This article contains too many or overly lengthy quotations .(May 2020) |
Satires | |
---|---|
by Decimus Junius Juvenalis | |
Original title | Saturae |
Translator | Niall Rudd Rolfe Humphries Peter Green G. G. Ramsay William Stewart Rose Lamberto Bozzi |
Written | c. AD 100–127 |
Country | Roman Empire |
Language | Latin |
Genre(s) | Satire |
Form | 16 poems divided into five books |
Meter | dactylic hexameter |
Publication date | 1467 |
Published in English | 1647 |
Media type | manuscript |
Full text | |
The Satires of Juvenal at Wikisource |
The Satires (Latin : Saturae) are a collection of satirical poems by the Latin author Juvenal written between the end of the first and the early second centuries A.D.
Juvenal is credited with sixteen poems divided among five books; all are in the Roman genre of satire. The genre is defined by a wide-ranging discussion of society and social mores in dactylic hexameter. [1] The sixth and tenth satires are some of the most renowned works in the collection.
In a tone and manner ranging from irony to rage, Juvenal criticizes the actions and beliefs of many of his contemporaries, providing insight into value systems and questions of morality as opposed to the realities of Roman life. The author makes constant allusion to history and myth as a source of object lessons or exemplars of particular vices and virtues. Coupled with his dense and elliptical Latin, these references indicate that the intended reader of the Satires was highly educated. The Satires are concerned with perceived threats to the social continuity of the Roman citizens: socially ascendant foreigners, unfaithfulness, and other more extreme excesses of the Roman aristocracy.
Scholarly estimates for the dating of the individual books have varied. It is generally accepted that the fifth book must date to a point after 127, because of a reference to the Roman consul Lucius Aemilius Juncus in Satire 15. [2] A recent scholar has argued that the first book should be dated to 100 or 101. [3] Juvenal's works are contemporary with those of Martial, Tacitus and Pliny the Younger.
The controversies concerning the surviving texts of the Satires have been extensive and heated. Many manuscripts survive, but only P (the Codex Pithoeanus Montepessulanus), a 9th-century manuscript based on an edition prepared in the 4th century by a pupil of Servius Honoratus, the grammarian, is reasonably reliable. At the same time as the Servian text was produced, however, other and lesser scholars also created their editions of Juvenal: it is these on which most medieval manuscripts of Juvenal are based. It did not help matters that P disappeared sometime during the Renaissance and was only rediscovered around 1840. It is not, however, uncommon for the generally inferior manuscripts to supply a better reading in cases when P is imperfect. In addition, modern scholarly debate has also raged around the authenticity of the text which has survived, as various editors have argued that considerable portions are not, in fact, authentically Juvenalian and represent interpolations from early editors of the text. Jachmann (1943) argued that up to one-third of what survives is non-authentic: Ulrick Knoche (1950) deleted about hundred lines, Clausen about forty, Courtney (1975) a similar number. Willis (1997) italicizes 297 lines as being potentially suspect. On the other hand, Vahlen, Housman, Duff, Griffith, Ferguson and Green believe the surviving text to be largely authentic: indeed Green regards the main problem as being not interpolations but lacunae. [4]
In recent times debate has focused on the authenticity of the "O Passage" of Satire VI, 36 lines (34 of which are continuous) discovered by E. O. Winstedt in an 11th-century manuscript in Oxford's Bodleian Library. These lines occur in no other manuscript of Juvenal, and when discovered were considerably corrupted. Ever since Housman translated and emended the "O Passage" there has been considerable controversy over whether the fragment is in fact a forgery: the field is currently split between those (Green, Ferguson, Courtney) who believe it is not, and those (Willis, Anderson), who believe it is. [4]
Difficile est saturam nōn scrībere. nam quis inīquae | It is hard not to write Satire. For who is so tolerant |
—1.30–32 |
This so-called "Programmatic Satire" lays out for the reader a catalogue of ills and annoyances that prompt the narrator to write satire. [5] Some examples cited by Juvenal include eunuchs getting married, elite women performing in a beast hunt, and the dregs of society suddenly becoming wealthy by gross acts of sycophancy. To the extent that it is programmatic, this satire concerns the first book rather than the satires of the other four known books. The narrator explicitly marks the writings of Lucilius as the model for his book of poems (lines 19–20), although he claims that to attack the living as his model did incur great risk (lines 165–167). 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": [5]
Aude aliquid brevibus Gyarīs et carcere dignum, | Dare something worthy of exile to tiny Gyara and death row, |
—1.73–74 |
Ultrā Sauromatās fugere hinc libet et glaciālem | I get an itch to run off beyond the Sarmatians and the frozen sea, |
—2.1–3 |
170 lines. The narrator claims to want to flee civilization (i.e. Roma) to beyond the world's end when confronted by moral hypocrisy. Although the broad theme of this poem is the process of gender inversion, it would be an error to take it as simple invective against pathic men. Juvenal is concerned with gender deviance.
quid Rōmae faciam? mentīrī nesciŏ; librum, | What could I do at Rome? I don't know how to lie; |
—3.41–48 |
322 lines. In the place where Numa Pompilius (the legendary second king of Rome) received a nymph's advice on creating Roman law, the narrator has a final conversation with his Roman friend Umbricius, who is emigrating to Cumae. Umbricius claims that slick and immoral foreigners have shut a real Roman out of all opportunity to prosper. Only the first 20 lines are in the voice of the narrator; the remainder of the poem is cast as the words of Umbricius.
