitutions of the country, and also the buildings, feasts, frolics, entertainments, and drunken humors of the inhabitants in that part of America.
Ellis, Bret Easton, American Psycho.
Golding, William, Lord of the Flies.
Hall, Joseph, Virgidemiarum.
Heller, Joseph, Catch-22.
Huxley, Aldous, Brave New World.
Johnson, Samuel, London, an adaptation of Juvenal, Third Satire.
Junius, Letters.
Kubrick, Stanley, Dr. Strangelove.
Mencken, HL, Libido for the Ugly.
Morris, Chris, Brass Eye.
———, The Day Today.
Orwell, George, Nineteen Eighty-Four.
Orwell, George, Animal Farm.
Palahniuk, Chuck, Fight Club.
Swift, Jonathan, A Modest Proposal.
Voltaire, Candide.
Zamyatin, Yevgeny, We.
Menippean
See Menippean satire.
Satire versus teasing
In the history of theatre there has always been a conflict between engagement and disengagement on politics and relevant issue, between satire and grotesque on one side, and jest with teasing on the other.[37] Max Eastman defined the spectrum of satire in terms of "degrees of biting", as ranging from satire proper at the hot-end, and "kidding" at the violet-end; Eastman adopted the term kidding to denote what is just satirical in form, but is not really firing at the target.[38] Nobel laureate satirical playwright Dario Fo pointed out the difference between satire and teasing (sfottò).[39] Teasing is the reactionary side of the comic; it limits itself to a shallow parody of physical appearance. The side-effect of teasing is that it humanizes and draws sympathy for the powerful individual towards which it is directed. Satire instead uses the comic to go against power and its oppressions, has a subversive character, and a moral dimension which draws judgement against its targets.[40][41][42][43] Fo formulated an operational criterion to tell real satire from sfottò, saying that real satire arouses an outraged and violent reaction, and that the more they try to stop you, the better is the job you are doing.[44] Fo contends that, historically, people in positions of power have welcomed and encouraged good-humoured buffoonery, while modern day people in positions of power have tried to censor, ostracize and repress satire.[37][40]
Teasing (sfottò) is an ancient form of simple buffoonery, a form of comedy without satire's subversive edge. Teasing includes light and affectionate parody, good-humoured mockery, simple one-dimensional poking fun, and benign spoofs. Teasing typically consists of an impersonation of someone monkeying around with his exterior attributes, tics, physical blemishes, voice and mannerisms, quirks, way of dressing and walking, and/or the phrases he typically repeats. By contrast, teasing never touches on the core issue, never makes a serious criticism judging the target with irony; it never harms the target's conduct, ideology and position of power; it never undermines the perception of his morality and cultural dimension.[40][42] Sfottò directed towards a powerful individual makes him appear more human and draws sympathy towards him.[45] Hermann Göring propagated jests and jokes against himself, with the aim of humanizing his image.[46][47]
Classifications by topics
Types of satire can also be classified according to the topics it deals with. From the earliest times, at least since the plays of Aristophanes, the primary topics of literary satire have been politics, religion and sex.[48][49][50][51] This is partly because these are the most pressing problems that affect anybody living in a society, and partly because these topics are usually taboo.[48][52] Among these, politics in the broader sense is considered the pre-eminent topic of satire.[52] Satire which targets the clergy is a type of political satire, while religious satire is that which targets religious beliefs.[53] Satire on sex may overlap with blue comedy, off-color humor and dick jokes.
Scatology has a long literary association with satire,[48][54][55] as it is a classical mode of the grotesque, the grotesque body and the satiric grotesque.[48][56] Shit plays a fundamental role in satire because it symbolizes death, the turd being "the ultimate dead object".[54][55] The satirical comparison of individuals or institutions with human excrement, exposes their "inherent inertness, corruption and dead-likeness".[54][57][58] The ritual clowns of clown societies, like among the Pueblo Indians, have ceremonies with filth-eating.[59][60] In other cultures, sin-eating is an apotropaic rite in which the sin-eater (also called filth-eater),[61][62] by ingesting the food provided, takes "upon himself the sins of the departed".[63] Satire about death overlaps with black humor and gallows humor.
