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In laying the groundwork for a fresh and challenging reading of Roman satire, Kirk Freudenburg explores the literary precedents behind the situations and characters created by Horace, one of Rome's earliest and most influential satirists. Critics tend to think that his two books of Satires are but trite sermons of moral reform--which the poems superficially claim to be--and that the reformer speaking to us is the young Horace, a naive Roman imitator of the rustic, self-made Greek philosopher Bion. By examining Horace's debt to popular comedy and to the conventions of Hellenistic moral literature, however, Freudenburg reveals the sophisticated mask through which the writer distances himself from the speaker in these earthy diatribes--a mask that enables the lofty muse of poetry to walk in satire's mundane world of adulterous lovers and quarrelsome neighbors. After presenting the speaker of the diatribes as a stage character, a version of the haranguing cynic of comedy and mime, Freudenburg explains the theoretical importance of such conventions in satire at large.
His analysis includes a reinterpretation of Horace's criticisms of Lucilius, and ends with a theory of satire based on the several images of the satirist presented in Book One, which reveals the true depth of Horace's ethical and philosophical concerns. Originally published in 1992. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Contents
AcknowledgmentsCh. 1Horatian Satire and the Conventions of Popular DramaIntroductory Remarks: Ancient Rhetoric and the Persona Theory3The Persona of the Diatribe Satires and the Influence of Bion8Diatribe in the Age of Horace16The Persona and Self-Parody21Self-Parody and the Influence of the Comic Stage27Comic Self-Definition in Satires 1.433The Comic Persona and His Comic World39The Subtlety and Depth of the Comic Analogy46Ch. 2Aristotle and the Iambographic Tradition: The Theoretical Precedents of Horace's Satiric ProgramIntroduction: The Theory of an Aristotelian Horace52Aristotle's Theory of the Liberal Jest55Aristotle on Old Comedy and the Iambic Idea61The Advocates of the Iambic Idea: Old-Comedy, the Iambos, and Cynic Moralizing72Libertas in the Age of Horace86Aristotelian Theory in Satires 1.492Horace's Theory of Satire and the Iambographic Tradition96Ch. 3The Satires in the Context of Late Republican Stylistic TheoryHorace's Literary Rivals in Satires 1.1-1.4109The Stylist of Satires 1.4: A Most Unusual Horace119Simple Diction Artfully Arranged: Some Theoretical Precedents128Dionysius's On Word Arrangement and the Stoic Theory of Natural Word Order132Philodemus and Lucretius139Answering the Extremists: A New Look at Satires 1.4145Lucilius and the Atticist Theory of a Rugged Style150The Neoterics and Satires 1.10163Satires 1.10 and Lucilian Scholarship in the First Century B.C.173Ch. 4Callimachean Aesthetics and the Noble MimeMorals and Aesthetics in the Satires185Images of the Satirist and the Structure of Book 1198The Low-Life Satirist and Saturnalian Exposure211The Mimus Nobilis223Select Bibliography237Index Locorum253General Index261
