A significant other to Persius and Juvenal breaks new flooring in its in-depth concentrate on either authors as "satiric successors"; precise person contributions recommend unique views on their paintings, and supply an in-depth exploration of Persius' and Juvenal's afterlives.
• presents targeted and updated counsel at the texts and contexts of Persius and Juvenal
• deals titanic dialogue of the reception of either authors, reflecting one of the most leading edge paintings being performed in modern Classics
• includes a thorough exploration of Persius' and Juvenal's afterlives
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Additional info for A Companion to Persius and Juvenal (Blackwell Companions to the Ancient World)
The section that immediately follows, lines 7–19, muddles things even further. 4 – one should keep things short (breuitas, 9), varied, and measured – but ends with a famous, if somewhat confusing, statement (14–17): ridiculum acri fortius et melius magnas plerumque secat res. illi, scripta quibus comoedia prisca uiris est, hoc stabant, hoc sunt imitandi. 32 Persius and Juvenal: Texts and Contexts Humor generally cuts through great matters better and more forcefully than sharpness. Those men who wrote Old Comedy relied on this principle, and in this regard they should be imitated.
Roman satirists were particularly attuned to this fact, and came to be increasingly self-conscious about the constraints and anxieties that they imagined always loomed over their chosen genre. Matters were further complicated by the fact that within the chronological boundaries of Roman verse satire – from Lucilius in the second century BCE to Juvenal in the second century CE – Rome’s political system moved from Republic to Empire, from a government based on electoral representation that allowed for considerable freedom of movement and expression (at least for the literate classes who comprised, by and large, the satirist’s audience) to one of imperial autocracy, where law and social policy were ultimately shaped by the will of a single ruler.
In “Persius, Juvenal, and Stoicism,” Shadi Bartsch argues that Persius represents a radical departure from the satiric tradition, insomuch as philosophy is not a butt for his criticism, but rather he endorses a Roman version of Stoicism, many features of which can be found in the writings of his contemporary Seneca (the practice of “selfshaping,” for example). The reflectiveness of Horatian satire thus takes on a new, Stoic twist. Next, Charles McNelis focuses his discussion – to be read alongside Cucchiarelli’s chapter – of Persius and Juvenal’s relationship to other genres of poetry by considering specifically Greek comedy and iambic poetry in a sort of case-study.