In 1738, Samuel Johnson was inspired by this text to write his London: A Poem in Imitation of the Third Satire of Juvenal . The archetypal question of whether an urban life of hectic ambition is to be preferred to a pastoral fantasy retreat to the country is posed by the narrator:
vive bidentis amans et culti vilicus horti | As you love your hoe, live as the steward of your garden, |
—3.228-31 |
cum iam semianimum laceraret Flauius orbem | |
—4.37–41 |
154 lines. The narrator makes the emperor 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. The council of state is called to deal with the crisis of how to cook it, where the fish can neither be cooked by conventional means due to its size, nor can it be cut into pieces. The main themes of this poem are the corruption and incompetence of sycophantic courtiers and the inability or unwillingness to speak truth to power.
Jean-Jacques Rousseau's motto, vitam impendere vero (to pay his life for the truth), is taken from the passage below, a description of the qualifications of an imperial courtier in the reign of Domitian:
... nec ciuis erat qui libera posset | ... nor was he the sort of citizen who was able to offer |
—4.90–93 |
vos anguilla manet longae cognata colubrae | An eel awaits you – close relative of a long snake – |
—5.103–106 |
173 lines. The narrative frame of this poem is a dinner party where many potential dysfunctions in the ideal of the patron-client relationship are put on display. Rather than being a performance of faux-equality, the patron (Virro as in 9.35) emphasizes the superiority of himself and his peers (amici) over his clients (viles amici) by offering food and drink of unequal quality to each. Juvenal concludes with the observation that the clients who put up with this treatment deserve it.
... novi | ... I am aware |
—6.O29-34 |
c. 695 lines. For the discussion and synopsis, see Satire VI.
si Fortuna volet, fies de rhetore consul; | If the goddess Fortuna wants, from a mere teacher you will become consul, |
—7.197–202 |
243 lines. Juvenal returns to his theme of distorted economic values among the Roman elite – in this instance centered on their unwillingness to provide appropriate support for poets, lawyers, and teachers. It is the capricious whims of fate that determine the variables of a human life.
tota licet veteres exornent undique cerae | Although your whole atria display ancient wax portraits on |
—8.19–22 |
275 lines. The narrator takes issue with the idea that pedigree ought to be taken as evidence of a person's worth.
verum, ut dissimules, ut mittas cetera, quanto | But, while you downplay some services and lie about others I've done, |
—9.70–72 |
150 lines. This satire is in the form of a dialogue between the narrator and Naevolus – a male prostitute, the disgruntled client of a pathic patron.
orandum est ut sit mens sana in corpore sano. | It is to be prayed that the mind be sound in a sound body. |
—10.356–364 |
366 lines. The theme of this poem encompasses the myriad objects of prayer unwisely sought from the gods: wealth, power, beauty, children, long life, et cetera. The narrator argues that each of these is a false Good; each desired thing is shown to be not good in itself, but only good so long as other factors do not intervene. This satire is the source of the well-known phrase mens sana in corpore sano (a healthy mind in a healthy body), which appears in the passage above. It is also the source of the phrase panem et circenses (bread and circuses) – the only remaining cares of a Roman populace which has given up its birthright of political freedom (10.81).
non capit has nugas humilis domus. audiat ille | Our humble home does not take up such trifles. Another man will hear |
—11.171–182 |
208 lines. The main themes of this poem are self-awareness and moderation. The poem explicitly mentions one apothegm γνῶθι σεαυτόν (know thyself) from the temple of Apollo at Delphi, while its theme calls to mind another μηδέν ἄγαν (nothing in excess). The subject, in this instance, is the role of food and the cena (formal dinner) in Roman society. The narrator contrasts the ruinous spending habits of gourmands with the moderation of a simple meal of home-grown foods in the manner of the mythical ancient Romans.
neu suspecta tibi sint haec, Coruine, Catullus, | Lest these actions seem suspicious to you Corvinus, this Catullus |
—12.93–102 |
130 lines. The narrator describes to his addressee Corvinus the sacrificial vows that he has made for the salvation of his friend Catullus from shipwreck. These vows are to the primary Roman gods – Jupiter, Juno, and Minerva (the Capitoline Triad) – but other shipwrecked sailors are said to make offerings to Isis. In the passage quoted above, the narrator asserts that his sacrifices are not to curry favor or gain an inheritance, common reasons for making vows among those who would not hesitate to sacrifice their slaves or even children if it would bring them an inheritance.
quae pateris: casus multis hic cognitus ac iam | What you suffer: they're the misfortunes of many, at this point well-known, |
249 lines. This poem is a dissuasion from excessive rage and the desire for revenge when one is defrauded. The narrator recommends a philosophical moderation and the perspective that comes from realizing that there are many things worse than financial loss.
sponte tamen iuvenes imitantur cetera, solam | Although youths imitate the other vices of their own free will, |
—14.107–114 |
331 lines. The narrator stresses that children most readily learn all forms of vice from their parents. Avarice must actually be taught since it runs counter to nature. This vice is particularly pernicious, since it has the appearance of a virtue and is the source of a myriad of crimes and cruelties.
sed iam serpentum maior concordia. parcit | But these days there is greater concord among snakes. |
—15.159–162 |
174 lines. The narrator discusses the centrality of compassion for other people to the preservation of civilization. While severe circumstances have at times called for desperate measures to preserve life, even the most savage tribes have refrained from cannibalism. We were given minds to allow us to live together in mutual assistance and security. Without limits on rage against our enemies, we are worse than animals.
commoda tractemus primum communia, quorum | Let's deal with the common benefits first off, |
—16.7–10 |
60 lines preserved. The primary theme of the preserved lines is the advantages of soldiers over mere citizens.
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