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"; precise person contributions recommend unique views on their paintings, and supply an in-depth exploration of Persius' and Juvenal's afterlives.
- Provides certain and updated counsel at the texts and contexts of Persius and Juvenal
- Offers monstrous dialogue of the reception of either authors, reflecting essentially 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 info for A Companion to Persius and Juvenal
In fact – and here I would suggest, just to be clear, that this was almost certainly by design – it all ends up a little garbled, and his criticisms of Lucilius are less trenchant than his rhetoric at ﬁrst might lead one to believe. 10 reiterate the points he made about Lucilius in Sat. 4, but he frames them as a counter-response from fans of Lucilius, who objected to Horace’s criticisms of him as prolix and stylistically turgid. Horace stands by this characterization as the poem opens (“Well yes, I did say that Lucilius’ verses ran along in a disorderly way” [nempe inconposito dixi pede currere uersus | Lucili, 1–2]), but reminds his reader that he had also praised Lucilius for “scouring the city with much salty wit” (sale multo | urbem defricuit, 3–4).
1, but Juvenal’s fears are now different. Whereas Horace merely worried that people (not only his targets, but those he regarded as his audience) would misunderstand what he regarded as well-deserved attacks against bad people, Juvenal is quite simply afraid of his targets. Exercising the full force of satirical libertas could for him, he claims, have dire consequences – the guilty feel anger (ira), but it is the satirist who will suffer (lacrimae) for it. The ﬁnal lines of the poem (170–71) famously state 40 Persius and Juvenal: Texts and Contexts (not altogether accurately, as is often pointed out) that as a result Juvenal will only write about the dead, who in theory anyway would pose no threat to him.
20), but now, as we will hear often in this volume, it is less clear that any of the powerful men touched by the satirist’s sword, or any of their friends and associates in high places all the way up to the emperor himself, can, as we might say, take a joke. FURTHER READING For general literary and theoretical discussion of satire, see Kernan (1959), Elliot (1960), Highet (1962), D. Grifﬁn (1994), Hutcheon (1994), Connery and Combe (1995), and Bogel (2001). Useful overviews of Roman satire speciﬁcally within the history of theorizing satire can be found in Freudenburg’s introductory essay in The Cambridge Companion to Roman Satire (2005) and Hooley (2007b) 1–12.
A Companion to Persius and Juvenal by Susanna Braund, Josiah Osgood