DOCSLIB.ORG

The Satyricon Petronius

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Satyricon Petronius THE SATYRICON PETRONIUS THE SATYRICON Table of Contents THE SATYRICON.............................................................................................................................................1 i THE SATYRICON PETRONIUS Translated and Introduced by ALFRED R. ALLINSON INTRODUCTION • INTRODUCTION • CHAPTER I • CHAPTER II • CHAPTER III • CHAPTER IV • CHAPTER V • CHAPTER VI • CHAPTER VII • CHAPTER VIII • CHAPTER IX • CHAPTER X • CHAPTER XI • CHAPTER XII • CHAPTER XIII • CHAPTER XIV • CHAPTER XV • CHAPTER XVI • CHAPTER XVII • CHAPTER XVIII • CHAPTER XIX • CHAPTER XX • CHAPTER XXI • CHAPTER XXII • CHAPTER XXIII • CHAPTER XXIV • CHAPTER XXV • CHAPTER XXVI • CHAPTER XXVII • CHAPTER XXVIII • CHAPTER XXIX • CHAPTER XXX This page copyright © 1999 Blackmask Online. Tacitus writes (Annals, XVI. Chapters 17 and 18−20, A.D. 66): "Within a few days, indeed, there perished in one and the same batch, Annaeus Mela, Cerialis Anicius, Rufius Crispinus and Petronius. With regard to THE SATYRICON 1 THE SATYRICON Caius Petronius, his character and life merit a somewhat more particular attention. He passed his days in sleep, and his nights in business, or in joy and revelry. Indolence was at once his passion and his road to fame. What others did by vigor and industry, he accomplished by his love of pleasure and luxurious ease. Unlike the men who profess to understand social enjoyment, and ruin their fortunes, he led a life of expense, without profusion; an epicure, yet not a prodigal; addicted to his appetites, but with taste and judgment; a refined and elegant voluptuary. Gay and airy in his conversation, he charmed by a certain graceful negligence, the more engaging as it flowed from the natural frankness of his disposition. With all this delicacy and careless ease, he showed, when he was Governor of Bithynia, and afterwards in the year of his Consulship, that vigor of mind and softness of manners may well unite in the same person. With his love of sensuality he possessed talents for business. From his public station he returned to his usual gratifications, fond of vice, or of pleasures that bordered upon it. His gayety recommended him to the notice of the Prince. Being in favor at Court, and cherished as the companion of Nero in all his select parties, he was allowed to be the arbiter of taste and elegance. Without the sanction of Petronius nothing was exquisite, nothing rare or delicious. "Hence the jealousy of Tigellinus, who dreaded a rival in the good graces of the Emperor almost his equal; in the science of luxury his superior. Tigellinus determined to work his downfall; and accordingly addressed himself to the cruelty of the Prince,−− that master passion, to which all other affections and every motive were sure to give way. He charged Petronius with having lived in close intimacy with Scaevinus, the conspirator; and to give color to that assertion, he bribed a slave to turn informer against his master. The rest of the domestics were loaded with irons. Nor was Petronius suffered to make his defense. "Nero at that time happened to be on one of his excursions into Campania. Petronius had followed him as far as Cumae, but was not allowed to proceed further than that place. He scorned to linger in doubt and fear, and yet was not in a hurry to leave a world which he loved. He opened his veins, and closed them again, at intervals losing a small quantity of blood, then binding up the orifice, as his own inclination prompted. He conversed during the whole time with his usual gayety, never changing his habitual manner, nor talking sentences to show his contempt of death. He listened to his friends, who endeavored to entertain him, not with grave discourses on the immortality of the soul or the moral wisdom of philosophers, but with strains of poetry and verses of a gay and natural turn. He distributed presents to some of his servants, and ordered others to be chastised. He walked out for his amusement, and even lay down to sleep. In this last scene of his life he acted with such calm tranquillity, that his death, though an act of necessity, seemed no more than the decline of nature. In his will he scorned to follow the example of others, who like himself died under the tyrant's stroke; he neither flattered the Emperor nor Tigellinus nor any of the creatures of the Court. But having written, under the fictitious names of profligate men and women, a narrative of Nero's debauchery and his new modes of vice, he had the spirit to send to the Emperor that satirical romance, sealed with his own seal,−− which he took care to break, that after his death it might not be used for the destruction of any person whatever. "Nero saw with surprise his clandestine passions and the secrets of his midnight revels laid open to the world. To whom the discovery was to be imputed still remained a doubt. Amidst his conjectures, Silia, who by her marriage with a Senator had risen into notice, occurred to his memory. This woman had often acted as procuress for the libidinous pleasures of the Prince, and lived besides in close intimacy with Petronius. Nero concluded that she had betrayed him, and for that offense ordered her into banishment, making her a sacrifice to his private resentment." Two questions arise out of this famous passage: 1. Is Petronius (Arbiter), author of the Satyricon, the same person as the Caius Petronius here described, and spoken of by the Historian as "elegantiae arbiter" at the Court of Nero? 2. Is the existing Satyricon the "satirical romance" composed by the Emperor's victim during his dying hours and sent under seal to the tyrant? THE SATYRICON 2 THE SATYRICON Both points have been long and vigorously debated, but may