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Juvenal and the Satiric Emotions Juvenal and the Satiric Emotions Catherine Keane 1 1 Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trademark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016 © Oxford University Press 2015 All rights reserved. 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ISBN 978–0–19–998189–2 9 8 7 6 5 4 3 2 1 Printed in the United States of America on acid-free paper 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 possible (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