Another classification by topics is the distinction between political satire, religious satire and satire of manners.[64] Political satire is sometimes called topical satire, satire of manners is sometimes called satire of everyday life, and religious satire is sometimes called philosophical satire. Comedy of manners, sometimes also called satire of manners, criticizes mode of life of common people; political satire aims at behavior, manners of politicians, and vices of political systems. Historically, comedy of manners, which first appeared in British theater in 1620, has uncritically accepted the social code of the upper classes.[65] Comedy in general accepts the rules of the social game, while satire subverts them.[66]
Another analysis of satire is the spectrum of his possible tones: wit, ridicule, irony, sarcasm, cynicism, the sardonic and invective.[67][68]
The type of humour that deals with creating laughter at the expense of the person telling the joke is called reflexive humour[69].Reflexive humour can take place at dual levels of directing humour at self or at the larger community the self identifies with. The audience's understanding of the context of reflexive humour is important for its receptivity and success [69]. Satire is found not only in written literary forms. In preliterate cultures it manifests itself in ritual and folk forms, as well as in trickster tales and oral poetry.[23]
It appears also in graphic arts, music, sculpture, dance, cartoon strips, and graffiti. Examples are Dada sculptures, Pop Art works, music of Gilbert and Sullivan and Erik Satie, punk and rock music.[23] In modern media culture, stand-up comedy is an enclave in which satire can be introduced into mass media, challenging mainstream discourse.[23] Comedy roasts, mock festivals, and stand-up comedians in nightclubs and concerts are the modern forms of ancient satiric rituals.[23]
Development
Ancient Egypt
The satirical papyrus at the British Museum
Satirical ostracon showing a cat guarding geese, c.1120 BC, Egypt.
Figured ostracon showing a cat waiting on a mouse, Egypt
One of the earliest examples of what we might call satire, The Satire of the Trades,[70] is in Egyptian writing from the beginning of the 2nd millennium BC. The text's apparent readers are students, tired of studying. It argues that their lot as scribes is not only useful, but far superior to that of the ordinary man. Scholars such as Helck[71] think that the context was meant to be serious.
The Papyrus Anastasi I[72] (late 2nd millennium BC) contains a satirical letter which first praises the virtues of its recipient, but then mocks the reader's meagre knowledge and achievements.
Ancient Greece
The Greeks had no word for what later would be called "satire", although the terms cynicism and parody were used. Modern critics call the Greek playwright Aristophanes one of the best known early satirists: his plays are known for their critical political and societal commentary,[73] particularly for the political satire by which he criticized the powerful Cleon (as in The Knights). He is also notable for the persecution he underwent.[73][74][75][76] Aristophanes' plays turned upon images of filth and disease.[77] His bawdy style was adopted by Greek dramatist-comedian Menander. His early play Drunkenness contains an attack on the politician Callimedon.
The oldest form of satire still in use is the Menippean satire by Menippus of Gadara. His own writings are lost. Examples from his admirers and imitators mix seriousness and mockery in dialogues and present parodies before a background of diatribe. As in the case of Aristophanes plays, menippean satire turned upon images of filth and disease.[77]
Roman world
The first Roman to discuss satire critically was Quintilian, who invented the term to describe the writings of Gaius Lucilius. The two most prominent and influential ancient Roman satirists are Horace and Juvenal, who wrote during the early days of the Roman Empire. Other important satirists in ancient Latin are Gaius Lucilius and Persius. Satire in their work is much wider than in the modern sense of the word, including fantastic and highly coloured humorous writing with little or no real mocking intent. When Horace criticized Augustus, he used veiled ironic terms. In contrast, Pliny reports that the 6th-century-BC poet Hipponax wrote satirae that were so cruel that the offended hanged themselves.[78]
In the 2nd century AD, Lucian wrote True History, a book satirizing the clearly unrealistic travelogues/adventures written by Ctesias, Iambulus, and Homer. He states that he was surprised they expected people to believe their lies, and stating that he, like them, has no actual knowledge or experience, but shall now tell lies as if he did. He goes on to describe a far more obviously extreme and unrealistic tale, involving interplanetary exploration, war among alien life forms, and life inside a 200 mile long whale back in the terrestrial ocean, all intended to make obvious the fallacies of books like Indica and The Odyssey.
