By Susanna Braund, Josiah Osgood
A significant other to Persius and Juvenal breaks new floor in its in-depth specialise in either authors as "satiric successors"; targeted person contributions recommend unique views on their paintings, and supply an in-depth exploration of Persius' and Juvenal's afterlives.
- Provides distinctive and up to date counsel at the texts and contexts of Persius and Juvenal
- Offers tremendous dialogue of the reception of either authors, reflecting probably the most cutting edge paintings being performed in modern Classics
- Contains a radical exploration of Persius' and Juvenal's afterlives
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The Roman poet and satirist Persius (3462 CE) used to be designated between his friends for lampooning literary and social conventions from a fantastically Stoic perspective. A curious amalgam of mocking wit and philosophy, his Satires are rife with violent metaphors and ugly imagery and express little trouble for the reader’s entertainment or knowing.
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Et hoc studio prauus facis [“you love to cause pain . . and you do this deliberately and maliciously”], 79). Throughout much of the second half of the poem Horace bends over backwards trying to deny such a charge, but – to great comic effect – he ends up arguing in circles: of course, he says, he would never be the kind of person to attack a friend behind his back (absentem qui rodit, | amicum qui non defendit alio culpante [“the one who attacks someone when he’s not there | who doesn’t defend a friend when someone else is blaming him”], 81–82) or aim for the big laughs or want to be thought a wit (solutos | qui captat risus hominum famamque dicacis [“the one who’s after the unrestrained laughter of the crowd and the reputation of being a wit”], 82–83), but by the end of the poem he comes close to implicating himself in exactly these practices in describing his own literary modus operandi.
Now, as we shall see, Horace fully embraces Lucilius as his model, but asks his friend, the lawyer Trebatius, whether it is prudent for him to write like Lucilius, given the unpredictability of how audiences respond to that kind of satire. Horace, he would have us believe, can write like Lucilius, but should he? In the course of answering this question Horace offers a striking manifesto about the aims and pleasures of satire as he construes them, once again calibrating every aspect of his own satirical writing to standards established by Lucilius.
The poem (in iambic senarii rather than dactylic hexameters) attacks the notoriously corrupt, but very powerful, politician L. Cornelius Lentulus Lupus (consul 156, convicted of extortion 154, but censor in 147, and princeps senatus in 131), in particular his well known ruthlessness as a judge: hoc cum feceris, cum ceteris reus una tradetur Lupo. non aderit; ἀρxaῖB hominem et stoechiis simul priuabit, igni cum et aqua interdixerit. duo habet stoechia, adfuerit anima et corpore (gῆ corpus, anima est pneῦma); posterioribus stoechiis si id maluerit priuabit tamen.