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A better half to Persius and Juvenal breaks new flooring in its in-depth specialize in either authors as "satiric successors"; distinctive person contributions recommend unique views on their paintings, and supply an in-depth exploration of Persius' and Juvenal's afterlives.

• presents particular and updated information at the texts and contexts of Persius and Juvenal
• deals immense dialogue of the reception of either authors, reflecting one of the most cutting edge paintings being performed in modern Classics
• includes a thorough exploration of Persius' and Juvenal's afterlives

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Example text

Is it just a matter of degree – some is good, but too much is not? What, then, would be the force of multo in the phrase sale multo ? Horace seems to be saying, in other words, that Lucilius was great because he attacked the city with so much caustic humor. The section that immediately follows, lines 7–19, muddles things even further. 4 – one should keep things short (breuitas, 9), varied, and measured – but ends with a famous, if somewhat confusing, statement (14–17): ridiculum acri fortius et melius magnas plerumque secat res.

This is Horace’s attempt to pinpoint what it is that satire is supposed to “do,” and then to show how this helps to clarify what he himself is trying to do in his own satires – not only how he, too, is like Old Satire in the Republic 29 Comedy and Lucilius, but also how he is not. The key phrase in Horace’s analysis occurs at line 5, multa cum libertate notabant (“They pointed out [malefactors] with great freedom [of speech]”). Horace’s statement in the next line is emphatic: it was the libertas of the Greek comic poets, their freedom to mock anyone they thought deserving of censure, that accounts for Lucilius’ notorious invective signature.

Horace says at 48–49 that he can write better satire than Varro of Atax (P. Terentius Varro “Atacinus,” a Roman poet who composed in various genres, including satire, 82–30s BCE; only fragments survive) but he concedes that he would still always be inferior to Lucilius, the “inventor” of Roman satire (inuentore minor); and he can still say, apparently without irony, that Lucilius remains at the top of the heap (“I wouldn’t dare snatch the crown that sits with great praise on his head,” 48–49). By the time we get to 64–65, where he allows that, at least for the sake of argument, we can consider Lucilius to be comis et urbanus (“elegant and sophisticated”), Horace seems on the verge of contradicting his earlier complaints that he was an unrefined poet.

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