Maria Plaza
- Published in print:
- 2006
- Published Online:
- September 2007
- ISBN:
- 9780199281114
- eISBN:
- 9780191712739
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199281114.001.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
Our image of Roman satire has developed from that of a static, moralizing genre to a deliberately complex form, but our approach to the humour intrinsic to satire has not developed accordingly. This ...
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Our image of Roman satire has developed from that of a static, moralizing genre to a deliberately complex form, but our approach to the humour intrinsic to satire has not developed accordingly. This book offers a comprehensive new analysis of humour in the writings of Horace, Persius, and Juvenal, with an excursus to Lucilius. The main thesis is that far from being an external means of sweetening the moral lesson, humour lies at the heart of Roman satire and shapes its paradoxical essence. The book argues that while the satirist needs humour for the aesthetic merit of his work, his ideological message inevitably suffers from the ambivalence that humour carries. By analyzing object-oriented humour, humour directed at the speaker (including self-irony), and humour directed at neither object nor subject, the book shows how the Roman satirists work round this double mission of morals and merriment. As a result, they present the reader with a much more sprawling and ‘open’ literary product than they promise in their programmatic self-presentations. The argument is rounded off by a contemplation of the end of Roman satire, and its descendants — not only modern satire but also the novel, in which satire’s humorous orchestration of epic questions was later taken up and richly elaborated.Less
Our image of Roman satire has developed from that of a static, moralizing genre to a deliberately complex form, but our approach to the humour intrinsic to satire has not developed accordingly. This book offers a comprehensive new analysis of humour in the writings of Horace, Persius, and Juvenal, with an excursus to Lucilius. The main thesis is that far from being an external means of sweetening the moral lesson, humour lies at the heart of Roman satire and shapes its paradoxical essence. The book argues that while the satirist needs humour for the aesthetic merit of his work, his ideological message inevitably suffers from the ambivalence that humour carries. By analyzing object-oriented humour, humour directed at the speaker (including self-irony), and humour directed at neither object nor subject, the book shows how the Roman satirists work round this double mission of morals and merriment. As a result, they present the reader with a much more sprawling and ‘open’ literary product than they promise in their programmatic self-presentations. The argument is rounded off by a contemplation of the end of Roman satire, and its descendants — not only modern satire but also the novel, in which satire’s humorous orchestration of epic questions was later taken up and richly elaborated.
J. G. F. Powell
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199558681
- eISBN:
- 9780191720888
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199558681.003.0014
- Subject:
- Classical Studies, European History: BCE to 500CE
This chapter enquires into the objects of attack in Juvenal's second satire — traditionally called ‘philosophers’, ‘moralists’, or ‘hypocrites’ — and identifies them as élite Romans who prosecuted in ...
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This chapter enquires into the objects of attack in Juvenal's second satire — traditionally called ‘philosophers’, ‘moralists’, or ‘hypocrites’ — and identifies them as élite Romans who prosecuted in the law courts, especially the adultery court recently revived by Domitian. Juvenal's attack is seen within the tradition of hostility to prosecutors (delatores) in Graeco-Roman culture, in general, and in other literature of the period (Martial, Pliny the Younger, and, especially, Tacitus). The text of the second satire is examined in detail and numerous references to history, law, and rhetoric are eludicated. The interpretation aims to restore greater internal coherence to the satire and place it more securely than hitherto in its social and historical context. The truth or otherwise of its allegations (and thus its status as evidence for Roman sexual practices) emerges as less important. Improved interpretations are also proposed for four other passages of Juvenal that mention prosecutors (1.33-5, 3.116-20, 4.46-56, 10.69-72).Less
This chapter enquires into the objects of attack in Juvenal's second satire — traditionally called ‘philosophers’, ‘moralists’, or ‘hypocrites’ — and identifies them as élite Romans who prosecuted in the law courts, especially the adultery court recently revived by Domitian. Juvenal's attack is seen within the tradition of hostility to prosecutors (delatores) in Graeco-Roman culture, in general, and in other literature of the period (Martial, Pliny the Younger, and, especially, Tacitus). The text of the second satire is examined in detail and numerous references to history, law, and rhetoric are eludicated. The interpretation aims to restore greater internal coherence to the satire and place it more securely than hitherto in its social and historical context. The truth or otherwise of its allegations (and thus its status as evidence for Roman sexual practices) emerges as less important. Improved interpretations are also proposed for four other passages of Juvenal that mention prosecutors (1.33-5, 3.116-20, 4.46-56, 10.69-72).
Stuart Gillespie
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199588541
- eISBN:
- 9780191741845
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199588541.003.0007
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
The imitation of Juvenal's Eighth Satire composed by William Wordsworth and Francis Wrangham in the 1790s was suppressed and went unpublished in anything like complete form until as recently as 1997. ...
