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Decimus Iunius Iuvenalis Juvenal - Delphi Complete Works of Juvenal (Illustrated) (Delphi Ancient Classics Book 35)

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Decimus Iunius Iuvenalis Juvenal Delphi Complete Works of Juvenal (Illustrated) (Delphi Ancient Classics Book 35)
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Delphi Complete Works of Juvenal (Illustrated) (Delphi Ancient Classics Book 35): summary, description and annotation

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DescriptionJuvenals Satires are a vital source for the study of Latin literature, offering a lurid, comic and fascinating window into the world of ancient Rome. Delphis Ancient Classics series provides eReaders with the wisdom of the Classical world, with both English translations and the original Latin and Greek texts. This comprehensive eBook presents Juvenals complete extant works, with beautiful illustrations, rare texts and the usual Delphi bonus material. (Version 1)* Beautifully illustrated with images relating to Juvenals life and works* Features the complete works of Juvenal, in both English translation and the original Latin* Concise introduction to the Satires* Includes Ramsays translations, which previously appeared in Loeb Classical Library editions of Juvenals works* Excellent formatting of the texts* Easily locate the Satires you want to read with individual contents tables* Includes line numbers in both the English and Latin texts ideal for students* Provides a special dual English and Latin text, allowing readers to compare each Satire paragraph by paragraph ideal for students* Features a bonus biography discover Juvenals ancient world* Scholarly ordering of texts into chronological order and literary genresPlease visit www.delphiclassics.com to browse through our range of exciting titlesCONTENTS:The TranslationsTHE SATIRESThe Latin TextCONTENTS OF THE LATIN TEXTThe Dual TextDUAL LATIN AND ENGLISH TEXTThe BiographyTHE LIFE OF JUVENAL by G. G. RamsayPlease visit www.delphiclassics.com to browse through our range of exciting titles

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The Complete Works of

JUVENAL

(c. 60AD-?)

Delphi Complete Works of Juvenal Illustrated Delphi Ancient Classics Book 35 - image 1

Contents

Delphi Complete Works of Juvenal Illustrated Delphi Ancient Classics Book 35 - image 2

Delphi Classics 2014

Version 1

The Complete Works of JUVENAL By Delphi Classics 2014 The - photo 3

The Complete Works of

JUVENAL

By Delphi Classics 2014 The Translations Aquino a town in the - photo 4

By Delphi Classics, 2014

The Translations

Aquino a town in the province of Frosinone in the Lazio region of Italy - photo 5

Aquino, a town in the province of Frosinone, in the Lazio region of Italy, northwest of Cassino Juvenals birthplace

THE SATIRES

Translated by G G Ramsay Juvenals Satires are a collection of sixteen - photo 6

Translated by G. G. Ramsay

Juvenals Satires are a collection of sixteen satirical poems written in the late first and early second centuries AD. The poems comprise a wide-ranging discussion of society and social mores, composed in dactylic hexameter the heroic meter, traditionally associated with the quantitative meter of classical epic poetry, consisting of six metrical feet. The Roman Satura was a formal literary genre, providing a humorous critique of a topical subject in no particular format. The style of Juvenals Satires originates from the works of Lucilius and the Sermones of Horace, as well as the Satires of Persius. In a tone and manner ranging from irony to rage, Juvenal criticises the actions and beliefs of many of his contemporaries, providing insight into value systems and questions of morality, whilst offering a valuable insight into the realities of daily Roman life. Interestingly, Juvenal uses obscenity less frequently than Martial or Catullus, though the scenes depicted in his satires are no less vivid or lurid, in spite of this seeming discretion.

In his Satires , Juvenal often makes allusions to history and myth as a source of object lessons or exemplars of particular vices and virtues. Blended with his dense and elliptical Latin, these digressional references indicate that his intended audience was reasonable educated. The Satires are also concerned with perceived threats to the social continuity of the Roman citizens: social-climbing foreigners, unfaithfulness, and other more extreme excesses of their own class. The intended audience of the Satires constituted a subset of the Roman elite, primarily adult males of a more conservative social stance.

The first Satire, often known as It is Hard not to Write Satire, lays out for the reader a catalogue of ills and annoyances that prompted Juvenal to compose his satires. Some examples cited by the poet include eunuchs getting married, elite women performing in a beast hunt and the dregs of society suddenly becoming wealthy by gross acts of sycophancy. Juvenal explicitly marks the writings of Lucilius as the model for his book of poems, although he claims that to attack the living as his model did incur great risk. The narrator contends that traditional Roman virtues, such as fides and virtus, had disappeared from society to the extent that Rome was no longer Roman.


