By Susanna Braund, Josiah Osgood
A better half to Persius and Juvenal breaks new floor in its in-depth specialise 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 certain and updated information at the texts and contexts of Persius and Juvenal
- Offers sizeable dialogue of the reception of either authors, reflecting one of the most leading 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
1 makes it clear that the central paradox of satire is this: while it purports to exist for a moral purpose (we heard plenty about this from Horace in Book 1), it yet seems driven, equally if not at times exclusively, by aesthetic concerns. The moral, selfrighteous aspect is what always gets satirists into trouble. As Trebatius says at lines 21–23, a poet would be better off writing mediocre epic than attacking local miscreants with invective (tristi . . uersu) for their petty vices, because this just makes everyone afraid of satirists (sibi quisque timet).
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. There is far less wavering here than in the programmatic poems of Book 1 – here he unquestionably admires the libertas for which Lucilius was famous, but if he were to write as “freely” as Lucilius, he fears the very kind of opposition from his audience that he himself had leveled against Lucilius in Book 1!
As he ﬂowed muddily, there was [always] something that one would wish to remove; he was verbose, and too lazy to endure the fatigue of writing – of writing accurately. These lines are rich with nuance and ambiguity, but in afﬁliating Lucilian satire with Greek Old Comedy – an otherwise unrelated literary form from a completely different time and place – Horace makes the larger purpose of these lines clear. Horace aims ﬁrst to set forth a notion of satire as a synchronic literary mode, transcending speciﬁc, historically situated instantiations (satire “writ large,” we might say) and second, to identify Lucilius as the speciﬁcally Roman version of this mode that set the standard by which subsequent satirical poets would be judged.
A Companion to Persius and Juvenal by Susanna Braund, Josiah Osgood