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The imitation of Juvenal's Eighth Satire composed by William Wordsworth and Francis Wrangham in the 1790s was suppressed and went unpublished in anything like complete form until as recently as 1997. Its shadowy status in the Wordsworth corpus raises key questions about the reception of both Wordsworth and Juvenal: about how Wordsworth has been positioned in relation to the classics, and about the place of Roman satire in the writing of the Romantic age. The sudden assimilation of the imitation to currently dominant interpretive models in the 1997 scholarly edition provides a consciousness-raising moment for all those ambitious of interpreting formal verse satire whether ancient or modern: Wordsworth's imitation can for us be a way of reading Juvenal, but first we need to ask what interpretive framework is to be applied.Less
The imitation of Juvenal's Eighth Satire composed by William Wordsworth and Francis Wrangham in the 1790s was suppressed and went unpublished in anything like complete form until as recently as 1997. Its shadowy status in the Wordsworth corpus raises key questions about the reception of both Wordsworth and Juvenal: about how Wordsworth has been positioned in relation to the classics, and about the place of Roman satire in the writing of the Romantic age. The sudden assimilation of the imitation to currently dominant interpretive models in the 1997 scholarly edition provides a consciousness-raising moment for all those ambitious of interpreting formal verse satire whether ancient or modern: Wordsworth's imitation can for us be a way of reading Juvenal, but first we need to ask what interpretive framework is to be applied.
Ralph M. Rosen
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780195309966
- eISBN:
- 9780199789443
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195309966.003.0006
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter examines the two satires of Juvenal, 9 and 5 (in that order), and argues that they should be read as deeply programmatic. What they reveal is a self-consciousness about virtually all the ...
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This chapter examines the two satires of Juvenal, 9 and 5 (in that order), and argues that they should be read as deeply programmatic. What they reveal is a self-consciousness about virtually all the elements of satire and mockery that the book has treated. Topics addressed are Juvenal's hallmark indignatio, the problem of “autobiography” and didactic posturing, and problems with “persona-theory”. The chapter argues specifically that with Naevolus in Sat. 9 Juvenal has created a particularly disreputable character to function as an alter-ego, and in so doing calls into question the stability of his self-righteous mockery of him. In the end, the satirist becomes as abject and risible as his targets, even as he maintains the sympathies of his audience — strategies that were found to be at work in other poets in earlier chapters.Less
This chapter examines the two satires of Juvenal, 9 and 5 (in that order), and argues that they should be read as deeply programmatic. What they reveal is a self-consciousness about virtually all the elements of satire and mockery that the book has treated. Topics addressed are Juvenal's hallmark indignatio, the problem of “autobiography” and didactic posturing, and problems with “persona-theory”. The chapter argues specifically that with Naevolus in Sat. 9 Juvenal has created a particularly disreputable character to function as an alter-ego, and in so doing calls into question the stability of his self-righteous mockery of him. In the end, the satirist becomes as abject and risible as his targets, even as he maintains the sympathies of his audience — strategies that were found to be at work in other poets in earlier chapters.
Maria Plaza
- Published in print:
- 2006
- Published Online:
- September 2007
- ISBN:
- 9780199281114
- eISBN:
- 9780191712739
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199281114.003.0004
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter on ‘non-aligned’ humour (so called because it is not tied to either object or subject) excludes the Stoic satires of Persius, but argues that for Horace and Juvenal, non-aligned humour ...
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This chapter on ‘non-aligned’ humour (so called because it is not tied to either object or subject) excludes the Stoic satires of Persius, but argues that for Horace and Juvenal, non-aligned humour is an important characteristic of their work, adding a dimension of merry openness. Through non-aligned humour, Horace’s and Juvenal’s satires again tease, and occasionally cheat the reader, as the ‘irrelevant’ jokes and irony sometimes try to win the reader’s sympathy, but sometimes turn against him; warmly delight in an alternative lifestyle, and then suddenly ridicule it; make cynically nihilistic statements alongside dully traditional ones, and generally destabilize the seriousness of the normative message on the surface. In Horace, the analysis focuses on his masterly balance of extremes. For Juvenal, the discussion centres on the monsters of his world, present even in the Golden Age.Less
This chapter on ‘non-aligned’ humour (so called because it is not tied to either object or subject) excludes the Stoic satires of Persius, but argues that for Horace and Juvenal, non-aligned humour is an important characteristic of their work, adding a dimension of merry openness. Through non-aligned humour, Horace’s and Juvenal’s satires again tease, and occasionally cheat the reader, as the ‘irrelevant’ jokes and irony sometimes try to win the reader’s sympathy, but sometimes turn against him; warmly delight in an alternative lifestyle, and then suddenly ridicule it; make cynically nihilistic statements alongside dully traditional ones, and generally destabilize the seriousness of the normative message on the surface. In Horace, the analysis focuses on his masterly balance of extremes. For Juvenal, the discussion centres on the monsters of his world, present even in the Golden Age.
