By Daniel Hooley
This compact and severely up to date creation to Roman satire examines the advance of the style, focusing relatively at the literary and social performance of satire. It considers why it used to be very important to the Romans and why it nonetheless matters.
- Provides a compact and severely updated advent to Roman satire.
- Focuses at the improvement and serve as of satire in literary and social contexts.
- Takes account of contemporary serious approaches.
- Keeps the uninitiated reader in brain, presuming no past wisdom of the subject.
- Introduces every one satirist in his personal old time and position – together with the masters of Roman satire, Lucilius, Horace, Persius, and Juvenal.
- Facilitates comparative and intertextual dialogue of alternative satirists.
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Additional info for Roman Satire
Example text
Hence, that opening address to Maecenas, shorthand for so much. ’’ Easy for a reader to dismiss or avoid implication, until Horace breaks the illusion of quiet rumination with Maecenas and addresses the reader: ‘‘Why laugh? Switch out the name and this story’s on you’’ (69–70). The reader has been tricked; thinking he was eavesdropping on a quiet little tirade, he suddenly finds himself drawn into the fabric of the poem: ‘‘you heap up sacks of money, agape over them even as you sleep . . ’’ (70–71).
It is a statement, too, of Roman identity, a declaration that the words of the satirist, whatever their source or influence, become naturalized, born of and about Rome. This fashioning of verses reflecting Roman identity is not much different from Ennius’ practice, but it is Lucilius whose gathering of diverse elements and qualities is founded most deeply and aggressively on recording a certain kind of Romanitas in a moment of national identity crisis. That Romanitas, as we shall now see via a grammarian’s non-thematic filtration system, is less about what is said or subjects covered than a certain posture.
S. Gratwick in ‘‘The Satires of Ennius and Lucilius’’ in E. J. Kenney and W. V. , The Cambridge History of Classical Literature, vol. 2 (Cambridge, 1982), 156–71, lays out the Hellenistic background of Ennius’ Saturae. Others of note include M. Coffey, Roman Satire (London, 1989), 11–23; J. H. Waszink, ‘‘Problems Concerning the Satura of Ennius,’’ in O. , Ennius, Fondation Hardt, Entretiens sur l’Antiquite´ classique XVII: 99–137 (Geneva, 1972); N. Rudd, Themes in Roman Satire (London, 1986); and A.