Medieval Islamic world
Main articles: Arabic satire and Persian satire
Medieval Arabic poetry included the satiric genre hija. Satire was introduced into Arabic prose literature by the author Al-Jahiz in the 9th century. While dealing with serious topics in what are now known as anthropology, sociology and psychology, he introduced a satirical approach, "based on the premise that, however serious the subject under review, it could be made more interesting and thus achieve greater effect, if only one leavened the lump of solemnity by the insertion of a few amusing anecdotes or by the throwing out of some witty or paradoxical observations. He was well aware that, in treating of new themes in his prose works, he would have to employ a vocabulary of a nature more familiar in hija, satirical poetry."[79] For example, in one of his zoological works, he satirized the preference for longer human penis size, writing: "If the length of the penis were a sign of honor, then the mule would belong to the (honorable tribe of) Quraysh". Another satirical story based on this preference was an Arabian Nights tale called "Ali with the Large Member".[80]
In the 10th century, the writer Tha'alibi recorded satirical poetry written by the Arabic poets As-Salami and Abu Dulaf, with As-Salami praising Abu Dulaf's wide breadth of knowledge and then mocking his ability in all these subjects, and with Abu Dulaf responding back and satirizing As-Salami in return.[81] An example of Arabic political satire included another 10th-century poet Jarir satirizing Farazdaq as "a transgressor of the Sharia" and later Arabic poets in turn using the term "Farazdaq-like" as a form of political satire.[82]
The terms "comedy" and "satire" became synonymous after Aristotle's Poetics was translated into Arabic in the medieval Islamic world, where it was elaborated upon by Islamic philosophers and writers, such as Abu Bischr, his pupil Al-Farabi, Avicenna, and Averroes. Due to cultural differences, they disassociated comedy from Greek dramatic representation and instead identified it with Arabic poetic themes and forms, such as hija (satirical poetry). They viewed comedy as simply the "art of reprehension", and made no reference to light and cheerful events, or troubled beginnings and happy endings, associated with classical Greek comedy. After the Latin translations of the 12th century, the term "comedy" thus gained a new semantic meaning in Medieval literature.[83]
Ubayd Zakani introduced satire in Persian literature during the 14th century. His work is noted for its satire and obscene verses, often political or bawdy, and often cited in debates involving homosexual practices. He wrote the Resaleh-ye Delgosha, as well as Akhlaq al-Ashraf ("Ethics of the Aristocracy") and the famous humorous fable Masnavi Mush-O-Gorbeh (Mouse and Cat), which was a political satire. His non-satirical serious classical verses have also been regarded as very well written, in league with the other great works of Persian literature. Between 1905 and 1911, Bibi Khatoon Astarabadi and other Iranian writers wrote notable satires.
Medieval Europe
In the Early Middle Ages, examples of satire were the songs by Goliards or vagants now best known as an anthology called Carmina Burana and made famous as texts of a composition by the 20th-century composer Carl Orff. Satirical poetry is believed to have been popular, although little has survived. With the advent of the High Middle Ages and the birth of modern vernacular literature in the 12th century, it began to be used again, most notably by Chaucer. The disrespectful manner was considered "unchristian" and ignored, except for the moral satire, which mocked misbehaviour in Christian terms. Examples are Livre des Manières by Étienne de Fougères [fr] (~1178), and some of Chaucer's Canterbury Tales. Sometimes epic poetry (epos) was mocked, and even feudal society, but there was hardly a general interest in the genre.
Early modern western satire
Pieter Bruegel's 1568 satirical painting The Blind Leading the Blind.
Direct social commentary via satire returned with a vengeance in the 16th century, when farcical texts such as the works of François Rabelais tackled more serious issues (and incurred the wrath of the crown as a result).
Two major satirists of Europe in the Renaissance were Giovanni Boccaccio and François Rabelais. Other examples of Renaissance satire include Till Eulenspiegel, Reynard the Fox, Sebastian Brant's Narrenschiff (1494), Erasmus's Moriae Encomium (1509), Thomas More's Utopia (1516), and Carajicomedia (1519).