Paul Murgatroyd
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781786940698
- eISBN:
- 9781786945068
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781786940698.001.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This is not a commentary on Juvenal 10 but a critical appreciation of the poem which examines it on its own and in context and tries to make it come alive as a piece of literature, offering one man’s ...
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This is not a commentary on Juvenal 10 but a critical appreciation of the poem which examines it on its own and in context and tries to make it come alive as a piece of literature, offering one man’s close reading of Satire 10 as poetry, and concerned with literary criticism rather than philological minutiae. In line with the recent broadening of insight into Juvenal’s writing this book often addresses the issues of distortion and problematizing and covers style, sound and diction as well. Much time is also devoted to intertextuality and to humour wit and irony. Building on the work of scholars like Martyn, Jenkyns and Schmitz, who see in juvenal a consistently skilful author, this is a whole book demonstrating a high level of expertise on Juvenal’s part sustained throughout a long poem. This investigation leads to the conclusion that Juvenal is an accomplished poet and provocative satirist, a writer with real focus, who makes every word count, and a final chapter exploring 11 and 12 confirms that assessment. Translation of the Latin and explanation of references are also included so that Classics students will find the book easier to use and it will also be accessible to scholars and students interested in satire outside of Classics departments.Less
This is not a commentary on Juvenal 10 but a critical appreciation of the poem which examines it on its own and in context and tries to make it come alive as a piece of literature, offering one man’s close reading of Satire 10 as poetry, and concerned with literary criticism rather than philological minutiae. In line with the recent broadening of insight into Juvenal’s writing this book often addresses the issues of distortion and problematizing and covers style, sound and diction as well. Much time is also devoted to intertextuality and to humour wit and irony. Building on the work of scholars like Martyn, Jenkyns and Schmitz, who see in juvenal a consistently skilful author, this is a whole book demonstrating a high level of expertise on Juvenal’s part sustained throughout a long poem. This investigation leads to the conclusion that Juvenal is an accomplished poet and provocative satirist, a writer with real focus, who makes every word count, and a final chapter exploring 11 and 12 confirms that assessment. Translation of the Latin and explanation of references are also included so that Classics students will find the book easier to use and it will also be accessible to scholars and students interested in satire outside of Classics departments.
Anne Cotterill
- Published in print:
- 2004
- Published Online:
- September 2007
- ISBN:
- 9780199261178
- eISBN:
- 9780191717598
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199261178.003.0007
- Subject:
- Literature, 16th-century and Renaissance Literature
This chapter argues that Dryden uses the occasion of writing a history of satire, designed to introduce translations of Juvenal and Persius, to produce his longest dedication and critical essay, The ...
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This chapter argues that Dryden uses the occasion of writing a history of satire, designed to introduce translations of Juvenal and Persius, to produce his longest dedication and critical essay, The Discourse of Satire (1692), with a potentially unflattering portrait of his old patron, the earl of Dorset, and William III's court carefully lodged at the center in the oddly prolonged trial of critical judgment between Horace and Juvenal. The length and difficult progress of this essay signal yet conceal the personal story behind the history. To Horace, Dryden assigns qualities of effeminate sycophancy and compromised accommodation to a usurping monarch, Augustus Caesar, qualities the poet must distance from himself, once the Stuarts' hired pen, but may attach subtly to Dorset — like Horace the courtier of a usurper. Dryden awards first prize in satire to the exile Juvenal whose masculine freedom of rage and digression the poet claims as his own.Less
This chapter argues that Dryden uses the occasion of writing a history of satire, designed to introduce translations of Juvenal and Persius, to produce his longest dedication and critical essay, The Discourse of Satire (1692), with a potentially unflattering portrait of his old patron, the earl of Dorset, and William III's court carefully lodged at the center in the oddly prolonged trial of critical judgment between Horace and Juvenal. The length and difficult progress of this essay signal yet conceal the personal story behind the history. To Horace, Dryden assigns qualities of effeminate sycophancy and compromised accommodation to a usurping monarch, Augustus Caesar, qualities the poet must distance from himself, once the Stuarts' hired pen, but may attach subtly to Dorset — like Horace the courtier of a usurper. Dryden awards first prize in satire to the exile Juvenal whose masculine freedom of rage and digression the poet claims as his own.
Patrick Coleman
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199589340
- eISBN:
- 9780191723322
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199589340.003.0004
- Subject:
- Literature, European Literature, 18th-century Literature
This chapter analyzes Rousseau's evolving relationship with his public by examining the distinctions he draws between good and bad anger, between righteous indignation and self-centered resentment. ...
