This blog is part of assignment of Paper - 101 : Literature of the Elizabethan and Restoration Periods.
Topic : Satire Across Eras: Techniques and Impact in Dryden’s Absalom and Achitophel and Indian Media.
Table of Contents :
- Personal Information
- Assignment Details
- Introduction
- Satire’s Historical Role in Dryden’s Era vs. Modern Indian Media Landscape
- Techniques of Satire in Absalom and Achitophel and Modern Indian Political Satire
- Aims of Satire: Moral and Political Commentary
- Impact of Satire on Public Opinion
- Challenges and Censorship: Dryden’s Era vs. Modern Indian Context
- Media Evolution and Satire’s Reach
- Conclusion
Personal Information :
Name:- Parthiv Solanki
Batch:- M.A. Sem 1 (2024-2026)
Enrollment Number:- 5108240032
E-mail Address:- parthivsolanki731@gmail.com
Assignment Details:-
Topic : Satire Across Eras: Techniques and Impact in Dryden’s Absalom and Achitophel and Indian Media"
Paper - 101 : Literature of the Elizabethan and Restoration Periods
Submitted to: Smt. Sujata Binoy Gardi, Department of English, MKBU, Bhavnagar
Date of Submission: November 20, 2024
Abstract :
This paper compares John Dryden's Absalom and Achitophel, a 17th-century political satire, with contemporary Indian media satire, including Cyrus Broacha's The Week That Wasn't, Kunal Kamra's stand-up comedy, and political cartoons. It examines how satire's techniques, such as allegory and humor, have evolved to address changing political landscapes and media environments. While Dryden used allegory and elevated language to critique monarchy, modern Indian satire employs direct humor and irony to comment on issues like corruption and censorship. The paper also explores how censorship and media platforms shape the reach and impact of satire, highlighting its continuing role in political and social commentary.
Keywords :
Political satire, 'Absalom and Achitophel', John Dryden, Indian media satire, Cyrus Broacha, Kunal Kamra, stand-up comedy, political cartoons, allegory, humor, irony, media evolution, censorship, public opinion.
Introduction:
Political satire has long served as a tool for critiquing political power and societal issues, with John Dryden's Absalom and Achitophel standing as a quintessential example of Restoration-era satire. Using allegory and biblical references, Dryden’s work subtly critiques the political landscape of his time, particularly focusing on the Exclusion Crisis and defending the monarchy. In contrast, modern Indian political satire, seen in shows like 'The Week That Wasn't' by Cyrus Broacha, stand-up routines by Kunal Kamra, and political cartoons, uses direct humor, irony, and accessible language to address contemporary issues such as corruption, censorship, and social inequality. This paper will compare Dryden’s satirical techniques with those of modern Indian media, exploring how satire has evolved in response to changing political climates and media landscapes, as well as its growing role in shaping public opinion in a digital age.
Satire’s Historical Role in Dryden’s Era vs. Modern Indian Media Landscape :
This section offers a thorough comparison of how political satire functioned in John Dryden’s time versus its role in modern Indian media, highlighting key differences in method, medium, and reach. During the Restoration period, Dryden’s Absalom and Achitophel was a carefully crafted political satire, deeply embedded in the intellectual and social elite’s discourse. His allegorical use of biblical figures allowed him to critique political factions without directly attacking the monarchy, a strategy designed to avoid the repercussions of direct criticism. The audience for such work was primarily literate, upper-class readers, who engaged with printed works in a highly regulated media environment, where political commentary could be suppressed through censorship.
By contrast, the modern Indian media landscape presents a more open and expansive platform for political satire, characterized by the proliferation of digital technologies. Satire today reaches a much wider and more diverse audience, encompassing people across different social, economic, and educational backgrounds. Indian satirists utilize a variety of media, such as television shows like The Week That Wasn’t, YouTube stand-up performances, and editorial cartoons in newspapers, to express their critiques of political and social issues. These forms of satire engage with current events in real time, offering immediate reactions to political developments, and often generating discussions across social media platforms such as Twitter and WhatsApp.
The comparison reveals that although satire’s fundamental role in critiquing authority remains unchanged, its methods, audience, and the ways it circulates have evolved dramatically. Today’s digital media environment has made satire more immediate, interactive, and accessible, enabling a more direct engagement with political realities and fostering a more democratic public discourse.
