By Catherine Keane
In his 16 verse Satires, Juvenal explores the emotional provocations and pleasures linked to social feedback and mockery. He uses conventional commonplace parts resembling the first-person speaker, ethical diatribe, narrative, and literary allusion to create this new satiric preoccupation and subject matter. Juvenal defines the satirist determine as an emotional agent who dramatizes his personal reaction to human vices and faults, and he in flip goals to interact different people's emotions. Over the process his occupation, he adopts a sequence of rhetorical personae that characterize a spectrum of satiric feelings, encouraging his viewers to examine satire's right emotional mode and serve as. Juvenal first deals his signature indignatio with its linked pleasures and discomforts, then attempts on subtler personae that recommend dry detachment, callous enjoyment, anxiousness, and different affective states.
As Keane indicates, the satiric feelings will not be basically present in the author's rhetorical performances, yet also they are a massive a part of the human farrago that the Satires purport to regard. Juvenal's poems discover the dynamic operation of feelings in society, drawing on various historic literary, rhetorical, and philosophical assets. every one poem uniquely engages with assorted texts and ideas to bare the unsettling powers of its emotional mode. Keane additionally analyzes the "emotional plot" of every publication of Satires and the structural common sense of the whole sequence with its wide selection of topics and settings. From his well-known indignant tirades to his extra confusing later meditations, Juvenal demonstrates an everlasting curiosity within the dating among emotions and ethical judgment.
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Extra resources for Juvenal and the Satiric Emotions
Elimination” (Harris, “Rage of Women,” 129). 30 | Juvenal and the Satiric Emotions in aliquem hominem magnum odium aut in rem gravis offensio concitetur, Inv. 100). 12 The moral views and tastes of Juvenal’s first readers would have ranged beyond the teachings of Stoicism; that includes views on anger’s function in life and in literature. 13 In the aristocratic self-image and culture, anger had an important place as a status marker and even a source of pleasure. , Top. 98, Part. 9 and 128; Orat.
15. Nussbaum imagines that for a Roman man anger would be “hooked up to a feeling of manly pride, and to a quasi-erotic excitement, as he prepares to smash the adversary” (Upheavals of Thought, 160). Cf. 1 and cf. 1). 2–4), citing Aristotle (cf. Rh. 1378a30–32, b1–2, and de An. 403a29–b3). The role of desire or pleasure is also recognized at Pl. Phlb. 47e and Arist. Rh. 1378b4–9; all three passages cite Homer’s reference to rage “sweeter than honey” at Il. 108–10. Cf. Sorabji, Emotion, 80. 16.
Inv. 104), just like other bad actors in Satire 1: the guardian who defrauds his young ward (46–47), the matrona who teaches her neighbors to poison their husbands (69–72). Cicero also notes that it is useful to call attention to the plight of crime’s victims (Inv. 101); thus the satirist uses a combination of personification and apostrophe to lament for the provincial victims of an extortionist governor: “Marius [Priscus], now in exile, starts his drinking in the afternoon and enjoys having the gods angry at him; meanwhile, Province [of Africa], though you’ve won in court, you weep” (exsul ab octava Marius bibit et fruitur dis/iratis, at tu victrix, provincia, ploras, 49–50).