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This chapter analyzes Rousseau's evolving relationship with his public by examining the distinctions he draws between good and bad anger, between righteous indignation and self-centered resentment. The different ways anger is discussed and displayed in the two Discours, in the Lettre à d'Alembert, in Julie, ou la nouvelle Héloïse, and in Émile, serve to legitimize the low-born author's critique of social conventions and to provoke his readers to action. Yet, they also illustrate Rousseau's belief that a Senecan transcendence of emotion is a key both to social harmony and to the inner equilibrium of the self, and equanimity no less than a Juvenalian capacity for anger is set up as evidence of the author's claim to cultural authority. The tension between these two attitudes is shown to be a primary source of dynamism in Rousseau's work.Less
This chapter analyzes Rousseau's evolving relationship with his public by examining the distinctions he draws between good and bad anger, between righteous indignation and self-centered resentment. The different ways anger is discussed and displayed in the two Discours, in the Lettre à d'Alembert, in Julie, ou la nouvelle Héloïse, and in Émile, serve to legitimize the low-born author's critique of social conventions and to provoke his readers to action. Yet, they also illustrate Rousseau's belief that a Senecan transcendence of emotion is a key both to social harmony and to the inner equilibrium of the self, and equanimity no less than a Juvenalian capacity for anger is set up as evidence of the author's claim to cultural authority. The tension between these two attitudes is shown to be a primary source of dynamism in Rousseau's work.
Claire Stocks
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9781781380284
- eISBN:
- 9781781387252
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781781380284.003.0013
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
This concluding chapter provides a final overview of the Roman Hannibal and his portrayal in SiliusItalicus’ Punica. As well as providing a conclusive discussion on how Silius’ Hannibal is a man who ...
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This concluding chapter provides a final overview of the Roman Hannibal and his portrayal in SiliusItalicus’ Punica. As well as providing a conclusive discussion on how Silius’ Hannibal is a man who undergoes a process of decline after Cannae whilst his status as a super-uir continues to evolve, this chapter returns to the final appearance of Hannibal above the plains of Zama. It is noted that in referring to his legacy, Hannibal does not say that his nomen(name)will survive, but his nomina (‘names’). It is argued that with this use of the plural form, there is a subtle nod to the multiple ‘Hannibals’ that exist in Silius’ Punica as well to the different ways in which he is remembered and perceived in Rome's literature.Less
This concluding chapter provides a final overview of the Roman Hannibal and his portrayal in SiliusItalicus’ Punica. As well as providing a conclusive discussion on how Silius’ Hannibal is a man who undergoes a process of decline after Cannae whilst his status as a super-uir continues to evolve, this chapter returns to the final appearance of Hannibal above the plains of Zama. It is noted that in referring to his legacy, Hannibal does not say that his nomen(name)will survive, but his nomina (‘names’). It is argued that with this use of the plural form, there is a subtle nod to the multiple ‘Hannibals’ that exist in Silius’ Punica as well to the different ways in which he is remembered and perceived in Rome's literature.
Paul Hammond
- Published in print:
- 1999
- Published Online:
- October 2011
- ISBN:
- 9780198184119
- eISBN:
- 9780191674181
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198184119.001.0001
- Subject:
- Literature, 17th-century and Restoration Literature
This book examines the uses that Dryden makes of Latin in his poetry and his critical writing, firstly through quotation and allusion, and secondly through formal translation. The first half explores ...
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This book examines the uses that Dryden makes of Latin in his poetry and his critical writing, firstly through quotation and allusion, and secondly through formal translation. The first half explores the paradox that Dryden's sense of himself as a modern English writer is often articulated by means of a turn to classical Latin, while the contemporary English nation is conceptualized through references to ancient Rome. The second half offers readings of Dryden's translations from Horace, Juvenal, Lucretius, Ovid, and Virgil, culminating in a long essay on Dryden's Aeneis. Dryden used translation from the Latin poets as a way of exploring new territory: in the public sphere, to engage with empire and its loss, and in the private world, to contemplate selfhood and its dissolution. In following the varied traces of Rome in the texture of Dryden's writing, and by emphasizing his continual engagement with mutability and metamorphosis, this book argues the case for Dryden as a thoughtful, humanistic poet.Less
This book examines the uses that Dryden makes of Latin in his poetry and his critical writing, firstly through quotation and allusion, and secondly through formal translation. The first half explores the paradox that Dryden's sense of himself as a modern English writer is often articulated by means of a turn to classical Latin, while the contemporary English nation is conceptualized through references to ancient Rome. The second half offers readings of Dryden's translations from Horace, Juvenal, Lucretius, Ovid, and Virgil, culminating in a long essay on Dryden's Aeneis. Dryden used translation from the Latin poets as a way of exploring new territory: in the public sphere, to engage with empire and its loss, and in the private world, to contemplate selfhood and its dissolution. In following the varied traces of Rome in the texture of Dryden's writing, and by emphasizing his continual engagement with mutability and metamorphosis, this book argues the case for Dryden as a thoughtful, humanistic poet.
