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By Edward Courtney

Edward Courtney's research of the Satires of Juvenal is the one full-scale statement at the corpus because the 19th century and keeps its price for college kids and students a iteration after its first visual appeal in 1980. This remark accommodates the findings of classical research as much as that point, together with the paintings of A. E. Housman, new discoveries comparable to these of papyri, and the increasing horizons of classical learn. 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 uncomplicated rationalization of the textual content, the statement deals an in depth knowing of the literary and historic context, together with thorough therapy of social customs, realia, improvement of the Latin language, and rhetorical good points. The creation discusses Juvenal's lifestyles, his improvement as a satirist, his view of society and morals, his kind, and his dealing with of metre.

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Extra info for A Commentary on the Satires of Juvenal

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This gives us an insight into Juvenal’s technique of denunciation; what he is doing, at any rate sometimes, is portraying the exception as the rule (cf. 180 he applies the word solitus to an action which Xerxes performed only once. ); but in Two he specifically says that they are paucae, whereas in Six he presents them as notorious (though the contradiction is not formally perfect, since he does not say that they are numerous). 247 (cf. 252), that 26 introduction of the rhetorical question quis nescit?

11, cf. 4 (see Austin’s notes), where he again remarks that exempla are a way of giving praecepta (cf. 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!

This is not sermones repentes per humum, but satire written in the grand style, the γένος παθητικόν, which paints in striking colours, plays on the emotions, inflates (and often punctures) its subject-matter. The sentence-construction shows the same wide range of effects. 21–8, and then sums it up in the following two-word sentence cedamus patria, which drops in solemn, resolute tones from his mouth. 30–9 (which is preceded by a sentence of 8½ lines), 52–61 and 109–16 (the last shows how such sentences are suited to express abstract thought and logical analysis).

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