The Elizabethan (i.e. 16th-century English) writers thought of satire as related to the notoriously rude, coarse and sharp satyr play. Elizabethan "satire" (typically in pamphlet form) therefore contains more straightforward abuse than subtle irony. The French Huguenot Isaac Casaubon pointed out in 1605 that satire in the Roman fashion was something altogether more civilised. Casaubon discovered and published Quintilian's writing and presented the original meaning of the term (satira, not satyr), and the sense of wittiness (reflecting the "dishfull of fruits") became more important again. Seventeenth-century English satire once again aimed at the "amendment of vices" (Dryden).
In the 1590s a new wave of verse satire broke with the publication of Hall's Virgidemiarum, six books of verse satires targeting everything from literary fads to corrupt noblemen. Although Donne had already circulated satires in manuscript, Hall's was the first real attempt in English at verse satire on the Juvenalian model.[84][page needed] The success of his work combined with a national mood of disillusion in the last years of Elizabeth's reign triggered an avalanche of satire—much of it less conscious of classical models than Hall's — until the fashion was brought to an
2023.03.25 02:12 Regular_You_2971 OC CCW- juvenile record
I got my CCW a few months ago here in Orange County. My cousin who is still the process called me asking for Advice for his interview that day. I told him they just go over the questions you already answered in the application and ask if anything will flag when they finger print you. However he calls me a hour later stating that the interviewer had his whole record from over 13 years ago when he was a juvenile ( graffiti, drunk in public if I remember correctly) the interviewer made him write a letter on why he didn't put this in the application, he told him that he didn't think it would be a factor as he was 14 and 17 at the time and his record was sealed and he hasn't been in trouble since turning 18. Now he's asking me if he should withdraw his application as he doesn't want to waste money and effort if something from when he was a juvenile is going to disqualify him.
Any thoughts or advice?
submitted by Regular_You_2971 to CAguns [link] [comments]
Any thoughts or advice?
2023.03.25 00:25 travel4me22 [Thank You] More Scavenger Birthday Cards and Happy Mail too!
Thank you ever so much to all these amazing people for brightening my day and fulfilling more of my Scavenger items:
Here is pic of more Scavenger Birthday Cards I have received
u/56Thorns x 3 oh my gosh, thank you so much friend for not one hummingbird card but two; and one postcard. They are all amazing!! Thank you too for all the tea, extras and the birthday wishes. Wait - how did you know when I look in the mirror I see grey hair?? lol
u/ez330 how precious! thank you daughter very much for such an amazing, artistic card! I love it. I love the drawings, especially the rainbow! Tell her she did a fantastic job and it will be proudly displayed up on my new bulletin board!
u/TheFeistyFox thank you for sending me the traveling card, I have signed it and it will be going back to its original sender tomorrow. Thank you for the stickers :)
u/kittycatcon thank you for the - you have moved - postcard. It is adorable and the best I have moved card I have ever seen. I hope you love your new place!
u/libertyprogrammer thank you for the watering can filled with flowers card. I really just Love it! I love how artistic you are - this one too will be going up on my bulletin board so I can enjoy it often. It was great to finally meet you. I hope you enjoyed the Mexican food! It's our favorite in the area. Funnily enough we moved from Texas to here and thought that restaurant had better Mexican food than in TX - go figure.
u/LunarKnight22 Wow - just Wow - I am awed by your talent! Thank you so much for this amazing Watercolor of a town, it reminds me of places we have visited in Europe. Well done you!!
u/melhen16 thank you for the recycled artwork card. It is beautiful! What a great idea!! thanks for thinking of me, I am honored.
u/Monetmonkey thank you so much for the RandomActsofCards 10th Birthday postcard. I am still overwhelmed by all the amazing people I have met over the last few years from this wonderful sub, and of course that includes you!
u/ninajyang I am so thankful to have met you through RAoC, thank you ever so much for the 10th Anniv celebration card of RAoC. It truly is the best sub on Reddit!!