Paul Hammond
- Published in print:
- 1999
- Published Online:
- October 2011
- ISBN:
- 9780198184119
- eISBN:
- 9780191674181
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198184119.003.0004
- Subject:
- Literature, 17th-century and Restoration Literature
This chapter focuses on Dryden's theory and practice of translation. He considers his own way of translating as the middle way between the two extremes of literal rendering and free imitation. This ...
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This chapter focuses on Dryden's theory and practice of translation. He considers his own way of translating as the middle way between the two extremes of literal rendering and free imitation. This method preserves the author's sense without ‘innovation of thoughts’, but respects the distinctive temper of the translator's language, not holding it ‘necessary that Words and Lines should be confin'd to the measure of their Original’. Translations from Aeneid, Lucretius, Horace, Juvenal, and Ovid are discussed.Less
This chapter focuses on Dryden's theory and practice of translation. He considers his own way of translating as the middle way between the two extremes of literal rendering and free imitation. This method preserves the author's sense without ‘innovation of thoughts’, but respects the distinctive temper of the translator's language, not holding it ‘necessary that Words and Lines should be confin'd to the measure of their Original’. Translations from Aeneid, Lucretius, Horace, Juvenal, and Ovid are discussed.
Robin Sowerby
- Published in print:
- 2006
- Published Online:
- January 2010
- ISBN:
- 9780199286126
- eISBN:
- 9780191713873
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199286126.003.0004
- Subject:
- Literature, 18th-century Literature
This chapter examines the effect that the English Augustan aesthetic — embodied in the example of the Roman Augustan Virgil — had on the translation those silver Latin poets who reacted against the ...
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This chapter examines the effect that the English Augustan aesthetic — embodied in the example of the Roman Augustan Virgil — had on the translation those silver Latin poets who reacted against the artistic ideals of the Roman Augustans. All the various translations examined — Dryden's Persius and Juvenal, Rowe's Lucan and Pope's Statius, all Latin poets of the silver age — are shown to embody the hard won Augustan virtues of clearness, purity, and ease that are the hallmarks of the Augustan achievement of Dryden's language and style. The strength and limitations of Rowe's Lucan, hailed by Dr Johnson as one of the greatest productions of English poetry, are brought out in a comparison with Marlowe's earlier version. Pope's vigorous version of Statius, it is argued, proved to be a promising apprenticeship for the translation of Homer.Less
This chapter examines the effect that the English Augustan aesthetic — embodied in the example of the Roman Augustan Virgil — had on the translation those silver Latin poets who reacted against the artistic ideals of the Roman Augustans. All the various translations examined — Dryden's Persius and Juvenal, Rowe's Lucan and Pope's Statius, all Latin poets of the silver age — are shown to embody the hard won Augustan virtues of clearness, purity, and ease that are the hallmarks of the Augustan achievement of Dryden's language and style. The strength and limitations of Rowe's Lucan, hailed by Dr Johnson as one of the greatest productions of English poetry, are brought out in a comparison with Marlowe's earlier version. Pope's vigorous version of Statius, it is argued, proved to be a promising apprenticeship for the translation of Homer.
James Uden
- Published in print:
- 2014
- Published Online:
- October 2014
- ISBN:
- 9780199387274
- eISBN:
- 9780199387298
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199387274.001.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This book offers a new reading of the Satires of Juvenal, rediscovering the poet as a smart and scathing commentator on the cultural and political world of second-century Rome. The study is unified ...
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This book offers a new reading of the Satires of Juvenal, rediscovering the poet as a smart and scathing commentator on the cultural and political world of second-century Rome. The study is unified by the idea of Juvenal as an “invisible satirist.” Previous studies have focused on the nature of his poetic persona, but this study argues that Juvenal creates no coherent character in his Satires. Rather, the satirist flaunts his ability to disguise his identity, to shift voices and provoke his audience with contradictory perspectives and ideas. The Invisible Satirist links these techniques to comparable phenomena in contemporary rhetoric and philosophy, particularly the shape-shifting performances of the sophists and the acerbic sermons of the Cynic philosophers. Individual chapters use close readings of the Satires to demonstrate Juvenal’s engagement with key issues of his period: the problem of critical speech at Rome; the changing nature of Roman identity amid the fluid multiculturalism of the second-century Empire; and the relationship that Greeks and Romans had with their past. The Juvenal who emerges is both more elusive in his poetics, and far more engaged with the culture and politics of Trajanic and Hadrianic Rome, than has previously been realized.Less
This book offers a new reading of the Satires of Juvenal, rediscovering the poet as a smart and scathing commentator on the cultural and political world of second-century Rome. The study is unified by the idea of Juvenal as an “invisible satirist.” Previous studies have focused on the nature of his poetic persona, but this study argues that Juvenal creates no coherent character in his Satires. Rather, the satirist flaunts his ability to disguise his identity, to shift voices and provoke his audience with contradictory perspectives and ideas. The Invisible Satirist links these techniques to comparable phenomena in contemporary rhetoric and philosophy, particularly the shape-shifting performances of the sophists and the acerbic sermons of the Cynic philosophers. Individual chapters use close readings of the Satires to demonstrate Juvenal’s engagement with key issues of his period: the problem of critical speech at Rome; the changing nature of Roman identity amid the fluid multiculturalism of the second-century Empire; and the relationship that Greeks and Romans had with their past. The Juvenal who emerges is both more elusive in his poetics, and far more engaged with the culture and politics of Trajanic and Hadrianic Rome, than has previously been realized.
