By Edward Courtney
Edward Courtney's examine of the Satires of Juvenal is the single full-scale remark at the corpus because the 19th century and keeps its worth for college students and students a iteration after its first visual appeal in 1980. This remark contains the findings of classical research as much as that point, together with the paintings of A. E. Housman, new discoveries similar to these of papyri, and the increasing horizons of classical study. Courtney elucidates the shape of every poem and the development of idea, and provides many feedback for the adjustment of conventional punctuation. as well as simple rationalization of the textual content, the observation bargains a close figuring out of the literary and ancient context, together with thorough remedy of social customs, realia, improvement of the Latin language, and rhetorical beneficial properties. The advent discusses Juvenal's lifestyles, his improvement as a satirist, his view of society and morals, his sort, and his dealing with of metre.
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Extra resources for A Commentary on the Satires of Juvenal
To Rome as an abandonment of the simple life free of superfluities. Similar attitudes are expressed by Juvenal. 78 sqq. 287, where the introduction of peregrini mores is ascribed to wealth. Two results of this way of thinking ought to be noted. First, | with regard to the city of Rome itself, it produced a love-hatred relationship in some authors; pride in the actual grandeur of the capital, which Juvenal nowhere expresses, had to contend against consciousness of the remoteness of the life lived in it from the rural ideal.
It is clear that the present measures up very poorly to the past in his eyes, and he envisages little possibility of change for the better (cf. 148). g. 65–71 (note pusillos). The dominance of the past over him (cf. 50, dignum censoris ira, though there were no longer any censors. 103). 90–1 come ill from one who declined to attack the living) and little human sympathy or understanding for those who fall short of their own standards (though admittedly he attacks individuals less in themselves than as exempla of vices; see introduction to One).
Sen. Dial. 1). 19 ridicules the use of this high-flown technique in a speech on a humble subject. Martial’s own use of exempla is discussed by Nordh Eranos 52, 1954, from whom I add two quotations: (p. 229) ‘so, as fixed patterns, the principal characters of the high national tradition were organised into an easily manageable collection of symbols. How well this suits the satirical poet, who, seeking the typical and the broadly human, needs some absolute points to which he can place his personages in relation, characterizing them by similarity, dissimilarity and contrast!