By Susanna Braund, Josiah Osgood
A spouse to Persius and Juvenal breaks new flooring in its in-depth concentrate on either authors as "satiric successors"; specific person contributions recommend unique views on their paintings, and supply an in-depth exploration of Persius' and Juvenal's afterlives.
- Provides exact and updated suggestions at the texts and contexts of Persius and Juvenal
- Offers huge dialogue of the reception of either authors, reflecting 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
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). As it happens, though, this is actually not quite how Horace had praised Lucilius in 1.
At the root of this nostalgia for a notionally “pure” or “authentic” form of satire lay the ﬁgure of Lucilius, the great satirical poet of second-century BCE Rome whose poetry was mythologized by subsequent Roman satirists as the benchmark of the genre – freewheeling, unbridled speech, including liberal, carefree use of obscenity, personal mockery of known individuals and stock character-types, a quasiphilosophical moralizing attitude, and a stance of unremitting indignation at the hypocrisies and assorted misbehaviors of humanity.
The antagonism between Albucius and Scaevola in Lucilius’ Book 2 evidently played out on one level as a clash between an Epicurean (Albucius) and a Stoic (Scaevola), but whether Lucilius intended to register sympathy with one philosophical school or not is impossible to say. One would assume that Book 2 is ultimately supposed to amount to an attack on Scaevola, but these lines divert us with the representation of an attack internal to the narrative, where Scaevola comes off as the sympathetic satirist and Albucius the target.