The Function Of Humour In Roman Verse Satire

Maria Plaza sets out to analyse the function of humour in the Roman satirists Horace, Persius, and Juvenal. Her starting point is that satire is driven by two motives, which are to a certain extent opposed: to display humour, and to promote a serious moral message. She argues that, while the Roman satirist needs humour for his work's aesthetic merit, his proposed message suffers from the ambivalence that humour brings with it. Her analysis shows that this paradox is not only socio-ideological but also aesthetic, forming the ground for the curious, hybrid nature of Roman satire.

In a series of controversial essays, this book examines the Roman penchant for denigration, and in particular self-denigration, at the expense of Roman culture. Comedy in Republican Rome radically transformed both itself and the culture from which it sprang: in Poenulus, Plautus laughed at Roman depreciation of Carthage; in Adelphoe, Terence turned on his audience in provocation. The comic Roman poets played with self-mockery: in Eclogue III, Virgil tests his audience's security in judging peasant unpleasantness; in Odes III.22, Horace sends up his own pious rusticity down on the farm. In the second half of the book, Roman verse satire is the subject: the genre of male bragging mocks its own masculine aggression. The great Latin satirists make fun of making fun: Horace, Satires I.9, shows up the politics of humour, unmanned by his own good manners; Persius nails his own weaknesses in fortifying himself against the world; Juvenal, Satire 1, loathes the literary scene he bids to dominate. The book shows a vital ingredient of Roman poetry to be an energetic surge of urbane banter directed towards Roman culure.

The trademark exuberance of Lucilius, gentleness of Horace, abrasiveness of Persius, and vehemence of Juvenal are the diverse satiric styles on display in this Reader. Witnesses to the spectacular growth of Rome's political and military power, the expansion and diversification of its society, and the evolution of a wide spectrum of its literary genres, satirists provide an unparalleled window into Roman culture: from trials of the urban poor to the smarmy practices of legacy hunters, from musings on satire and the satirist to gruesome scenes from a gladiatorial contest, from a definition of virtue to the scandalous sexual display of wayward women. Provocative and entertaining, challenging and yet accessible, Roman verse satire is a motley dish stuffed to its readers' delights.

Provides a complete and socially and politically contextualised survey of Roman verse satire.

This volume, from an innovative scholar of Latin Literature and Greek Old Comedy, distills the modern corpus of scholarship on Roman Satire, presenting the genre in particular through the themes of literary ambition, self-fashioning, and poetic afterlife.

This compact and critically up-to-date introduction to Roman satire examines the development of the genre, focusing particularly on the literary and social functionality of satire. It considers why it was important to the Romans and why it still matters. Provides a compact and critically up-to-date introduction to Roman satire. Focuses on the development and function of satire in literary and social contexts. Takes account of recent critical approaches. Keeps the uninitiated reader in mind, presuming no prior knowledge of the subject. Introduces each satirist in his own historical time and place – including the masters of Roman satire, Lucilius, Horace, Persius, and Juvenal. Facilitates comparative and intertextual discussion of different satirists.

Satirists are social critics, but they are also products of society. Horace, Persius, and Juvenal, the verse satirists of ancient Rome, exploit this double identity to produce their colorful commentaries on social life and behavior. In a fresh comparative study that combines literary and cultural analysis, Catherine Keane reveals how the satirists create such a vivid and incisive portrayal of the Roman social world. Throughout the tradition, the narrating satirist figure does not observe human behavior from a distance, but adopts a range of charged social roles to gain access to his subject matter. In his mission to entertain and moralize, he poses alternately as a theatrical performer and a spectator, a perpetrator and victim of violence, a jurist and criminal, a teacher and student. In these roles the satirist conducts penetrating analyses of Rome's definitive social practices "from the inside." Satire's reputation as the quintessential Roman genre is thus even more justified than previously recognized. As literary artists and social commentators, the satirists rival the grandest authors of the classical canon. They teach their ancient and modern readers two important lessons. First, satire reveals the inherent fragilities and complications, as well as acknowledging the benefits, of Roman society's most treasured institutions. The satiric perspective deepens our understanding of Roman ideologies and their fault lines. As the poets show, no system of judgment, punishment, entertainment, or social organization is without its flaws and failures. At the same time, readers are encouraged to view the satiric genre itself as a composite of these systems, loaded with cultural meaning and highly imperfect. The satirist who functions as both subject and critic trains his readers to develop a critical perspective on every kind of authority, including his own.