By Susanna Braund, Josiah Osgood
A spouse to Persius and Juvenal breaks new flooring in its in-depth specialize in either authors as "satiric successors"; specified person contributions recommend unique views on their paintings, and supply an in-depth exploration of Persius' and Juvenal's afterlives.
- Provides certain and updated assistance at the texts and contexts of Persius and Juvenal
- Offers big dialogue of the reception of either authors, reflecting one of the most cutting edge paintings being performed in modern Classics
- Contains an intensive exploration of Persius' and Juvenal's afterlives
Read or Download A Companion to Persius and Juvenal PDF
Best ancient & classical books
"A cupboard of Roman Curiousities" is subtitled "Strange stories and wonderful evidence from the World's maximum Empire. " i assumed it sounded fascinating and will be a enjoyable learn. it truly is really beautiful attention-grabbing, yet it is not that enjoyable. it truly is essentially a thesaurus of Roman proof prepared byt subject (family, nutrition, the military, and so forth.
Reconstructing culture explores the devotional Hindu Krishnaite revival of the fifteenth and sixteenth centuries and its endurance into sleek occasions via an exam of 1 of its primary figures, Advaita Acarya. He was once the topic of numerous texts, and Manring considers them all by way of altering old, social, and sectarian contexts.
Referred to as "the top poem by means of the simplest poet," Virgil's Aeneid could be the main well-known paintings in Latin literature. It tells the tale of Rome's founding by way of the Trojan prince Aeneas after decades of shuttle, and it includes some of the most renowned tales concerning the Trojan warfare. It additionally unearths a lot of what the Romans felt and believed approximately themselves- the delicate reader will see that those similar values and matters frequently hassle us this day.
Regardless of the rousing tales of male heroism in battles, the Trojan battle transcended the actions of its human contributors. For Homer, it used to be the gods who carried out and accounted for what occurred. within the first a part of this ebook, the authors locate in Homer’s Iliad fabric for exploring the typical lifetime of the Greek gods: what their our bodies have been made from and the way they have been nourished, the association in their society, and this sort of lifestyles they led either in Olympus and within the human international.
- Clausewitz in English: The Reception of Clausewitz in Britain and America, 1815-1945
- Demosthenes, Speeches 18 and 19 (Oratory of Classical Greece)
- The Chronicle of Hydatius and the Consularia Constantinopolitana: Two Contemporary Accounts of the Final Years of the Roman Empire (Oxford Classical Monographs)
- A Companion to the Latin Language
Extra info for A Companion to Persius and Juvenal
And with a ﬁnal ﬂourish, at lines 14–19, Horace contrasts his own poetic skills with Lucilius’ ﬂaws: unlike Lucilius, Horace can (or so he wants us to believe) actually exercise discipline in his writing; his goal in his own writing, unlike Lucilius’, was to speak raro et perpauca (18). Here, as in the rest of this complex and convoluted poem, Horace is reﬁning his own sense of what satire ought to be and do, and cataloguing the typical ways in which the genre is misread and misinterpreted. Along the way, however, in another move typical of satirists, he leads the reader down blind alleys, arguing his position with abrupt transitions and questionable logic, and in the end makes it impossible for anyone to be certain when he is serious, semi-serious, ironic, disingenuous, or simply (and genuinely) confused.
This is a speciﬁc response to Lucilian satire, which Horace conceptualized as 30 Persius and Juvenal: Texts and Contexts uninhibited and carefree. Horace, by contrast, felt he had to ratchet down the level of libertas that Lucilius allowed himself so as not to alienate his audience. When he imagines an angry crowd (35) claiming that he would not even “spare a friend” in his effort to raise a laugh (dummodo risum | excutiat sibi, non hic cuiquam parcet amico [“as long as he shakes out a laugh | for himself, this one will not spare any friend”]), Horace draws attention to the central dilemma of satire: it exists to make an audience laugh at the expense of someone else, but it is an inherently antagonistic mode and as such runs the risk of angering an aggrieved party.
What is more, Horace’s repeated claims in Book 1 that he is really only interested in writing verse for a small group of appreciative and sophisticated friends begins to seem thoroughly disingenuous in light of line 46, above, where he threatens anyone who aggravates him with widespread public censure: “he will weep and will be sung about throughout all of Rome” (ﬂebit et insignis tota cantabitur urbe). ” Is the point of satire, in fact, to persuade its targets, through shame or humiliation, to change their behavior, or is it to play to the aesthetic tastes of people who implicitly align themselves with the poet and take more pleasure in the performance of comic Schadenfreude than in its moral substance?