By Susanna Braund, Josiah Osgood

A better half to Persius and Juvenal breaks new flooring in its in-depth concentrate on 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 distinctive and up to date counsel at the texts and contexts of Persius and Juvenal
  • Offers tremendous dialogue of the reception of either authors, reflecting probably the most leading edge paintings being performed in modern Classics
  • Contains an intensive exploration of Persius' and Juvenal's afterlives

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Extra resources for A Companion to Persius and Juvenal

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Well, if he feels like it, he’ll nevertheless take those last elements away from him too. The fragment is an elaborate (and yes, as Horace might say, somewhat prolix) complaint that no defendant stands a chance in court with Lupus as judge. The Virgilian commentator Servius (on Aen. 104) notes that after Lupus’ death, Lucilius even composed an entire poem (some have suggested it occupied the entire first book of satires; see Michelfeit (1965)) in which a Council of the Gods (concilium deorum) deliberated about whether to execute Lupus for his role in corrupting Rome.

To the later Roman satirists, in short, Lucilius was the fountain of satirical authenticity, the father-figure whose approval they each notionally craved. In fact, one might even say that in post-Lucilian Roman satire the very idea of tapping into a Lucilian vein became a veritable poetic trope. It became de rigueur, that is, for Roman satirists to articulate a literary relationship with Lucilius at some point in their work, as if continually asking themselves how much of his frankness and aggression could they get away with?

485 Keil, Gramm. ) a type of song among the Romans which is now invective and composed in the manner of Old Comedy for the purpose of censuring the bad behavior of men, such as Lucilius and Horace and Persius wrote. But at one time satire was the name given to a kind of song composed from different bits of poems of the sort that Pacuvius and Ennius wrote. However many other satirical poets were writing in Rome from the late Republic through the early Empire, the canon of Roman verse satire took shape around the four figures Lucilius, Horace, Persius, and Juvenal (curiously, Diomedes himself does not mention Juvenal in the passage just cited; see Freudenburg (2001) 1–5 on the problems of canon inclusion in Roman satire).

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