Techniques of Satire in Absalom and Achitophel and Modern Indian Political Satire :
1. Use of Allegory and Symbolism :
Dryden uses Biblical allegory as a way to critique contemporary political figures without naming them directly. By casting Charles II as King David, the Duke of Monmouth as Absalom, and the Earl of Shaftesbury as Achitophel, he reframes political dissent within a Biblical narrative. This technique allowed Dryden to provide social commentary while maintaining a layer of separation from the actual political scenario, subtly positioning his support for the monarchy, Achitophel’s betrayal of David mirrors Shaftesbury’s attempts to challenge Charles II, linking political treachery to moral failing.
Modern Indian Political Satire:
In India, cartoonists and satirists often use allegory and symbolism to make political figures and parties relatable to the masses. For instance, political cartoons frequently use animals, caricatures, or historical figures to represent parties or ideologies. This indirect representation allows artists to critique without triggering overt censorship or backlash.
Example:
Cartoonists :
R.K. Laxman’s Common Man cartoons use an everyman figure to represent the ordinary Indian citizen observing (and often silently critiquing) the absurdities of political life.
Shankar –
Known for his editorial cartoons in Shankar’s Weekly, Shankar’s satirical works often targeted Indian political figures, social issues, and the relationship between the public and government. His sharp caricatures provided an accessible, humorous way to critique the powers in control, just as Dryden’s allegorical satire did.
Satish Acharya
A modern cartoonist whose works continue to be widely shared on social media, Acharya uses caricatures and visual humor to comment on current political issues in India. His cartoons frequently depict politicians in humorous or exaggerated ways to critique their actions, often focusing on corruption, hypocrisy, and the growing power of certain political figures.
Comedians:
1. Kunal Kamra – Known for his stand-up comedy and satirical takes on politics, Kamra’s performances are sharp critiques of the Indian government, particularly addressing issues like freedom of speech, censorship, and political hypocrisy. He often uses sarcasm, irony, and humor to point out contradictions in government policies, similar to how Dryden used irony in Absalom and Achitophel.
- Example: Kamra has a well-known bit where he compares the government's treatment of dissent to that of a school teacher disciplining a student: "The government doesn't mind criticism, as long as it comes with a fine."
2. Vir Das
A prominent Indian comedian, Vir Das uses stand-up comedy as a platform to comment on political and societal issues, often mocking political figures and their actions. His humor is direct, and he isn’t afraid to take on sensitive topics like nationalism, corruption, and the state of democracy.
Example: In his routine, he often contrasts the country's image abroad with its reality at home, such as when he jokes about being a "global citizen" but stuck in a country with deep-rooted social and political issues.
3. Zakir Khan
Known for his unique blend of comedy and storytelling, Zakir often touches upon social and political issues, subtly poking fun at societal norms and political personalities. His approach to satire involves humor based on everyday observations and cultural critique.
- Example: He often jokes about political leaders and their absurd decisions, likening them to the exaggerated characters in real life who hold power but fail to understand the real issues of the people.
Writers :
1. Arundhati Roy
Though not a comedian, Roy’s written works, like The Ministry of Utmost Happiness and her numerous essays, employ a sharp critique of political and social issues in India. Through her writing, she satirizes the abuse of power, corruption, and the caste system, using both humor and tragedy to convey deep societal flaws.
2. Shashi Tharoor
As a writer and politician, Tharoor is known for his witty, satirical commentary on political developments in India. His books like An Era of Darkness critique British colonialism, and his social media posts often offer ironic commentary on Indian politics, government decisions, and diplomatic relationships.
3. Pankaj Mishra
In his books and articles, Mishra critiques the state of politics in India, often blending satire with philosophical commentary. His works offer insight into the contradictions and complexities of modern Indian society and politics.
Carnality and Pop Culture References :
1. Indian Stand-Up Comedy on YouTube and Social Media
Stand-up comedy has gained prominence in India as a form of satire, with comedians using YouTube, Instagram, and other social media platforms to critique the government, social norms, and politics. The use of satire in the digital realm allows for more immediate engagement with audiences and encourages viral sharing of political commentary.