now be taken as fairly well settled by general consent,−− the answer to the first query being Yes! To the second, No! The Introductory Notice to Petronius, in the noble "Collection des Auteurs Latins," edited by M. Nisard, sums up the controversy thus: "Is Petronius, here mentioned by Tacitus, the Author of the Satyricon, and are we to regard this work as being the testamentary document addressed to Nero of which the Historian speaks?" These two questions so long and eagerly disputed, may be looked upon as decided by this time. The Consular, the favorite of Nero, the "arbiter of taste and elegance" at the Imperial Court, is generally acknowledged to be our Petronius Arbiter; whose book, diversified as it is with "strains of poetry and verses of a gay and natural turn," with its tone of good company and its easy−going Epicurean morality, is so much in keeping with the cheerful, uncomplaining death of the pleasure−loving courtier who understood his master's little peculiarities, and had, like Trimalchio, adopted for his motto, "Vivamus, dum licet esse,"−− "Let us eat and drink, for tomorrow we die." At any rate in our own opinion, this first point is finally and definitely decided. "Can this satire (The Satyricon) be the testament of irony and hate which the victim sent to his executioner? To this further question we answer No!−− and our personal conviction on the point is shared by the most weighty authorities. We will limit ourselves here to one or two observations. According to Tacitus, Petronius had already caused his veins to be opened, when he started to recapitulate the series of Nero's debaucheries in this deposition. The document therefore must necessarily have been brief; whereas the work we possess, too extensive as it stands to have been composed by a dying man, was originally of much greater length, for it seems proved by the titles affixed to the Manuscripts that nearly nine−tenths of the whole is lost. Besides, Petronius had expressly limited his statement to an account of Nero's secret debaucheries, with no further disguise beyond the use of fictitious names,−− 'under the names of profligate men and women.' Lastly the extremely varied character of the Work is diametrically opposed to a view, making it out to have been a personal libel, a piece of abuse that only stops short of giving the actual name of the individual pilloried." What is known of Petronius himself, the man Petronius?−− Granting an affirmative answer may be given to question 1, something; but even then not much. His name was Caius Petronius; he was a Roman Eques or Knight, born at Massilia (Marseilles). Even these initial points are not quite firmly established; Pliny and Plutarch speak of Titus Petronius, and the facts of his being an Eques and his birth at Marseilles rest on conjectural evidence. He was successively Proconsul of Bithynia, and Consul, in both which high offices he showed integrity, energy and ability. He was in high favor at the Court of Nero, where he devoted his undoubted talents and genial wit to the amusement of the Prince, the systematic cultivation of an elegant and luxurious idleness and the elaboration of a refined profligacy. He won the title among his fellow courtiers of "arbiter elegantiae," a nickname that with time appears to have grown into a sort of surname, posterity knowing him universally as Petronius Arbiter. Eventually he incurred the jealousy and enmity of Nero's all−powerful Minister, Tigellinus, who contrived his ruin. Informed against for conspiracy, or at any rate association with conspirators, he voluntarily opened his veins. Displaying much fortitude and a fine indifference, he died calmly and composedly, spending his last hours in merry conversation with his friends, the recitation of light−hearted verses and the composition of a candid and circumstantial account of the Emperor's debaucheries, which he sent under seal to his Master as his dying bequest.
Load more

Recommended publications
  • Petronius' Satyricon Teacher's Manual
    Petronius' Satyricon Mosaic from House with Workshops, Pompeii Selections from Cena Trimalchionis Teacher's Manual Ashley Newman Table of Contents I. Introduction and teaching suggestions……………………...………………….pg 3 II. Lesson plans and handouts……………………………….....……………pgs 4 - 12 III. Large versions of text for overhead………………………………..……..pgs 13-19 IV. English translation…………….…………………………….……………pgs 20-23 V. Multiple choice quiz and key..…………………………………………. pgs 24 -25 VI. Vocabulary Quiz………..…………………………………………………….pg 26 VII. Translation Quest and key..………………………………………………pgs 27-28 VIII. Test and key………………………………………………………………pgs 29-35 IX. Bibliography………………………………………………………………….pg 36 2 Introduction and teaching suggestions The purpose of this teaching project is to guide Latin III students through Petronius' Satyricon with ease. By Latin III, the students should be reading unaltered texts in Latin. It is important that the students read texts written by Romans, instead of teachers. Students can learn information about culture and language from reading the words of the Romans. This project is designed to help young students navigate their way through an authentic text. This unit has been designed to take about 12 days. The lesson plans are laid out for group work. This Petronius project lends itself to be incorporated into a larger Roman author unit. I incorporate Petronius as one of the six Romans authors whom I expose my students during a semester. This unit could be longer. Students could translate and discuss only one page a day with daily review of the previous page. Using the suggested extension activities would also extend the unit. It is important to read and discuss the introduction with the students in order to familiarize them with the time period, author, and genre of the Satyricon.