Catherine Keane
- Published in print:
- 2015
- Published Online:
- March 2015
- ISBN:
- 9780199981892
- eISBN:
- 9780190226053
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199981892.001.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
In his sixteen Satires, the Roman poet Juvenal explores the emotional provocations and pleasures associated with social criticism and mockery, drawing on a diverse array of Greco-Roman treatments of ...
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In his sixteen Satires, the Roman poet Juvenal explores the emotional provocations and pleasures associated with social criticism and mockery, drawing on a diverse array of Greco-Roman treatments of the emotions. Juvenal defines the satirist figure as an emotional agent who dramatizes his own response to human vices and faults and aims to engage other people’s feelings in turn. He adopts a series of rhetorical personae that represent a spectrum of satiric emotions, encouraging his audience to ponder satire’s proper emotional mode and function. After first offering his signature “indignation” with its associated pleasures and discomforts, Juvenal then tries on subtler personae that suggest dry detachment, callous amusement, anxiety, and other affective states. But as this book shows, the satiric emotions are not found only in the author’s rhetorical performances; they are also at the center of the human farrago that the Satires purport to treat. As he paints human experience and conflict from many angles, Juvenal explores the dynamic operation of emotions in society. Each poem engages in unique ways with different model texts, ideas, stories, and settings to reveal the unsettling powers of its emotional mode. The book analyzes the structural logic and “emotional plots” of the entire series and its five discrete books.Less
In his sixteen Satires, the Roman poet Juvenal explores the emotional provocations and pleasures associated with social criticism and mockery, drawing on a diverse array of Greco-Roman treatments of the emotions. Juvenal defines the satirist figure as an emotional agent who dramatizes his own response to human vices and faults and aims to engage other people’s feelings in turn. He adopts a series of rhetorical personae that represent a spectrum of satiric emotions, encouraging his audience to ponder satire’s proper emotional mode and function. After first offering his signature “indignation” with its associated pleasures and discomforts, Juvenal then tries on subtler personae that suggest dry detachment, callous amusement, anxiety, and other affective states. But as this book shows, the satiric emotions are not found only in the author’s rhetorical performances; they are also at the center of the human farrago that the Satires purport to treat. As he paints human experience and conflict from many angles, Juvenal explores the dynamic operation of emotions in society. Each poem engages in unique ways with different model texts, ideas, stories, and settings to reveal the unsettling powers of its emotional mode. The book analyzes the structural logic and “emotional plots” of the entire series and its five discrete books.
Paul White
- Published in print:
- 2013
- Published Online:
- January 2015
- ISBN:
- 9780197265543
- eISBN:
- 9780191760358
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197265543.003.0006
- Subject:
- History, European Early Modern History
This chapter provides a close reading of Badius’s commentary methods in an early work, the Silvae morales (1492). This is a compilation of twelve books of poetry excerpts grouped around various moral ...
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This chapter provides a close reading of Badius’s commentary methods in an early work, the Silvae morales (1492). This is a compilation of twelve books of poetry excerpts grouped around various moral themes and accompanied by a substantial commentary. Badius’s focus was primarily on the Latin classics (the moral epigrams of pseudoVirgil, the Odes and Epistles of Horace, the Annales of Ennius, and the satires of Juvenal and Persius); but the later books also contain works by fifteenthcentury humanist authors (Mantuan’s Contra poetas, Sulpizio’s Carmen iuvenile) and some of the mainstays of the medieval grammar curriculum (Cato’s distichs and the Parabolae of Alain de Lille). The chapter focuses in particular on the literary techniques Badius used to situate his text within certain traditions, and on his manipulation of ‘silva’ symbolism throughout the work to guide the reader’s encounter with the text.Less
This chapter provides a close reading of Badius’s commentary methods in an early work, the Silvae morales (1492). This is a compilation of twelve books of poetry excerpts grouped around various moral themes and accompanied by a substantial commentary. Badius’s focus was primarily on the Latin classics (the moral epigrams of pseudoVirgil, the Odes and Epistles of Horace, the Annales of Ennius, and the satires of Juvenal and Persius); but the later books also contain works by fifteenthcentury humanist authors (Mantuan’s Contra poetas, Sulpizio’s Carmen iuvenile) and some of the mainstays of the medieval grammar curriculum (Cato’s distichs and the Parabolae of Alain de Lille). The chapter focuses in particular on the literary techniques Badius used to situate his text within certain traditions, and on his manipulation of ‘silva’ symbolism throughout the work to guide the reader’s encounter with the text.