u/PinkandTeal1990 thank you so much for the beautiful birthday card and the most adorable iguana paperclip! I am so honored to be the recipient of the first card you have sent out within the RAoC community. You are going to love it here.
u/PinkPengin x 3 thank you so much for my BUBBLES card. I hope it made you smile as you made it! I have some lovely letters I can still send you if you ran out :) Secondly, thank you for the thank you card - It would be such good fun to hang out and make cards together, keep in mind I am right next door to PA so if you ever get back this way - one never knows - road trip to meet up perhaps?? And the last card - a truly awesome travel multi-media painting postcard. It is perfect for me! This is something that is beyond me to create!! I have to say the stamp on the back of the penguin mailbox is the MOST AMAZING, WONDERFUL, SO YOU thing I have ever seen!!
u/RideThatBridge thank you for the very pretty flower postcard. National Plant a Flower Day - what a great day to celebrate. It has my favorite colors and one of my fav flowers! I wish you luck with the Calla Lillies, I have never planted them before. Do deer like them? lol that is what I base everything I plant in my yard, I have so so so many deer.
u/Slavkan12 thank you for the thank you postcard. I am glad you enjoyed the sticker bomb card I sent you! So how did the rollerblading and your birthday trip go? Still have all your teeth??
u/tigerlady13 x 3 let's get the small thank you out of the way, thank you for the surprise postcard, I had to look closely because it looked very like the church that is less than a mile from me. Thank you for the great quotes as always. I am literally speechless. I just opened your package today and was overwhelmed with all it contained. I love my certificate of achievement; it went right up on my bulletin board! I even showed it to my husband and he smiled. Thank you for the kind letter sharing your story. I glimpsed a few things by some of the comments you made but had no idea what you went/and are going through. You are one strong individual! Thank you for the cards, postcards, letter and the certificate. I am humbled by your words. I also thank you for the envelope that I am to open when I am having a bad day. I am thankful to say I don't have too many of those, but the next one I have I will be opening it up to be sure. Thank you, I am blessed to have met you through this awesome sub! (on a side note have to tell you that in the mailbox along with this package was a card I sent you with your correct address on it returned as undeliverable. I literally laughed as I checked the address and put it right back in the mailbox. Let's see if the second time it reaches you).
u/unseenbowl thank you very much for the Birthday Scavenger Hunt card that you sent to me with a water scene on it. I did have a truly wonderful birthday, made all the better because of all the cards I received from so many amazing people in RAoC.
u/welshfancy You outdid yourself with this Scavenger Birthday Card Hunt for a card with a moving part! Thank you so very much my friend!. I love that you choose to have the moving part be a bird! Love your handmade by stamp on the back too. Thank you for the Alice in Wonderland postcard too :)
u/zenshark x 4 I am doubly thank you for the St Patrick's Day postcards, well because you sent me two of them lol. Have to say I liked the dog sticker best! One was sent in Feb, the other in March. Thank you for the RAoC 10 Anniv postcard, so fun to celebrate such an amazing community of the best people on Reddit! Thank you for the ocean random/thank you card. Rest assured I am no where near the train spill. Glad my card helped in some small way. It is always hard to lose a beloved pet.
submitted by travel4me22 to RandomActsofCards [link] [comments]
Here is pic of more Scavenger Birthday Cards I have received
u/56Thorns x 3 oh my gosh, thank you so much friend for not one hummingbird card but two; and one postcard. They are all amazing!! Thank you too for all the tea, extras and the birthday wishes. Wait - how did you know when I look in the mirror I see grey hair?? lol
u/ez330 how precious! thank you daughter very much for such an amazing, artistic card! I love it. I love the drawings, especially the rainbow! Tell her she did a fantastic job and it will be proudly displayed up on my new bulletin board!
u/TheFeistyFox thank you for sending me the traveling card, I have signed it and it will be going back to its original sender tomorrow. Thank you for the stickers :)
u/kittycatcon thank you for the - you have moved - postcard. It is adorable and the best I have moved card I have ever seen. I hope you love your new place!
