By Susanna Braund, Josiah Osgood
A better half to Persius and Juvenal breaks new floor in its in-depth concentrate on either authors as "satiric successors"; certain person contributions recommend unique views on their paintings, and supply an in-depth exploration of Persius' and Juvenal's afterlives.
- Provides targeted and updated counsel at the texts and contexts of Persius and Juvenal
- Offers significant dialogue of the reception of either authors, reflecting probably the most cutting edge paintings being performed in modern Classics
- Contains an intensive exploration of Persius' and Juvenal's afterlives
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Additional info for A Companion to Persius and Juvenal
The history of Roman satire prior to Persius and Juvenal, which will be the concern of this chapter, can be written in a variety of ways, but at the most fundamental level it is a story of poets continually calibrating the literary demands of the genre to suit contemporary cultural and political conditions. All satirists may seek to be provocative and comical, or claim to instruct and edify, but exactly how they go about this must be tailored not only to the literary tastes of the age, but more speciﬁcally to the level of tolerance for satirical antagonism that audiences and targets can bear.
10, once again, shows Horace playfully attacking Lucilius under the guise of offering a cogent literary theory of his own. 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 may even imagine here that all three of them used to mock each other, while they waited for the vegetables to cook (73–74), and that none of them took it very seriously because everyone understood the occasion as ludic. The Lucilian model here is crucial for Horace, since ultimately he brings it up as a defense of his own activity as a satirist. In a classic posture blending selfeffacement and self-aggrandizement, he concedes his inferiority to the great Lucilius, but boasts that he too has consorted with the great (me cum magnis uixisse).