By Susanna Braund, Josiah Osgood
A significant other to Persius and Juvenal breaks new flooring in its in-depth concentrate on either authors as "satiric successors"; exact person contributions recommend unique views on their paintings, and supply an in-depth exploration of Persius' and Juvenal's afterlives.
- Provides targeted and updated suggestions at the texts and contexts of Persius and Juvenal
- Offers vast dialogue of the reception of either authors, reflecting one of the most cutting edge paintings being performed in modern Classics
- Contains a radical exploration of Persius' and Juvenal's afterlives
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Additional resources for A Companion to Persius and Juvenal
The later seventeenth century – the Restoration era – is the setting for the chapter I co-authored with Susanna Braund, which examines in detail one of the most important receptions the imperial satirists ever received, John Dryden’s Discourse Concerning the Original and Progress of Satire, which was published in 1692 along with translations by Dryden and collaborators of all of Persius’ and Juvenal’s satires. We argue not only that Dryden’s Discourse is an important anticipation of modern critical approaches to satire – including the approach taken in this volume – but also that at the same time it serves to illuminate his practice as a translator.
In a classic posture blending selfeffacement and self-aggrandizement, he concedes his inferiority to the great Lucilius, but boasts that he too has consorted with the great (me cum magnis uixisse). His real audience, then – the one he needs to be most concerned about – is a small circle of “great men,” analogous to Laelius and Scipio. They will understand what satire is, they will have virtue on their side, and they will have no problem with Horace’s public abuse of people who deserve it. Their response – the proper one – will be laughter and admiration at his poetic ingenium, as much as, if not more than, the self-righteousness that is put forward as the point of satire.
O Jupiter, father and king, may my weapon, set aside, rot with rust, and may no one harm me, who desire peace. ) will weep and will be sung about, an infamous ﬁgure, through all of Rome. How do we square this attitude with the notion that the satirist thinks he should proactively rant about the world? 10 was what he wanted to replicate in his own satire. Is it not a paradox for Horace to say that he just “wants peace” (cupido mihi pacis) when a few lines earlier he admitted that, as a poet, what he really loves (delectat) is to compose Lucilian verse?
A Companion to Persius and Juvenal by Susanna Braund, Josiah Osgood