New PDF release: A Companion to Persius and Juvenal

By Susanna Braund, Josiah Osgood

ISBN-10: 1405199652

ISBN-13: 9781405199650

A significant other to Persius and Juvenal breaks new floor in its in-depth specialize in either authors as "satiric successors"; particular person contributions recommend unique views on their paintings, and supply an in-depth exploration of Persius' and Juvenal's afterlives.

  • Provides exact and updated tips at the texts and contexts of Persius and Juvenal
  • Offers mammoth dialogue of the reception of either authors, reflecting the most cutting edge paintings being performed in modern Classics
  • Contains a radical exploration of Persius' and Juvenal's afterlives

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Extra resources for A Companion to Persius and Juvenal

Sample text

Time and again in this volume, we will see Persius and Juvenal thematizing a similar roster of issues, and crafting their response in accordance with the exigencies of their own historical moment – balancing, for example, the drive to censure with the aesthetics of poetic form, remaining aware that attacking people is always a risky business (and exaggerating the risk, even, as a literary Satire in the Republic 39 conceit), tempering a personal voice of beleaguerment and self-righteousness with enough comic irony to keep things always a little off-balance.

This is Horace’s attempt to pinpoint what it is that satire is supposed to “do,” and then to show how this helps to clarify what he himself is trying to do in his own satires – not only how he, too, is like Old Satire in the Republic 29 Comedy and Lucilius, but also how he is not. The key phrase in Horace’s analysis occurs at line 5, multa cum libertate notabant (“They pointed out [malefactors] with great freedom [of speech]”). Horace’s statement in the next line is emphatic: it was the libertas of the Greek comic poets, their freedom to mock anyone they thought deserving of censure, that accounts for Lucilius’ notorious invective signature.

485 Keil, Gramm. ) a type of song among the Romans which is now invective and composed in the manner of Old Comedy for the purpose of censuring the bad behavior of men, such as Lucilius and Horace and Persius wrote. But at one time satire was the name given to a kind of song composed from different bits of poems of the sort that Pacuvius and Ennius wrote. However many other satirical poets were writing in Rome from the late Republic through the early Empire, the canon of Roman verse satire took shape around the four figures Lucilius, Horace, Persius, and Juvenal (curiously, Diomedes himself does not mention Juvenal in the passage just cited; see Freudenburg (2001) 1–5 on the problems of canon inclusion in Roman satire).

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A Companion to Persius and Juvenal by Susanna Braund, Josiah Osgood

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