The Master Of Sarcasm

The Master of Sarcasm

Exploring The Art Of Figurative’s

Written By: Atelston Fitzgerald Holder 1st


I consider condescending sarcasm to be the lowest form of wit, because the humor is contingent on the disparagement of a victim, it is not self-reliant humor. On the contrary, taking into consideration the social settings ability to interpret and encapsulate the non-literal aspect of language is contingent on a high level of wit. A situational irony.

Irony on the contrary occurs naturally, Whether dramatic, situational or verbal, it is usually a contrast of what’s anticipated, specifically within the context of situational and verbal irony. Why mention irony? Because sarcasm uses irony as a preceding vehicle to infer the contrasting meaning.

Sarcasm and Irony are sometimes used interchangeably and out of context, but they’re mutually exclusive within the context of their meanings, the misconstruing factor is their contrastive interpretative commonality, but their distinctive characteristics are objective and subjective. An irony is a natural unanticipated occurring contrast that occurs objectively, or done purposely in an amusing way, synonymous to sarcasm.

Whereas sarcasm is an indirect insinuating contrast that’s done subjectively, or passively insulting or enjoyable, although beautiful sarcasm seems creatively extinct. How the polarization occurs is what separates the two, Although I find irony to be far more profound in it’s complexity.

In “The Field of Linguistics” there’s a branch called Phonology, which explores sounds, now there’s a few sub-fields,
Segmental phonology (which analyses discrete segments – phonemes)
Suprasegmental phonology (which analyses those features which extend over more than one segment – it means, rhythm, stress placement etc.)
What were specifically focusing on is “Prosody” which analyses rhythm, stress and intonation of speech.
Let’s go a little deeper, in “Prosody” there’s two main area I’d like to explore, “Versification” and “Intonation” Versification explores, rhythm, stress and meter etc.., while Intonation explores the highs and lows in pitch etc.

In essence, The contingency of the above mentioned, is the single biggest predicating factor in how sarcasm, irony and other devices are interpreted, and how sounds are intuitively manipulated to convey an underlying meaning. Ironically, it’s hardly ever the word itself, but the sound, pitch, rhythm, stress, highs, lows, keys, tonal gravity and phonetic enunciation that propels it’s disparaging connotation.

There’s a good objective form of sarcasm that permeates a rooms ambience and evokes laughter, and everyone embraces it wholeheartedly, and the true essence of sarcasm suffices. It’s eagerly enticing, relies on spontaneity and protrudes an astute intellectual wittiness that’s uncannily and subserviently appeasing. Conjuring up and subduing to the magnificence of sarcastic purity is the gist of figurative encapsulation.

The pervasive abuse of sarcasm has trivialized the rudiments of it’s aesthetic richness, and this has predicated it’s negative connotation, subjectively and objectively, and although there’s polarized viewpoints, my contention remains abhorrent.

Flappers Comedy Club

Comic: Dave Reinitz

Messing With Dave I
Atelston Fitzgerald Holder 1st:“Hi Dave, how are you?”
Dave Reinitz: “I’m fine Atelston, how are you?”
Atelston Fitzgerald Holder 1st: “Magnificent Sir, I wrote a lot of jokes today, I’m going to kill”
Dave Reinitz: “Well it’s about time!”

Let’s analyze the first dialog and where the sarcastic delivery is made; “well it’s about time” which insinuates the fact that i am “Not funny” disparagingly enough, the tonality pitch, stress and intonation had an overall satirical comical relief, therefore the dialog had an overall hilarious resolution. A kind of a situational oxymoron where the interpretative ambivalence makes you question whether you initiated the sarcastic setup in the first place, a kind of latent sarcasm that protrudes when the question arises. “Good Sarcasm.”

Messing With Dave II
Atelston Fitzgerald Holder 1st: “Hi Dave, how are you?”
Dave Reinitz: “I’m fine Atelston, how are you?”
Atelston Fitzgerald Holder 1st: “Magnificent”
Dave Reinitz: “Good!”
Atelston Fitzgerald Holder 1st: “Dave?”
Dave Reinitz: “Yes Atelston?”
Atelston Fitzgerald Holder 1st: “Whenever I see you I get nervous”
Dave Reinitz: “You should!”

A primary example of priceless sarcasm, hilarious, snappy, cleverly reciprocated and unorthodoxly unanticipated, the subtlety are the footprints of comedic intuitiveness, something few comics are genetically predisposed to.
The peculiarity of Dave Reinitz’s sarcastic brevity is a rarity, and rivaling him is a quandary that’ll embellish your chuckles ostensibly. The epitome of a comics attributes is such a replenishment, while this abstract concept is ubiquitously explored to monotony and repugnance by others.

Noone’s infallible to sarcasm, it’s an inevitable notion we all muster up to pejoratively and optimistically, while others embrace it vaguely and inexplicably. Using language beyond its literal attributions is quite a fascinating abstract phenomenon, and it is comics like Dave Reinitz that reminds us that although literal meanings can be altered and interpreted in a myriad of possibilities, only ingenuity can determine its objective fate of appreciation..!

“Hypothetically Speaking” The irony of this article would be, being sarcastic while writing an article about sarcasm is sarcastic, “Twice” and ironic indeed, it’s intriguing when figurative devices conceptually collide..! let’s just coin the term, “The Irony In Sarcasm” “Hypothetically Speaking,” Ofcourse…!

(This article has has no affiliations with Flappers establishment whatsoever, it was written during a course of observation. The parallel relationships between the nonliteral aspect of language, “Specifically Figurative’s,” and it’s pervasive use in the field of verbal humor)

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Article Written By: Atelston Fitzgerald Holder 1st

Stage Name: Mr Pregnant

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Copyright 2013

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