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A new commentary on the first book of satires of the Roman satirist Juvenal. The essays on each of the poems together with the overview of Book I in the Introduction present the first integrated reading of the Satires as an organic structure.
The Satires of Juvenal Paraphrastically Imitated, and Adapted to the Times. With a Preface. [By Edward Burnaby Greene.] by Decimus Junius JUVENALIS,Edward Burnaby GREENE Pdf
This volume presents a new commentary on the first book of satires of the Roman satirist Juvenal. In the Introduction Braund situates Juvenal within the genre of satire and demonstrates his originality in creating an angry character who declaims in the "grand style." The Commentary illuminates the content and style of Satires 1-5. The essays on each of the poems together with the overview of Book I in the Introduction present the first integrated reading of these Satires as an organic structure.
Rooted in the traditional land-owning class, Juvenal wrote brilliant and inflammatory satires on the decadent and corrupt Roman élite, a fact that resulted in him being exiled from Rome for many years.
" . . . gives us all sixteen of the satires in the tough, slashing manner of the original, unheard in Dryden and the few others who tried it." —Saturday Review
This is not a commentary on Juvenal 10 but a critical appreciation of the poem which examines it on its own and in context and tries to make it come alive as a piece of literature, offering one man's close reading of Satire 10 as poetry, and concerned with literary criticism rather than philological minutiae. In line with the recent broadening of insight into Juvenal's writing this book often addresses the issues of distortion and problematizing and covers style, sound and diction as well. Much time is also devoted to intertextuality and to humour, wit and irony. This is something new: building on the work of scholars like Martyn, Jenkyns and Schmitz, who see in Juvenal a consistently skilful and sophisticated author, this is a whole book demonstrating a high level of expertise on Juvenal's part sustained throughout a long poem (rather than intermittent flashes). This investigation of 10 leads to the conclusion that Juvenal is an accomplished poet and provocative satirist, a writer with real focus, who makes every word count, and a final chapter exploring 11 and 12 confirms that assessment. Translation of the Latin and explanation of references are included so that Classics students will find the book easier to use and it will also be accessible to scholars and students interested in satire outside of Classics departments.
Author : David H. J. Larmour Publisher : University of Oklahoma Press Page : 369 pages File Size : 51,9 Mb Release : 2016-01-04 Category : Fiction ISBN : 9780806155050
In this first comprehensive reading of Juvenal’s satires in more than fifty years, David H. J. Larmour deftly revises and sharpens our understanding of the second-century Roman writer who stands as the archetype for all later practitioners of the satirist’s art. The enduring attraction of Juvenal’s satires is twofold: they not only introduce the character of the “angry satirist” but also offer vivid descriptions of everyday life in Rome at the height of the Empire. In Larmour’s interpretation, these two elements are inextricably linked. The Arena of Satire presents the satirist as flaneur traversing the streets of Rome in search of its authentic core—those distinctly Roman virtues that have disappeared amid the corruption of the age. What the vengeful, punishing satirist does to his victims, as Larmour shows, echoes what the Roman state did to outcasts and criminals in the arena of the Colosseum. The fact that the arena was the most prominent building in the city and is mentioned frequently by Juvenal makes it an ideal lens through which to examine the spectacular and punishing characteristics of Roman satire. And the fact that Juvenal undertakes his search for the uncorrupted, authentic Rome within the very buildings and landmarks that make up the actual, corrupt Rome of his day gives his sixteen satires their uniquely paradoxical and contradictory nature. Larmour’s exploration of “the arena of satire” guides us through Juvenal’s search for the true Rome, winding from one poem to the next. He combines close readings of passages from individual satires with discussions of Juvenal’s representation of Roman space and topography, the nature of the “arena” experience, and the network of connections among the satirist, the gladiator, and the editor—or producer—of Colosseum entertainments. The Arena of Satire also offers a new definition of “Juvenalian satire” as a particular form arising from the intersection of the body and the urban landscape—a form whose defining features survive in the works of several later satirists, from Jonathan Swift and Evelyn Waugh to contemporary writers such as Russian novelist Victor Pelevin and Irish dramatist Martin McDonagh.
The first complete study of Roman verse satire to appear since 1976 provides a fresh and exciting survey of the field. Rather than describing satire's history as a series of discrete achievements, it relates those achievements to one another in such a way that, in the movement from Lucilius, to Horace, to Persius, to Juvenal, we are made to sense, and see performed, the increasing pressure of imperial oversight in ancient Rome.