A frontispiece depicting Juvenal and Persius from a volume translated by John - photo 7

A frontispiece depicting Juvenal and Persius, from a volume translated by John Dryden in 1711.


CONTENTS


Domitian 51 96 AD the Roman Emperor from 81 to 96 AD is referenced in - photo 8

Domitian (51 96 AD), the Roman Emperor from 81 to 96 AD, is referenced in several of Juvenals Satires. In Satire IV: The Emperors Fish, Juvenal makes Domitian and his court the objects of his ridicule in this mock-epic tale of a fish so prodigious that it was fit for the Emperor alone.


Satire 1. Difficile est Saturam non Scribe re

[1] What? Am I to be a listener only all my days? Am I never to get my word in I that have been so often bored by the Theseid of the ranting Cordus? Shall this one have spouted to me his comedies, and that one his love ditties, and I be unavenged? Shall I have no revenge on one who has taken up the whole day with an interminable Telephus, or with an Orestes, which, after filling the margin at the top of the roll and the back as well, hasnt even yet come to an end? No one knows his own house so well as I know the groves of Mars, and the cave of Vulcan near the cliffs of Aeolus. What the winds are brewing; whose souls Aeacus has on the rack; from what country another worthy is carrying off that stolen golden fleece; how big are the ash trees which Monychus tosses about: these are the themes with which Frontos plane trees and marble halls are for ever ringing until the pillars quiver and quake under the continual recitations; such is the kind of stuff you may look for from every poet, greatest or least. Well, I too have slipped my hand from under the cane; I too have counselled Sulla to retire from public life and sleep his fill; it is a foolish clemency when you jostle against poets at every corner, to spare paper that will be wasted anyhow. But if you can give me time, and will listen quietly to reason, I will tell you why I prefer to run in the same course over which the great nursling of Aurunca drove his steeds.

[22] When a soft eunuch takes to matrimony, and Maevia, with spear in hand and breasts exposed, to pig-sticking; when a fellow under whose razor my stiff youthful beard used to grate challenges, with his single wealth, the whole nobility; when a guttersnipe of the Nile like Crispinus a slave-born denizen of Canopus hitches a Tyrian cloak on to his shoulder, whilst on his sweating finger he airs a summer ring of gold, unable to endure the weight of a heavier gem it is hard not to write satire. For who can be so tolerant of this monstrous city, who so iron of soul, as to contain himself when the brand-new litter of lawyer Matho comes along, filled with his huge self; after him one who has informed against his noble patron and will soon despoil our pillaged nobility of what remains to them one whom Massa dreads, whom Carus propitiates by a bribe, and to whom Thymele was made over by the terrified Latinus; when you are thrust on one side by men who earn legacies by nightly performances, and are raised to heaven by that now royal road to high preferment the favours of an aged and wealthy woman? Each of the lovers will have his share; Proculeius a twelfth part, Gillo eleven parts, each in proportion to the magnitude of his services. Let each take the price of his own blood, and turn as pale as a man who has trodden upon a snake bare-footed, or of one who awaits his turn to orate before the altar at Lugdunum.

[45] Why tell how my heart burns hot with rage when I see the people hustled by a mob of retainers attending on one who has defrauded and debauched his ward, or on another who has been condemned by a futile verdict for what matters infamy if the cash be kept? The exiled Marius carouses from the eighth hour of the day and revels in the wrath of Heaven, while you, poor Province, win your cause and weep!

[51] Must I not deem these things worthy of the Venusians lamp? Must I not have my fling at them? Should I do better to tell tales about Hercules, or Diomede, or the bellowing in the Labyrinth, or about the flying carpenter and the lad who splashed into the sea; and that in an age when the compliant husband, if his wife may not lawfully inherit, takes money from her paramour, being well trained to keep his eyes upon the ceiling, or to snore with wakeful nose over his cups; an age when one who has squandered his family fortunes upon horse flesh thinks it right and proper to look for the command of a cohort? See him dashing at break-neck speed, like a very Automedon, along the Flaminian way , holding the reins himself, while he shows himself off to his great-coated mistress!

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