By Susanna Braund, Josiah Osgood
A better half to Persius and Juvenal breaks new flooring in its in-depth specialise in either authors as "satiric successors"; exact person contributions recommend unique views on their paintings, and supply an in-depth exploration of Persius' and Juvenal's afterlives.
- Provides distinct and updated tips at the texts and contexts of Persius and Juvenal
- Offers massive dialogue of the reception of either authors, reflecting one of the most cutting edge paintings being performed in modern Classics
- Contains a radical exploration of Persius' and Juvenal's afterlives
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Additional resources for A Companion to Persius and Juvenal
The speciﬁc charge he anticipates is that he takes pleasure in injuring his targets, and that he does so wilfully and out of sheer malice (laedere gaudes . . 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.
1, then, Horace has articulated with almost textbook clarity not only the poetic principles that “ought” to govern Roman satire, but also the anxieties that these principles invariably call forth in its practitioners. 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.
Is the ridiculum of an Aristophanes here supposed to be wildly different from Lucilian sal ? Is Horace implying that Lucilius all of a sudden should be faulted because he does not, in fact, “imitate” the Greek comic poets as Horace said Lucilius did in Sat. 4? There can be little question that Horace is playing games here in this imaginary banter with Lucilius. In the end, the point seems to be not so much to offer anything resembling a systematic theory of satire (despite the fact that this is exactly what Horace wants to appear to be doing), as to offer another demonstration of satire “in action” as he, Horace, thinks it should be.