Page:Satire in the Victorian novel (IA satireinvictoria00russrich).pdf/27

 that in this particular field at least, the substitution of the descriptive satiric for the categoric satire shows that discretion which is the better part of valor. Still, since to avoid the responsibility of deciding whether or not a given production is a satire, by the non-committal device of calling it satiric, is only to beg the question so far as a definition is concerned, it is advisable to produce some identifying label. Stated in brief, satire is humorous criticism of human foibles and faults, or of life itself, directed especially against deception, and expressed with sufficient art to be accounted as literature.

When we say, however, that satire is a union of those two intangible, subjective elements, criticism and humor, we do not assume the equation fully to be expressed by the formula—Antagonism plus Amusement equals Satire. For neither is all criticism humorous nor all humor critical. The relation is that of two circles, not coincident but overlapping.

Confusion has arisen because, while the boundaries of the two separate circles are fairly distinct in our minds, the circumference made by their conjunction is merged in their respective planes. Accordingly, the term satire is sometimes used to denote humorless criticism,—which is really invective, denunciation, any sort of reprehension; and sometimes uncritical humor,—which is mere facetiousness and jocularity. Not every prophet, preacher, or pedagogue is a satirist, nor yet every merry clown, or exuberant youth, or mild worldly-wiseman enjoying the blunders of innocent naïveté.

Professor Dewey reminds us that the ideal state of mind is "a nice balance between the playful and the serious."