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The Satyricon of Petronius: genre, wandering and style, 2008
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The Satyricon of Petronius: genre, wandering and style
2008
(1605), and John Dryden in "Discourse concerning the Original and Progress of Satire," which prefaced his translation of Juvenal (1693). 2 These critics' point of view collided with the many that sought to fit the Petronian work into a novelesque genre of Greek origin. This conflict allows us to say that the first attempts to explicitly configure the genre of Menippean satire occurred around the time of the polemic that surrounded 1 Relihan (1993) 12, and Branham (2005) 10. 2 Cf. Dryden (1926) 66: "Which is also manifest from antiquity, by those authors who are acknowledged to have written Varronian satires, in imitation of his; of whom the chief is Petronius Arbiter, whose satire, they say, is now printed in Holland, wholly recovered, and made complete: when 'tis made public, it will easily be seen by any one sentence, whether it be supposititious, or genuine."
Petronius and the Making of Characters: Giton and Eumolpos
in Cláudia Teixeira, Paulo Ferreira & Delfim Leão, The Satyricon of Petronius. Genre, Wandering and Style (Coimbra)., 2008
The paper focuses primarily on the characters of Giton and Eumolpos, who are two of the most curious Petronian inventions. The analysis of their behaviour and style provides us with a clarifying example of the care taken by Petronius in the construction of the main characters of the Satyricon and of the different levels of reading that he intentionally created, through the confluence in a single character of multiple lines deriving from literary and cultural tradition.
The Recollections of Encolpius: The Satyrica of Petronius as Milesian Fiction (Groningen 2004)
2004
""While nineteenth-century scholars debated whether the fragmentary Satyrica of Petronius should be regarded as a traditional or an original work in ancient literary history, twentieth-century Petronian scholarship tended to take for granted that the author was a unique innovator and his work a synthetic composition with respect to genre. The consequence of this was an excessive emphasis on authorial intention as well as a focus on parts of the text taken out of the larger context, which has increased the already severe state of fragmentation in which today’s reader finds the Satyrica. The present study offers a reading of the Satyrica as the mimetic performance of its fictional auctor Encolpius; as an ancient “road novel” told from memory by a Greek exile who relates how on his travels through Italy he had dealings with people who told stories, gave speeches, recited poetry and made other statements, which he then weaves into his own story and retells through the performance technique of vocal impersonation. The result is a skillfully made narrative fabric, a travelogue carried by a desultory narrative voice that switches identity from time to time to deliver discursively varied and often longish statements in the personae of encountered characters. This study also makes a renewed effort to reconstruct the story told in the Satyrica and to explain how it relates to the identity and origin of its fictional auctor, a poor young scholar who volunteered to act the scapegoat in his Greek home city, Massalia (ancient Marseille), and was driven into exile in a bizarre archaic ritual. Besides relating his erotic suffering on account of his love for the beautiful boy Giton, Encolpius intertwines the various discourses and character statements of his narrative into a subtle brand of satire and social criticism (e.g. a critique of ancient capitalism) in the style of Cynic popular philosophy. Finally, it is argued that Petronius’ Satyrica is a Roman remake of a lost Greek text of the same title and belongs—together with Apuleius’ Metamorphoses—to the oldest type of Greco-Roman novel, known to antiquity as Milesian fiction. ""
Decent Indecency The 'Roman' Image of 'Greek' Traditions in Petronius's Satyricon
Graeco-Latina Brunensia, 2019
The purpose of this paper is to illustrate how The Pergamene Youth and The Widow of Ephe-sus episodes present a stereotypical negative view of ‚Greek tradition' in Roman culture. This analysis shall show how the narrators of these two Milesian tales entertain while the implicit author connects ethical categories and values to the different levels of the complex narrative structure. The question is not what are the Greeks like, but how the author sees the Greeks. The subject of the current study is thus not the Hellas that is open to historical research, but the ideal of Greek culture that was present in Roman minds.