Table Of ContentJuvenal and the Satiric Emotions
Juvenal and the
Satiric Emotions
Catherine Keane
1
1
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CONTENTS
Acknowledgments vii
Note on Texts and Translations ix
Introduction 1
Generalizing about Juvenal 3
Satire and Affect 8
Satiric Emotions as Subjects and Tools 11
Themes in Roman Satire Studies 16
How to Do Things with Feelings 21
Chapter 1 Anger Games 26
The Indignant Performer 26
The Contexts of Juvenalian Anger 29
The Rhetoric Student at Work 35
Histories of Anger 38
Suppression, Contestation, Compensation 44
Anger between Friends 53
Chapter 2 Monstrous Misogyny and the End of Anger 68
Bringing It All Back Home 70
Farrago and Phantasia 73
A Look in the Mirror 79
Passing On the Burden 83
Chapter 3 Change, Decline, and the Progress of Satire 87
The Janus View 89
Anger without Eloquence 91
Ante Ora Parentum 98
Sermo and Sirens 108
Chapter 4 Considering Tranquility 117
Democritus on Display 122
Beyond Laughter 127
Democritus in Rome? 130
Demolition and Reinvention 136
The Senecan Model 146
The Satirist behind Closed Doors 150
Outside-In Satire 153
Reclaiming a Legacy 160
Chapter 5 The Praegrandis Senex 168
Rethinking the Grand Narrative 169
The Satiric Senex and the Emotional Plot 171
Old Men and Sermo 174
Nestor Redivivus 181
Not Your Father’s Ira 192
On Reading the End, or “You and What Army?” 205
Conclusion 213
Bibliography 219
Index Locorum 239
General Index 247
vi | Contents
ACKNOWLEDGMENTS
This book has been long in the making, and I finish it in debt to
many people. Over the past decade, my colleagues and students at
Washington University were willing to listen to me talk about Juvenal
again and again, keeping me focused on the project even as other responsi-
bilities kept progress slow. Proto-chapters and overviews were also shared
at conferences and colloquia in Columbia, Missouri; San Francisco;
Oxford; Urbana-Champaign; Tucson; Ithaca; Austin; and Miami, Ohio,
and on each occasion my audience taught me a great deal. During a luxu-
rious year’s leave in 2012–13, I benefited from the help of my summer
research assistant, Jacob Emmett (and from research funds provided by
my department and administration); from Washington University’s Center
for the Humanities, where I spent the fall as a Faculty Fellow; and from
the University of Cincinnati Department of Classics, where I was a spring
Tytus Fellow. As I peruse parts of the book in the future, I will be visited
with visions of the different offices and desks where they were created.
I will also remember the many individuals who helped make these experi-
ences possible and useful, including George Pepe, Tim Moore, Caroline
Bishop, Joe Loewenstein, Erin McGlothlin, Steve Zwicker, Dan Hooley,
John Henderson, Susanna Braund, Barbara Gold, Susan Prince, Daniel
Markovic, and Lauren Ginsburg.
I have been unbelievably lucky in other mentors, supporters, friends,
and readers; quite a few have left marks on this project through conversa-
tions, invitations, careful evaluations, and/or other forms of inspiration.
Their interventions and encouragement helped me go in new directions and
solve nagging problems, and any flaws that remain in the book are my own
doing. I particularly thank Ralph Rosen, Joe Farrell, Jen Ebbeler, Amanda
Wilcox, Carlos Noreña, Allen Miller, David Larmour, Brian Hook, Henry
Dyson, Bryce Walker, Heather Elomaa, Eric Brown, Christine Johnson,
Denise McCoskey, Kirk Freudenburg (special thanks for reading a big
chunk of the manuscript at a pivotal stage), and John Henderson (again).
Two scholars in particular have oriented and inspired me many times over
with their work and, even more important, welcomed me warmly into the
field. I feel I owe as much to W. S. Anderson and Susanna Braund as
Juvenal does (and that’s an awful lot). Finally, I must also single out Dan
Hooley again because I have been so lucky to have him as a neighbor and
to benefit from his hospitality and professional wisdom. He has given an
enormous amount of the greatest gift in our line of work, time, in reading
and commenting on this and other manuscripts for me.
Stefan Vranka has given solid and patient support for several years
now, assisted by Sarah Pirovitz, who efficiently and cheerfully shepherded
my manuscript back and forth across the country and the Internet. It has
been an honor to work with Oxford University Press again. The produc-
tion process has been smooth and reassuring, thanks to the professional-
ism of Pete Mavrikis and Susan Ecklund. Chris Lovell provided valuable
advice and assistance on the indices. I thank my parents, Barry and Clare,
whose sense of humor has sustained us all for forty-odd years and made it
inevitable that I would be drawn to ancient comic literature. More thanks
to the rest of our family—John, Angela, Dave —for cheering me on as
I completed the book, and to our new joy Elizabeth for special inspiration
these last few months. Finally, and for always, I am most grateful to David
Scheu, who gave practical help and moral support from the proposal stage
up through the proofing and indexing, and who with his matchless opti-
mism has helped the good and civilized emotions prevail in our life.
October 2014
viii | Acknowledgments
NOTE ON TEXTS AND TRANSLATIONS
For quotations, I use the Oxford texts of ancient authors wherever pos-
sible (Juvenal and Persius: Clausen, 1992; Horace: Wickham and
Garrod, 1912; Seneca’s dialogues: Reynolds, 1977). All exceptions are
cited. Translations are my own except where others’ are quoted or adapted,
with citations.
Description:In his sixteen verse Satires, Juvenal explores the emotional provocations and pleasures associated with social criticism and mockery. He makes use of traditional generic elements such as the first-person speaker, moral diatribe, narrative, and literary allusion to create this new satiric preoccupati