Paul White
- Published in print:
- 2013
- Published Online:
- January 2015
- ISBN:
- 9780197265543
- eISBN:
- 9780191760358
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197265543.003.0007
- Subject:
- History, European Early Modern History
This chapter traces the evolution of Badius’s commentary practice by studying the grammatical commentaries he composed on the classical authors central to his pedagogical programme: Terence, Virgil, ...
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This chapter traces the evolution of Badius’s commentary practice by studying the grammatical commentaries he composed on the classical authors central to his pedagogical programme: Terence, Virgil, Horace, Persius and Juvenal. Placing these in the wider context of humanist education, the chapter considers aspects of presentation and mise-en-page, and analyses Badius’s changing commentary methods and the audiences for which he was writing. It pays particular attention to the methods used to orient and guide the reader through the text: introductory sections, rules, illustrations, etc.Less
This chapter traces the evolution of Badius’s commentary practice by studying the grammatical commentaries he composed on the classical authors central to his pedagogical programme: Terence, Virgil, Horace, Persius and Juvenal. Placing these in the wider context of humanist education, the chapter considers aspects of presentation and mise-en-page, and analyses Badius’s changing commentary methods and the audiences for which he was writing. It pays particular attention to the methods used to orient and guide the reader through the text: introductory sections, rules, illustrations, etc.
Peter Green
- Published in print:
- 2008
- Published Online:
- March 2012
- ISBN:
- 9780520255074
- eISBN:
- 9780520934719
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520255074.001.0001
- Subject:
- Classical Studies, Archaeology: Classical
A combination of scholarship and unorthodoxy makes these studies in ancient history and literature unusually rewarding. Few of the objects of conventional admiration gain much support from the ...
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A combination of scholarship and unorthodoxy makes these studies in ancient history and literature unusually rewarding. Few of the objects of conventional admiration gain much support from the author—Pericles and the “democracy” of fifth-century Athens are treated to a very cool scrutiny—but he has a warm regard for the real virtues of antiquity and for those who spoke with “an individual voice.” The studies cover both history and literature, Greece and Rome. They range from the real nature of Athenian society to poets as diverse as Sappho and Juvenal, and all of them, without laboring any parallels, make the ancient world immediately relevant to our own. There is, for example, an essay on how classical history often becomes a vehicle for the historian's own political beliefs and fantasies of power.Less
A combination of scholarship and unorthodoxy makes these studies in ancient history and literature unusually rewarding. Few of the objects of conventional admiration gain much support from the author—Pericles and the “democracy” of fifth-century Athens are treated to a very cool scrutiny—but he has a warm regard for the real virtues of antiquity and for those who spoke with “an individual voice.” The studies cover both history and literature, Greece and Rome. They range from the real nature of Athenian society to poets as diverse as Sappho and Juvenal, and all of them, without laboring any parallels, make the ancient world immediately relevant to our own. There is, for example, an essay on how classical history often becomes a vehicle for the historian's own political beliefs and fantasies of power.
Thomas Hubbard (ed.)
- Published in print:
- 2003
- Published Online:
- March 2012
- ISBN:
- 9780520223813
- eISBN:
- 9780520936508
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520223813.001.0001
- Subject:
- Classical Studies, Archaeology: Classical
The most important primary texts on homosexuality in ancient Greece and Rome have been translated into modern, explicit English and collected together in this sourcebook. Covering an extensive ...