Example: Tanmay Bhat (of AIB) has been a prominent figure in online comedy, often addressing issues of politics, identity, and the absurdities of modern life in India. His controversial sketches and podcasts, like "The AIB Roast," sparked nationwide debates about freedom of speech, censorship, and political correctness.
2. The Viral ‘Gully Boy’ Culture
With the rise of Bollywood films like *Gully Boy*, which focuses on the underground rap scene in India, there is a growing subculture of satirical commentary on societal issues, including politics. The music and lyrics of such underground artists often critique the establishment and highlight the struggles of the common man in a humorous yet poignant way.
TV Shows:
1. The Week That Wasn't
A satirical news show hosted by Cyrus Broacha, this TV program is famous for its witty take on political events and current affairs. Broacha's sarcastic tone and humorous commentary on serious issues like corruption, governmental policies, and political scandals have made the show a popular form of satire on Indian television.
2. AIB (All India Bakchod)
Though initially a YouTube channel, AIB’s sketch comedy and talk shows were widely popular on television. Their sketches often tackle political hypocrisy, social issues, and the absurdity of life in modern India. AIB’s humor is a mix of sarcasm, irony, and playful criticism of various politicians and social issues.
3. Lal Kaptaan
A TV show on national politics, this program presents satirical commentary on India’s political landscape, using humor to discuss the dynamics of power, corruption, and the antics of political leaders. The show focuses on using satire to engage with audiences on the relevance of current events in Indian politics.
4. Comicstaan
This comedy reality show highlights the growing popularity of satire in stand-up performances. The contestants often use humor to critique politicians and societal issues in India, showcasing a new wave of young comedians who use satire to express their political views.
5. Satyamev Jayate (with Aamir Khan)
Although not purely a satirical show, it uses a mix of real-life stories and satire to expose social issues like corruption, gender inequality, and health care flaws in India. Through its narrative, it critiques the government and social systems while raising awareness about crucial issues.
Examples of Political Carnality in Indian Satire:
Indian satire often uses exaggeration and hyperbole to create a "carnal" or exaggerated view of political figures, their actions, and the absurdities of power. For example, the portrayal of politicians in cartoons as oversized, corrupt figures or the use of caricatures with comically large facial features serves to satirize their overblown sense of importance or hypocrisy. This form of exaggeration calls attention to the discrepancies between a politician's public persona and their private actions, similar to how Dryden used exaggerated Biblical allegories to critique power.
In contemporary India, satirical forms have evolved across various media, from cartoons and stand-up comedy to television shows and social media. These satirical outlets function similarly to Dryden's Absalom and Achitophel, but with more accessible language and a modern twist. As a result, Indian satire is not only a tool of political critique but also a vibrant part of public discourse, offering both humor and a call to action on societal issues.
2. Language and Style :
Dryden employs elevated, poetic language through heroic couplets in Absalom and Achitophel. This style gives his satire a formal, dignified tone, appealing to the educated elite and aligning with the epic and historical weight of his allegory. The language is sophisticated, full of allusions and references that require a learned audience to fully appreciate.
Example: Dryden’s polished and rhetorical style captures his moral stance, making his work as much a defense of royal power as a condemnation of political opposition.
Conversational Tone in Indian Satire:
In contrast, Indian satire often uses a conversational, accessible language. Stand-up comedians like Kunal Kamra and Vir Das, for instance, rely on informal, everyday language with slang and cultural references. This direct, often humorous tone makes satire more relatable, resonating with a broader audience and inviting immediate engagement.
Example: Kunal Kamra’s routines employ colloquial speech, irony, and sarcasm to critique government policies and the state of free speech in India. His style is often conversational, giving a sense of casual but pointed critique.
3. Visual and Verbal Irony :
Dryden praises Achitophel’s “honesty” and “wisdom” with heavy irony, knowing his readers will see through the praise to the deeper criticism of his character.
Immediate and Exaggerated Irony in Indian Cartoons and Stand-Up:
Satish Acharya’s cartoons often show political figures saying one thing but acting in the opposite way, using exaggerated facial expressions and body language to immediately convey irony. Comedians like Zakir Khan employ ironic storytelling to expose the disconnect between what politicians promise and what they actually deliver.
