By Daniel Hooley
This compact and seriously up to date advent to Roman satire examines the advance of the style, focusing quite at the literary and social performance of satire. It considers why it used to be vital to the Romans and why it nonetheless concerns.
- Provides a compact and seriously updated creation to Roman satire.
- Focuses at the improvement and serve as of satire in literary and social contexts.
- Takes account of modern serious techniques.
- Keeps the uninitiated reader in brain, presuming no past wisdom of the topic.
- Introduces every one satirist in his personal ancient time and position – together with the masters of Roman satire, Lucilius, Horace, Persius, and Juvenal.
- Facilitates comparative and intertextual dialogue of other satirists.
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Additional info for Roman Satire (Blackwell Introductions to the Classical World)
Sample text
Granted, the message per se is not in any sense unhealthy for any of us to hear; it is good at times to be charmingly chastened. Critics sometimes speak of how Horace draws his readers into the diatribe, seeming initially to target others but then subtly turning attention to endemic weaknesses most of us share (think of the lottery when the stakes get high). Still, this is no Sermon on the Mount; its persuasive power is limited. What, then, is its appeal? To read the poem properly we have to understand how Greek and Roman poets used convention and commonplace.
He begins, then, in the manner of Bion. 1 is a sermon on the theme of mempsimoiria, discontent with one’s lot in life. In good diatribe style, examples are instanced, soldier, merchant, lawyer, farmer, each preferring the life of another; but if, Horace writes, a god should swoop down offering to grant the change, no one would go through with it (1–22). As the poem continues, Horace roams into the related theme of greed or acquisitiveness – it’s that people can’t let go of – eventually to link the two in line 108: ‘‘I return now to my starting point, how nobody, because of greed, is happy with himself .
Petersmann, ‘‘The Language of Early Roman Satire: Its Function and Characteristics,’’ in J. N. Adams and R. G. , Aspects of the Language of Latin Poetry (Oxford, 1999), 289–310. 2 Horace If Lucilius was the first significant writer of satires, it took Horace to make Satire. Lucilius would have represented merely a divergent, Roman strain of invective, and thus rather a sideshow in classical literary history, were it not for Horace’s elaborately self-conscious investment in the genre. Horace gave us the very thing, an invented literary kind, precisely as he consciously designed it.