The article asks how Dickens in the 1830s orientated himself as a budding humorist against the existing satirical and comic traditions of his day, and in particular how he understood the concept of satire, in the context of periodical publication. An answer is sought--perhaps surprisingly--through a consideration of how Dickens, while no classical scholar, understood neoclassical satirical conventions, particularly those associated with the Horatian and Juvenalian modes. His experience as editor of "Bentley's Miscellany" is considered a formative one in this respect, and passages from "Martin Chuzzlewit" are adduced as further evidence of Dickens's sophisticated and nuanced response to this polarisation of satirical vantage point. However, the interaction of these models with the publishing format of the miscellany itself--given satire's origin in the idea of miscellaneity--leads on to consideration of a third significant satirical mode, the Menippean, which offers both a neoclassial and a Bakhtinian perspective on the question of Dickens's evolving use of satire in his periodical writings. A final coda to the article connects its main themes to a psycho-biographical subtext concerning Dickensian alienation and the writer's lifelong interest in the narrative possibilities of the social and aesthetic boundary between insider and outcast.

中文翻译：

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狄更斯、杂记和讽刺的古典传统

文章询问狄更斯在 1830 年代如何将自己定位为一个崭露头角的幽默作家，以反对他那个时代现有的讽刺和喜剧传统，特别是他如何在期刊出版的背景下理解讽刺的概念。通过考虑狄更斯（虽然不是古典学者）如何理解新古典主义的讽刺惯例，尤其是与霍拉蒂安和朱维那利模式相关的那些惯例，我们正在寻求答案——也许是令人惊讶的。在这方面，他担任“宾利杂记”编辑的经历被认为是一种形成性的经历，引用“马丁·丘兹勒维特”中的段落作为狄更斯对这种讽刺优势的两极分化的复杂而微妙的反应的进一步证据。然而，这些模型与杂项本身的出版格式的相互作用——鉴于讽刺起源于杂项的思想——导致了对第三种重要讽刺模式的考虑，即梅尼普派，它提供了新古典主义和巴赫金主义的视角狄更斯在他的期刊著作中不断演变使用讽刺的问题。文章的最后结尾将其主要主题与关于狄更斯异化的心理传记潜台词联系起来，以及作者对内部人和被排斥者之间的社会和审美边界的叙事可能性的终生兴趣。讽刺在他的期刊著作中不断演变。文章的最后结尾将其主要主题与关于狄更斯异化的心理传记潜台词联系起来，以及作者对内部人和被排斥者之间的社会和审美边界的叙事可能性的终生兴趣。讽刺在他的期刊著作中不断演变。文章的最后结尾将其主要主题与关于狄更斯异化的心理传记潜台词联系起来，以及作者对内部人和被排斥者之间的社会和审美边界的叙事可能性的终生兴趣。