February 21, 2017

A Companion to Persius and Juvenal (Blackwell Companions to

A significant other to Persius and Juvenal breaks new floor in its in-depth specialize in either authors as "satiric successors"; targeted person contributions recommend unique views on their paintings, and supply an in-depth exploration of Persius' and Juvenal's afterlives.

• presents certain and updated suggestions at the texts and contexts of Persius and Juvenal
• deals vast dialogue of the reception of either authors, reflecting the most leading edge paintings being performed in modern Classics
• incorporates a thorough exploration of Persius' and Juvenal's afterlives

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Extra info for A Companion to Persius and Juvenal (Blackwell Companions to the Ancient World)

Sample text

E. Housman – is surveyed in Holt Parker’s second chapter, also co-authored with Braund. The commentaries, editions, and other scholarly work sampled in the chapter – sometimes of breathtaking ingenuity – provide a window onto larger trends in classical scholarship and the cultural Zeitgeist more generally, as well as the reception of Persius and Juvenal specifically. The same is true for the next two chapters, which deal with school texts and translations of Persius and Juvenal. In “School Texts of Persius and Juvenal,” Amy Richlin provides an innovative look at editions of the poets aimed at students from around 1600 onwards.

The third-century CE grammarian Porphyrio) that the early Roman poet Ennius (239–169 BCE) composed a work in four books that he called saturae, but only a handful of fragments has survived and these are not especially illuminating. The fragments do contain precursors to some of the elements that came to be associated with Roman satire – the poet’s personal involvement in a narrative, Aesopic fable, complaint and moralizing, for example – but Ennius’ actual Satire in the Republic 21 influence on later satirists seems to have been minimal (Coffey (1976) 32).

So why, then, does Horace – or any satirist for that matter – write? This is the question that Horace takes up in the rest of the poem, as he argues against Trebatius’ recommendation to give up writing satire altogether for his own safety. Horace offers a succinct explanation in lines 27–29: quot capitum uiuunt, totidem studiorum milia: me pedibus delectat claudere uerba Lucili ritu, nostrum melioris utroque. as many people as are alive, so many thousands of interests there are: my pleasure lies in putting words to meter in the manner of Lucilius, a man better than both of us.

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