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By Jennifer L. Ferriss-Hill

Quintilian famously claimed that satire used to be tota nostra, or absolutely ours, yet this leading edge quantity demonstrates that a lot of Roman Satire's such a lot specified features derived from historic Greek previous Comedy. Jennifer L. Ferriss-Hill analyzes the writings of Lucilius, Horace, and Persius, highlighting the positive factors that they crafted at the version of Aristophanes and his fellow poets: the authoritative but compromised writer; the self-referential discussions of poetics that vacillate among protecting and competitive; the deployment of non-public invective within the carrier of literary polemics; and the abiding curiosity in criticizing participants, forms, and language itself. the 1st book-length examine in English at the dating among Roman Satire and outdated Comedy, Roman Satire and the outdated comedian culture will entice scholars and researchers in classics, comparative literature, and English.

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30. 13–14,79 seventy seven seventy eight seventy nine See, for instance, Duff 1898: xxxiii, Weber 1981, Braund 1988: 21, Schmitz 2000: 43–50, Cucchiarelli 2001: 204–5 and 212–17, and Keane 2006: 13–41. whereas tragic parts play a job in Horace’s poetry, relatively within the Ars Poetica, the weird primacy given to comedy over tragedy at AP eighty (Brink 1971: 168) indications his predilection for the previous over the latter. Cf. Ferguson 1979: 213 (who accuses those that take those strains heavily of unveiling “an incredible loss of humour”), Smith 1989: 812 (“it will be awesome if Juvenal, nearly offhandedly, and uniquely during this passage, declares an important holiday with the courses of earlier satire”), and Powell 1999: 317–18. Cucchiarelli 2001: 204 is once more correct to warn, “la precisa intenzione letteraria non deve esser dispersa dal sarcasmo. ” Keane 2003: 269, notwithstanding she doesn't explicitly make the relationship with Hor. Epist. 1. 19. –23– 24 and 32–3 and Carm. three. 30. 13–14, sees “the programmatic snapshot in Satire 6 plac[ing] the 21 22 creation and just like the Sophoclean gaping mouth conjures up the start of Persius’ fifth satire, the place the equally gaping mouths of the tragedians are ridiculed. Editors can't agree on even if to punctuate line 637 as a question or a press release, very likely a preemptive reaction to criticisms that may (Juvenal imagines) be introduced opposed to his 6th poem. The passage’s last sentiment, “if only,” needs to, besides the fact that, offer a sarcastic, destructive resolution to fingimus haec, the word that prominently opens the previous sentence, which needs to consequently be a query. eighty What Juvenal needs to provoke upon his reader is that, exceptional because the fabric that makes up his 6th and, by means of extension, all of his satire, may appear, it truly is distressingly no longer fictitious. both severe is Juvenal’s description of his sort: his satirical fury, well-justified and directed at (he insists) real ambitions, might be accurately expressed in simple terms within the idiom of tragedy. Juvenal overtly admits to breaking with the culture, dubbed a “law,” of his predecessors (635), and some of the extraordinary ways that his satire differs from theirs could be noticeable coming again to the absence from his verses of the outdated comedian aspect (at which altum, a synonym for vetus/prisca, could nod). those quite a few glances at prior Roman Satirical programmatics and at previous Comedy point out that Juvenal’s tragic satire, a hybrid concoction by no means ahead of obvious in Italy (637),81 exists in awake competition to the previous comedian Roman Satire of Lucilius, Horace, and Persius. This radical departure from the previous culture will be attached with Juvenal’s place as a past due practitioner of a well-established style, in addition to together with his distinctively offended, remoted character. Like Horace and Persius, Juvenal came upon himself faced by way of the necessity to distinguish his efforts from what had come prior to, and the proof means that he observed exchanging the genre’s previous comedian aspect with an unforeseen and leading edge one as his most sensible manner of doing so.

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