4. Humor and Exaggeration (Carnivalesque)
Dryden’s Controlled Humor:
While Dryden’s humor is subtle, relying on wit and intellectual wordplay, it’s still present in his exaggerated descriptions of political figures. He uses humor to discredit the opposition without seeming coarse or vulgar, aligning with the dignified tone of his work.
Example: His description of Achitophel includes inflated praise that ultimately feels hollow, subtly exposing the character’s flaws through exaggerated compliments.
Overt Humor and Exaggeration in Indian Satire:
Indian satire, particularly on TV shows like The Week That Wasn't or in stand-up routines, uses more overt humor and sometimes goes as far as absurdity to make a point. This style, known as the “carnivalesque,” revels in breaking social norms and mocking authority figures through exaggerated depictions and over-the-top humor.
5. Social Commentary and Moral Undertones :
Moral Stance in Absalom and Achitophel:
Dryden’s work has a clear moral underpinning, as he uses satire to uphold the monarchy and condemn rebellion. His allegory carries the message that loyalty and order are paramount, and his satire reinforces a moral hierarchy, with loyalty to the crown as a virtue.
Example: The portrayal of Absalom as a misguided son speaks to Dryden’s belief in the danger of undermining legitimate authority for personal gain or ambition.
Social Critique in Modern Indian Satire:
Indian satire, by contrast, often emphasizes the importance of democracy, transparency, and social justice. Comedians and cartoonists use satire to call attention to issues like corruption, caste discrimination, and freedom of speech, encouraging critical thinking and active engagement with these problems.
Example: Arundhati Roy’s essays blend satire with advocacy, addressing issues like poverty, inequality, and nationalism, often using humor and irony to highlight serious social issues.
While Dryden’s Absalom and Achitophel reflects a controlled, allegorical satire appropriate to his time and classically aligned with monarchy, modern Indian satire is more direct, accessible, and often humorous, catering to a broad and diverse audience. Each form of satire uses its techniques to both critique and reflect its society, though the methods and tone have evolved with changes in audience, media, and social values.
Aims of Satire: Moral and Political Commentary :
In Absalom and Achitophel, Dryden uses satire primarily as a tool to support the monarchy, portraying political dissent as both morally corrupt and socially destabilizing. By aligning King Charles II with the Biblical figure of King David, Dryden seeks to legitimize royal authority and discourage rebellion, positioning loyalty to the monarchy as a moral duty. His satire functions to reinforce social order, framing opposition figures like the Earl of Shaftesbury as agents of chaos, thereby justifying allegiance to traditional power structures. In contrast, modern Indian satire aims to critique and challenge authority, often exposing political hypocrisy, corruption, and social injustice. Through digital platforms, satirists such as Kunal Kamra and Cyrus Broacha reach a broad audience, fostering public discourse on democratic principles like freedom of speech and accountability. Today’s satirists act as watchdogs, encouraging audiences to question political power and advocate for transparency and change, a marked shift from Dryden’s conservative intentions. Thus, while Dryden’s satire sought to preserve the status quo, modern Indian satire embraces the role of questioning and reshaping societal values, adapting to a democratic and digitally connected landscape.
Impact of Satire on Public Opinion :
The Impact of Satire on Public Opinion explores how satire has shaped societal views across different periods, contrasting the effects of Absalom and Achitophel with the influence of modern Indian satire:
In Dryden’s era, Absalom and Achitophel primarily reinforced royalist loyalties among the educated elite, shaping opinions in favor of King Charles II’s right to succession. The work’s complex allegory appealed to the political sympathies of Dryden’s audience, subtly encouraging them to view dissenters as morally misguided. Although its impact was limited by print distribution and literacy constraints, the poem served as a persuasive tool for those within Dryden’s conservative circle, fostering unity and discouraging rebellion. Modern Indian satire, however, reaches a vast and diverse audience through digital platforms like YouTube, Twitter, and television, allowing its influence on public opinion to be immediate and widespread. Shows such as The Week That Wasn’t and stand-up acts by comedians like Kunal Kamra engage audiences directly, addressing contemporary issues like governmental transparency, freedom of speech, and social justice. By sparking online debates, satire in India influences public opinion in real-time, shaping discussions on policy and democracy across demographics. Unlike Dryden’s relatively closed circle of influence, today’s Indian satire amplifies public discourse and challenges authority on a scale that impacts broader societal beliefs, highlighting how media evolution has magnified satire’s reach and impact.