u/libertyprogrammer thank you for the watering can filled with flowers card. I really just Love it! I love how artistic you are - this one too will be going up on my bulletin board so I can enjoy it often. It was great to finally meet you. I hope you enjoyed the Mexican food! It's our favorite in the area. Funnily enough we moved from Texas to here and thought that restaurant had better Mexican food than in TX - go figure.
u/LunarKnight22 Wow - just Wow - I am awed by your talent! Thank you so much for this amazing Watercolor of a town, it reminds me of places we have visited in Europe. Well done you!!
u/melhen16 thank you for the recycled artwork card. It is beautiful! What a great idea!! thanks for thinking of me, I am honored.
u/Monetmonkey thank you so much for the RandomActsofCards 10th Birthday postcard. I am still overwhelmed by all the amazing people I have met over the last few years from this wonderful sub, and of course that includes you!
u/ninajyang I am so thankful to have met you through RAoC, thank you ever so much for the 10th Anniv celebration card of RAoC. It truly is the best sub on Reddit!!
u/PinkandTeal1990 thank you so much for the beautiful birthday card and the most adorable iguana paperclip! I am so honored to be the recipient of the first card you have sent out within the RAoC community. You are going to love it here.
u/PinkPengin x 3 thank you so much for my BUBBLES card. I hope it made you smile as you made it! I have some lovely letters I can still send you if you ran out :) Secondly, thank you for the thank you card - It would be such good fun to hang out and make cards together, keep in mind I am right next door to PA so if you ever get back this way - one never knows - road trip to meet up perhaps?? And the last card - a truly awesome travel multi-media painting postcard. It is perfect for me! This is something that is beyond me to create!! I have to say the stamp on the back of the penguin mailbox is the MOST AMAZING, WONDERFUL, SO YOU thing I have ever seen!!
u/RideThatBridge thank you for the very pretty flower postcard. National Plant a Flower Day - what a great day to celebrate. It has my favorite colors and one of my fav flowers! I wish you luck with the Calla Lillies, I have never planted them before. Do deer like them? lol that is what I base everything I plant in my yard, I have so so so many deer.
u/Slavkan12 thank you for the thank you postcard. I am glad you enjoyed the sticker bomb card I sent you! So how did the rollerblading and your birthday trip go? Still have all your teeth??
u/tigerlady13 x 3 let's get the small thank you out of the way, thank you for the surprise postcard, I had to look closely because it looked very like the church that is less than a mile from me. Thank you for the great quotes as always. I am literally speechless. I just opened your package today and was overwhelmed with all it contained. I love my certificate of achievement; it went right up on my bulletin board! I even showed it to my husband and he smiled. Thank you for the kind letter sharing your story. I glimpsed a few things by some of the comments you made but had no idea what you went/and are going through. You are one strong individual! Thank you for the cards, postcards, letter and the certificate. I am humbled by your words. I also thank you for the envelope that I am to open when I am having a bad day. I am thankful to say I don't have too many of those, but the next one I have I will be opening it up to be sure. Thank you, I am blessed to have met you through this awesome sub! (on a side note have to tell you that in the mailbox along with this package was a card I sent you with your correct address on it returned as undeliverable. I literally laughed as I checked the address and put it right back in the mailbox. Let's see if the second time it reaches you).
u/unseenbowl thank you very much for the Birthday Scavenger Hunt card that you sent to me with a water scene on it. I did have a truly wonderful birthday, made all the better because of all the cards I received from so many amazing people in RAoC.
u/welshfancy You outdid yourself with this Scavenger Birthday Card Hunt for a card with a moving part! Thank you so very much my friend!. I love that you choose to have the moving part be a bird! Love your handmade by stamp on the back too. Thank you for the Alice in Wonderland postcard too :)
u/zenshark x 4 I am doubly thank you for the St Patrick's Day postcards, well because you sent me two of them lol. Have to say I liked the dog sticker best! One was sent in Feb, the other in March. Thank you for the RAoC 10 Anniv postcard, so fun to celebrate such an amazing community of the best people on Reddit! Thank you for the ocean random/thank you card. Rest assured I am no where near the train spill. Glad my card helped in some small way. It is always hard to lose a beloved pet.