The Syntax of Irony in Juvenalian Satire

The Syntax of Irony in Juvenalian Satire

Exploring rhetoric in literary devices


I’ve seen Vinny perform on numerous occasions, and his material is filled with irony; from dramatic, situational, tragic, verbal to satire…(Excluding Socratic irony). He’s intriguing to watch, because he’s mastered the syntax of irony; his contextual application of irony is off-the-charts…The contrasts are unpredictable and ambiguous, and his character engages the idea with conviction. Vinny is a peculiar comedian, because he embraces humor ironically; metaphorically equivalent to camera negatives—it’s the transparent inversions, but it’s where the original copies derive..Vinny is sculpturing and honing humor obscurity, so conspicuous, yet oblivious to many….

Authenticity is a rarity in humor, and he’s indeed a paragon or archetype of some sort. The most prevalent literary device in humor is irony, and this man has tapped into a profound niche! Conversely, I sincerely dig the ostracism—I’ve been a victim of his condescension and sarcasm also, and our perpetual patio rivalry has been parted by Dave, (Flappers Owner), countless times. Objectively, this man is an arrogant, lackadaisical, canny performer! He’s like the Magneto of X-Men, and his action is a result of childhood trauma. Magnificent!

What’s intriguing is Vinny’s use of situational and verbal irony; primarily within the context of his physical orchestration and verbal contrast, which seems borderline sarcasm at times, especially when it’s conducive to a subjective target; primarily the audience or preceding performers. Very seldom he explores figurative devices, he leans towards rhetoric, with persuasive impressive effect. All his performance seems synonymous, but when observed closely there’s a myriad of variables centered around his pieces. The added extensions are subsets of a whole theatrical piece; his work is fascinating to say the least. Simply fascinating, indeed!

Vinny’s theatrical experience allows him to infuse rhetoric in his satirical pieces effortlessly; by infusing a disparaging form of sarcasm and polite self-deprecating form of irony, “to which the latter sounds oxymoronic,” but it’s not, especially if the despondent irony is evoked with humor effect. His multidimensional persona is in stark contrast to him offstage; however, his lack of visual orchestration parallels his low spirit and loss of hope theatrical performance.

Juvenalian satire is a peculiar literary device, because it’s pungent sarcasm and ironic criticisms can be deemed malevolent. Unlike milder satires such as horatian and menippean; excluding satirical subsets. In literary devices you have figurative and rhetoric, and most of the rhetorical devices pervade satirical usage. Contemporary individuals, institutions, corporations, or any factions of society can fall victim of such linguistic devices.

The underlying tenet is centered around the highlighting of social taboos, cultural folly, with a political undertone. The provocative nature of satire is always centered around its literal interpretation, and that’s the irony! Weening out satire is easy; double-standard tends to make it more conspicuous, and other subtle discrepancies.

Here’s an original classical piece called, “A Darker Shade Of Gray,” done in a weird tuning I created called, (E A C G C D Tuning Gsus4/add6/add9/3rd Bass). What’s interesting about this composition is how ironically the chords oscillate back and forth in complete dissonance. There’s no consonance, it only appears in harmony because of the contextual use of dissonance. I’m using sus chords, diminished, augmented, add7, 9ths, 12ths, etc; with tones or semitones shifted between chord intervals to create the dissonant effect. Enjoy!

Share your views and opinion, please leave a comment below Article Written By: Atelston Fitzgerald Holder 1st
Stage Name: Mr Pregnant

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Copyright 2014

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