The Cambridge Companion to Roman Satire (Cambridge Companions to Literature)
Language: English
Pages: 374
ISBN: 0521006279
Format: PDF / Kindle (mobi) / ePub
Satire as a distinct genre was first developed by the Romans and regarded as completely 'their own'. This Companion's international contributors provide a stimulating introduction to the genre and its individual proponents aimed particularly at non-specialists. Roman satires are explored both as generic, literary phenomena and as highly symbolic and effective social activities. Satire's transformation in late antiquity and reception in more recent centuries is also covered.
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Vast sea of translations and imitations. And it structures criticism of satire for centuries to come, figuring it as a question of Roman self-possession, “ours” versus “theirs.” But if, as I have suggested, the underlying question posed by Lucilius in his poems is “what have we Romans to say for ourselves anymore?” the answer he gives is the vehicle through which he puts the question: his satires. Both in their formal design and in their content, poems of “his” kind stand in sharp opposition to.
Descriptive term that, while it has no specific gastronomic or medical connections, well approximates the idea of decoctius: “Lucius, for his part, was simple and archaic. Spurius, while no more elaborate, was more restrained [adstrictior], for he was an expert in Stoic doctrine” (Brutus 94). And further below, “the speech of the Stoics is more restrained” (120).25 24 25 For bibliography see Moretti (1995) esp. 52–70; and, for Roman culture, 71–105. Other relevant loci include Brutus 113–14,.
University Press, 2006 Epic allusion in Roman satire The picture is funny, and it also resonates with contemporary debates about Roman-ness. The turnip is the most rustic of foods, grown, not purchased, native, not imported. Plutarch reports that the Elder Cato was inspired by the story of Manius Curius Dentatus’ conviction that a man who could be satisfied with turnips did not need gold (Plutarch, Cato Major 2.2). By eating turnips, even in heaven (where does he get them anyway?), Romulus.
Than Horace, Persius seeks out epic descriptions of severe introspection and thwarted utterance to adorn his cryptic and crabbed verses. When he sets out to praise his friend Cornutus in the fifth satire, he disavows the poetic custom (which goes back to Homer, Iliad 2.488–90) of asking for many mouths to meet the descriptive demands of his topic (Persius 5.1–4).33 After Cornutus interrupts to praise Persius’ terse style, Persius resumes to say that he would ask for a hundred throats to say all.
Accident and recovery of Horace, Sermones 2.8 has the effect of spotlighting the artifice of Trimalchio’s dramatics, which menace and enthrall his guests in equal measure. Yet in this politically loaded, Neronian text, such fictions of chance are replayed over and over,43 and take on a specially provocative bite. In Annals 14, Tacitus hams up what he documents as Nero’s packaging of sinister plots as tricks of fate, culminating in the scheme to murder his mother Agrippina by sending her out in a.