The division between tragic, comic, and
satyric settings--public buildings belonging to the first, private dwellings to the second, and caves, rocks, and trees to the third category--was inherited from Roman theater and documented in the writings of Vitruvius.
Pope's poetry (according to Warton) belongs to the 'didactic, moral, and
satyric kind', which expresses 'good sense and judgment' rather than 'fancy and invention'.
His section on fantastic manifestations provides readers with more of the same, as he describes for us
satyric Devils (146-149), fiery-eyed Devils (151), and Devils with the teeth of a rake or iron teeth, who spit standard fire, blue fire, or tar (152).
In a radio broadcast on its Portuguese language service, the Voice of America reported that Falcone also tried to invite George W Bush to visit his ranch, which is described with some reason as 'a 1001 nights palace' by the French
satyric weekly Le Canard Enchain.
The same is true of Rika Okamoto, one of the company's most magnetic dancers; in
Satyric Festival Song, she was electrifying, partly because it was obvious that she was having a ball.
One is that it occupies a middle region between extremes, expressed in a variety of ways: Socrates is daimonic or
satyric (since, like satyr plays, the dialogues are neither tragic nor comic) between merely changing beasts and perfectly unchanging natures, between naturalism and conventionalism, between Parmenidean singularity and Heraclitean flux.
her works she thus forsakes the
satyric for the satiric and in place of idle
Ancient drama festival in which tragedy, comedy, and
satyric drama originated.
These and other writers sought to veil with multiple ironies (or to infinitize ad ironiam) Bedeutung's undignified retreat from Sinn all across the spectrum of twentieth-century culture, believing that, under a barrage of superhip gags and snickers, readers would be at a loss to say whether what they were being treated to was an extravaganza piped into a lounge pretending to be The Big Room or a small
satyric revue in a big room pretending to be The Lounge.
While all make decidedly different socio-political statements--from Black nationalism to
satyric hedonism--each proffers a style of rap that is definitely raw.
By contrast, Sheffield (2006, 194) interprets the theme of seduction within the context of Socrates' hubris, but for the purpose of arguing that "The seriocomic manner in which Alcibiades explores the virtues of the philosopher is characteristic of the way in which
satyric dramas explored serious themes in a different, humorous, spirit." Closer to the interpretation explored here, Lear (1999, 160) has developed the drama of seduction in order to argue that, for Alcibiades, "Suffering a jealous rivalry with Socrates is preferable to learning anything from him."
Jensson continues by arguing for "satiric or
satyric content" (209) as central to the Satyrica.
