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Lady Mary Wortley Montagu

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Satire should, like a polished razor keen,
Wound with a touch that's scarcely felt or seen.
--
To the Imitator of the First Satire of Horace, Book ii.

 
Lady Mary Wortley Montagu

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[Nasreddin Hoca is being shaved by an inexperienced barber.]
"One moment, Sir!" said the barber, and he stuck a bit of cotton on the wound. In the next pass of the razor, another bit of the Hoca's cheek went with it. "One moment, sir!" and he stuck a bit of cotton on the second wound. With each stroke of the razor, another bit of cotton joined the crop sprouting on the Hoca's left cheek. "Now," said the barber, "I'll do the other side."

 
Nasreddin
 

Be your strong and simple words
Keen to wound as sharpened swords,
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With their shade to cover ye.

 
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A gaudy dress and gentle air
May slightly touch the heart;
But it's innocence and modesty
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Certainly Mr Eliot in the twenties was responsible for a great vogue for verse-satire. An ideal formula of ironic, gently "satiric", self-expression was provided by that master for the undergraduate underworld, tired and thirsty for poetic fame in a small way. The results of Mr Eliot are not Mr Eliot himself: but satire with him has been the painted smile of the clown. Habits of expression ensuing from mannerism are, as a fact, remote from the central function of satire. In its essence the purpose of satire — whether verse or prose — is aggression. (When whimsical, sentimental, or "poetic" it is a sort of bastard humour.) Satire has a great big glaring target. If successful, it blasts a great big hole in the center. Directness there must be and singleness of aim: it is all aim, all trajectory.

 
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The satirist who writes nothing but satire should write but little — or it will seem that his satire springs rather from his own caustic nature than from the sins of the world in which he lives.

 
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