Juvenal and the Satiric Genre
At the same time as claiming to stand outside literature altogether, Roman Verse Satire was the most aggressively literary of Roman genres, Juvenal’s particularly so. In the opening lines of the corpus, his performance creates an arena in which the various genres of his Graeco-Roman cultural inheritance jostle to be heard, and are suppressed by his own generic identity. This study considers the fluid nature of the generic field, and how Juvenal comes out of and fits into it. Specifically, it measures his use of names, his ambiguous and sometimes hostile relations with other genres, especially the queen of genres, epic, against his inherited and stated aim (of criticising malefactors by name), and considers how the aspect of performance impinges on his multi-faceted satiric voice.
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The Generic Landscape
Names and Naming in Satire and Other Genres
Major Roles in Horace and Juvenal
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addressees Aeneid allusion audience bucolic Callimachus Catius Catullus character characterisation claim comedy comic contemporary context contrast Crispinus criticism Damasippus Davus declamation declamatory dialogue didactic divine Domitian Eclogues elegiac elegists element Ennius epic epigram Epistles Epodes erotic especially example figures fourth satire Fundanius genres Greek hendecasyllables hexameter Homeric Horace Horace's Satires Horatian Horatian satire human names iambic Juvenal Juvenal's Juvenal's satire kind Latin lines literary literature love elegy Lucilian Lucilius Lucretius lyric Maecenas manner Martial material Menippean satire metre mocking moral moralising mythological names Naevolus narrative Nasidienus Odes Ovid Ovid's parody passage perhaps Persius picture Pliny poem poet poetic poetry polymetrics praef programmatic programme Propertius Quintilian reference rhetorical role Roman verse Rome satirists Seneca Silvae sixth satire social sort speech Statius stylistic suggests Tacitus thematic Tibullus tion tradition tragedy Trebatius Trebius Umbricius Virgil Virro writing