This edited collection, with contributions from literary scholars and art historians, maps how satire became a less genre-driven and increasingly visual medium in the early modern period. It features material on several European countries and demonstrates the range and diversity of satire in the period 1600 to 1830.

Introduction – Cecilia Rosengren, Per Sivefors and Rikard Wingård1 The politics of formal verse satire, 1598–1808: Juvenal, Boileau, Johnson and Cottreau – Howard D. Weinbrot2 Anglo-Latin satiric verse in the long seventeenth century – Victoria Moul3 Satire between the eaters and the meat: value and indifference before and in Donne’s Metempsychosis – Luke Wilson4 Transcending boundaries: Rachel Speght’s instructive use of satire in A Mouzell for Melastomus – Mike Nolan5 Milton among the satirists – David Currell6 Petronius’ Satyricon in the seventeenth century: satire, eloquence and anti-Jesuitism – Corinna Onelli7 Behind the mask: social satire in Bernini’s caricatures and comedies – Joris van Gastel8 ‘More expensive of their powder, than of their lead’: fops, theatre and the late Stuart military – Máire MacNeill9 The visual and the verbal: the intermediality of English satire, c. 1695–1750 – Andrew Benjamin Bricker10 Aesop, intermediality and graphic satire, c. 1740 – Kate Grandjouan11 Typesetting the borders: satire as a mediator in post-revolutionary Europe – Camilla Murgia12 The interconnections of satire and censorship in Goya’s prints and drawings – Reva Wolf13 Jumping the broom: a common-law wedding custom’s bristling visual satires – Lizzie MarxIndex

This edited collection examines the transformations of early modern European satire from the seventeenth through to the early nineteenth century. Featuring contributions from both literary scholars and art historians, it maps the changes that satire underwent in becoming a less genre-driven and increasingly visual medium.Changing satire discusses the increasing dependence of satire on a proliferation of formats, including visual and textual media and various combinations of them. It also covers manuscript circulation, as well as the use of other literary forms for satirical purposes. Although the book discusses well-known satirists like Boileau, Swift and Gillray, it also engages with lesser-known material that previous criticism has ignored or relegated to the margins. While satire was a particularly important phenomenon in England in the period, the book traces developments in France, Italy, the Netherlands and Spain, presenting discussion of how satirical texts and artwork could move between countries and languages. Taking a wide historical view and addressing a range of formats, Changing satire significantly demonstrates the role satire had as a transgressor of borders.