Challenges and Censorship: Dryden’s Era vs. Modern Indian Context :
The Challenges and Censorship section highlights the difficulties satirists face in critiquing authority, comparing the constraints Dryden navigated with those modern Indian satirists encounter:
In Dryden’s era, censorship took the form of indirect pressures rather than outright bans. As a royalist poet, Dryden was compelled to align his satire with the monarchy’s interests, using allegory in Absalom and Achitophel to critique political opponents without openly challenging the king or inviting severe repercussions. This approach allowed him to deliver a sharp critique of figures like the Earl of Shaftesbury while avoiding explicit attacks on the throne. In contrast, modern Indian satirists operate within a more complex landscape of governmental restrictions, legal censorship, and social media scrutiny. Laws regulating “offensive” content, as well as pressures from political groups and online trolling, often limit how directly satirists can critique those in power. Stand-up comedians like Kunal Kamra and digital satirical shows find ways to bypass restrictions, often using subtle language, indirect humor, or online platforms like YouTube, which provide more creative freedom than traditional media outlets. Both Dryden and today’s Indian satirists share a need for caution, yet while Dryden relied on allegorical distance, modern Indian satire employs humor and digital reach to voice dissent in an environment where direct criticism can provoke backlash. This contrast illustrates how each era’s political climate shapes satire’s approach to censorship, revealing evolving strategies for navigating the boundaries of free expression.
Media Evolution and Satire’s Reach :
The Media Evolution and Satire’s Reach section examines how changes in media have transformed satire’s impact, contrasting the limited reach of Dryden’s era with the expansive audience accessible to modern Indian satirists:
During Dryden’s time, satire like Absalom and Achitophel was primarily circulated in print, reaching a limited audience of educated elites who could access and interpret its layered allegories. This restricted reach meant that satire had a more focused influence, reinforcing royalist loyalties within a narrower, politically engaged circle. Without mass media, the work’s impact on public opinion was slower and depended heavily on social networks within court circles. By contrast, modern Indian satire benefits from a vast array of digital platforms—such as YouTube, Twitter, and Instagram—that allow satirists to reach millions instantly. Shows like The Week That Wasn’t and online satirists like Kunal Kamra engage a broad and diverse audience, sparking widespread discourse on political and social issues. This immediacy and accessibility mean that satire can influence public opinion rapidly, allowing for real-time commentary on events and the potential to go viral. The shift from print to digital has democratized satire’s reach, enabling it to transcend traditional boundaries of class, language, and geography, creating a far more impactful and participatory platform for public critique and social reflection. This evolution reflects how the reach and role of satire have transformed with media advances, amplifying its influence within society.
Conclusion :
In conclusion, satire has proven itself to be an enduring tool for political and social critique, evolving in its form, reach, and impact across eras. Dryden’s Absalom and Achitophel exemplifies Restoration-era satire, where allegory and controlled language were crucial to critiquing political tensions while aligning with royal interests. Its audience was limited to an educated elite, and the medium of print constrained its reach and influence on public opinion.
In modern India, satire has transformed in response to democratic values, diverse media platforms, and a broader, digitally connected audience. Indian satirists use direct humor, conversational language, and a blend of cultural references to comment openly on contemporary issues. With access to a vast audience through digital media, shows like The Week That Wasn’t and comedians like Kunal Kamra have expanded satire’s role, encouraging public discourse on democracy, justice, and transparency. Although censorship remains a challenge, the shift from print to digital platforms has made satire more immediate and accessible, amplifying its influence on society.
Ultimately, while the core purpose of satire—to critique authority and reflect societal values—remains consistent, the methods, audience, and reach have evolved. From Dryden’s cautious yet pointed allegories to the direct and widespread reach of digital satire in India, satire continues to shape public opinion, adapting to each era’s unique political and cultural landscape.
Words : 3,709
Images : 2
References :
1. Broacha, Cyrus. The Week That Wasn't. CNN-IBN, 2009–2015.
2.Dryden, John. Absalom and Achitophel. The Oxford Edition of the Works of John Dryden, Oxford University Press, 1985.
3. Editorial Cartoons." The Times of India, 2024,
4.Kamra, Kunal. The Most Claustrophobic Stand-Up Special. YouTube, 2020.
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