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The most important primary texts on homosexuality in ancient Greece and Rome have been translated into modern, explicit English and collected together in this sourcebook. Covering an extensive period—from the earliest Greek texts in the late seventh century B.C.E. to Greco-Roman texts of the third and fourth centuries C.E.—the volume includes well-known writings by Plato, Sappho, Aeschines, Catullus, and Juvenal, as well as less well known but relevant and intriguing texts such as graffiti, comic fragments, magical papyri, medical treatises, and selected artistic evidence. These texts, together with introductions, clearly show that there was in fact no more consensus about homosexuality in ancient Greece and Rome than there is today. The material is organized by period and by genre, allowing readers to consider chronological developments in both Greece and Rome. Individual texts are presented with a short introduction contextualizing them by date and, where necessary, discussing their place within a larger work. Chapter introductions discuss questions of genre and the ideological significance of the texts, while the general introduction to the volume addresses issues such as sexual orientation in antiquity, moral judgments, class and ideology, and lesbianism.Less
The most important primary texts on homosexuality in ancient Greece and Rome have been translated into modern, explicit English and collected together in this sourcebook. Covering an extensive period—from the earliest Greek texts in the late seventh century B.C.E. to Greco-Roman texts of the third and fourth centuries C.E.—the volume includes well-known writings by Plato, Sappho, Aeschines, Catullus, and Juvenal, as well as less well known but relevant and intriguing texts such as graffiti, comic fragments, magical papyri, medical treatises, and selected artistic evidence. These texts, together with introductions, clearly show that there was in fact no more consensus about homosexuality in ancient Greece and Rome than there is today. The material is organized by period and by genre, allowing readers to consider chronological developments in both Greece and Rome. Individual texts are presented with a short introduction contextualizing them by date and, where necessary, discussing their place within a larger work. Chapter introductions discuss questions of genre and the ideological significance of the texts, while the general introduction to the volume addresses issues such as sexual orientation in antiquity, moral judgments, class and ideology, and lesbianism.
Peter Green
- Published in print:
- 2008
- Published Online:
- March 2012
- ISBN:
- 9780520255074
- eISBN:
- 9780520934719
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520255074.003.0007
- Subject:
- Classical Studies, Archaeology: Classical
This chapter discusses the work of Juvenal, which contains almost no autobiographical material—in marked contrast to the satires of his predecessors Horace and Persius—and notes that of his ...
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This chapter discusses the work of Juvenal, which contains almost no autobiographical material—in marked contrast to the satires of his predecessors Horace and Persius—and notes that of his contemporaries, only the epigrammatist Martial ever refers to him. It has been argued that Juvenal was a pupil of Quintilian, and that the Institutio Oratoria alludes to him among ‘contemporaries of promise’, but this is pure speculation. The chapter notes that after his death—it is unlikely that he survived for long after the accession of Antonius Pius in ad 138—the Satires dropped out of sight absolutely for about a century.Less
This chapter discusses the work of Juvenal, which contains almost no autobiographical material—in marked contrast to the satires of his predecessors Horace and Persius—and notes that of his contemporaries, only the epigrammatist Martial ever refers to him. It has been argued that Juvenal was a pupil of Quintilian, and that the Institutio Oratoria alludes to him among ‘contemporaries of promise’, but this is pure speculation. The chapter notes that after his death—it is unlikely that he survived for long after the accession of Antonius Pius in ad 138—the Satires dropped out of sight absolutely for about a century.
Holly Folk
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781469632797
- eISBN:
- 9781469632810
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469632797.003.0006
- Subject:
- Religion, Religious Studies
Chapter five addresses the eclipse of D. D. Palmer by his son, in leading both the proprietary school and the burgeoning chiropractic profession. B. J. Palmer presented himself as the rightful heir ...
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Chapter five addresses the eclipse of D. D. Palmer by his son, in leading both the proprietary school and the burgeoning chiropractic profession. B. J. Palmer presented himself as the rightful heir and loyal exponent of his father’s ideas, but he used legal measures and the court of opinion to block D. D.’s involvement in the chiropractic movement. It is in this climate of marginalization, the chapter argues, that D. D. Palmer made his most elaborate “religious turn,” with the creation of the Third Chiropractic Theory. Living in Southern California, D. D. Palmer befriended the metaphysical writer William Juvenal Colville. This chapter analyzes the Third Chiropractic Theory, and considers the possible influence of Theosophical ideas for its emphasis on “Tone” and “Vibration.” It compares D. D. Palmer’s Chiropractic Philosophy with the spiritual theories proposed by Andrew Taylor Still, creator of osteopathy, after he was sidelined from his profession.Less
Chapter five addresses the eclipse of D. D. Palmer by his son, in leading both the proprietary school and the burgeoning chiropractic profession. B. J. Palmer presented himself as the rightful heir and loyal exponent of his father’s ideas, but he used legal measures and the court of opinion to block D. D.’s involvement in the chiropractic movement. It is in this climate of marginalization, the chapter argues, that D. D. Palmer made his most elaborate “religious turn,” with the creation of the Third Chiropractic Theory. Living in Southern California, D. D. Palmer befriended the metaphysical writer William Juvenal Colville. This chapter analyzes the Third Chiropractic Theory, and considers the possible influence of Theosophical ideas for its emphasis on “Tone” and “Vibration.” It compares D. D. Palmer’s Chiropractic Philosophy with the spiritual theories proposed by Andrew Taylor Still, creator of osteopathy, after he was sidelined from his profession.
