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By Susanna Braund, Josiah Osgood

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

  • Provides distinctive and updated tips at the texts and contexts of Persius and Juvenal
  • Offers giant dialogue of the reception of either authors, reflecting the most cutting edge paintings being performed in modern Classics
  • Contains an intensive exploration of Persius' and Juvenal's afterlives

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Extra info for A Companion to Persius and Juvenal

Example text

In keeping with the etymology of the word satura as suggestive of an “over-stuffed” miscellany (cf. Coffey (1976) 15–18), Horace continued Lucilius’ desultory approach to subject matter, but fretted over his predecessor’s penchant for open invective, and several times criticized his compositional style. Horace’s stylistic criticisms and his own anxieties about how he might be able himself to “be” Lucilian in his own work set out well the 28 Persius and Juvenal: Texts and Contexts quirks and paradoxes that characterize satirical literature of any era, and which Persius and Juvenal likewise had to confront.

Even the organization of such a thing as a textbook series is an indication of larger cultural shifts, which Richlin brings out throughout her discussion; close reading, Richlin shows, not only of the school texts themselves but also of (archived) copies annotated by actual students opens up a fascinating vista of sometimes quite personal receptions. In “Revoicing Imperial Satire,” Gideon Nisbet turns to nineteenth- and early twentieth-century English translations of Persius and Juvenal (thus complementing the chapters of Gillespie, Hooley, and Osgood and Braund).

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. A complete text of the poem might help clarify what Lucilius’ position on each character is supposed to be, but as it stands his moral position is left up in the air. This is a stance characteristic of the best satirists, who need always to skirt that fine line between preachy homiletics and comedy.

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