    [Show full text]
  • Syllabus Update
    UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS SYLLABUS UPDATE PRE-U LATIN SYLLABUS 9788 Changes to prescribed texts Please note that this syllabus, for examination in 2014, has been amended. Page 12 Appendix 1: Prescribed Texts and Theme Texts for Paper 1 – Verse Literature Prescribed texts Virgil, Aeneid 4. 1–521 (Candidates should be familiar with the rest of the book in translation) Recommended edition: MacLennan, K. (ed.) 2007 Virgil Aeneid 4, Bristol or Catullus 11, 16, 33, 63, 64, 70, 85, 93, 94, 116 Recommended edition: Quinn, K. (ed.) 1998 Catullus: the Poems, Bristol Theme texts Theme, Virgil Aeneid 4. 1–521: Men and Women Ovid Amores 1.1, 2, 4, 5, 6, 9, 10, 11, 12, 13, 14 Ovid Heroides 1, 7, 10 Propertius 1 or Theme, Catullus 11, 16, 33, 63, 64, 70, 85, 93, 94, 116: Violence Virgil, Aeneid 10 Lucan, Bellum Civile 1 Juvenal, Satire 6 Page 13 Appendix 2: Prescribed Texts for Paper 2 – Prose Literature Tacitus Annals XV, sections 38-74 (sequitur clades ... inter homines desierit) Recommended edition: Miller, N. P. (ed.) 1998 Tacitus Annals XV, Bristol Candidates should also read the following in translation: Annals XIV sections 1–22 and 47–65; Annals XV sections 32–37. or Petronius, Satyricon, 26-64 (venerat iam ... nunc hilaria) Recommended edition: Smith, M. 1975 Petronius: Cena Trimalchionis, Oxford Pages 14–16 Appendix 3: Suggested Bibliography General reference Boardman, J., Griffin, J., and Murray, O. (eds) 2001 The Oxford History of the Classical World, Oxford Clausen, W. and Kennet, A. (eds) 1985 The Cambridge History of Classical Literature vol.
    [Show full text]
  • Petronius the Satyricon Who Was Petronius?
    Petronius The Satyricon Who was Petronius? • Hedonist • Pro-consul and consul and member of the Nero’s court • Judge of Elegance • Sarical death • Denounced Nero Who was Petronius? • Manuscripts simply refer to the author of the Satyricon as ‘Petronius Arbiter’ • We do not know if they are the same person. The Satyricon – an incomplete novel • Only survives in fragmentary form. The beginning and end are lost. • Many parts omiJed, probably because of its sexually explicit nature. • The Satyricon mainly survives preserved in certain sec?ons. The dinner of Trimalchio is the most complete sec?on. An Overview of the Satyricon • Encolpius ‘The hero of the Satyricon is Encolpius’ penis’ – Amy Richlin. • Giton • Ascyltos • Quar?lla, Pannychis • Trimalchio • Eumolpus An Overview of the Satyricon (con-nued) • Lichas and Tryphaena • Circe in Croton Sources for the Satyricon • A unique literary work. However certain features of the Satyricon can be found – Poe?c sare was common, involving personal observaons and anecdotes about society. Horace’s Dinner of Nasidienus (Serm. 2.8) – exo?c foods squid, fish, crane, provoking fear and crying and laughter. – Mime – Prosimetrum. Menippean sare. Seneca’s Apocolocyntosis – Later novel in the second century Apuleius’ Metamorphoses – Homer, Vergil and Lucan are also influences. Slaves, Freedmen, and Ingenui in the Imperial Period • Ingenuus • Libertus – Augustalis Slaves in the Satyricon • ‘Anyone who leaves this house will receive one hundred lashes’ • ‘Slaves are humans and drink the same milk’ Gaius Pompeius Trimalchio Maecenaanus • Inherited his fortune from his master. • Became an Augustalis, and shows off his fasces and axes • He is painted on the walls accompanied by gods.
    [Show full text]
  • Equestrians and Social Status in Petronius' Satyricon
    Equestrians and Social Status in Petronius’ Satyricon Petronius’ Satyricon has garnered much attention due to its unique portrayal of lower class people in the Roman world. The character who has undoubtedly received the most attention, Trimalchio, is a fantastic representation of a freedman with newfound riches. While much attention has been given to the depictions of Trimalchio and the numerous lowbrow characters throughout the story, less attention has been paid to members of the upper classes. Admittedly, characters of this sort are for the most part absent from a story focused on the poor and/or uncultured. However, references to characters of higher social standing occur throughout the novel. These references range from reports of off scene events, such as an equestrian’s advances toward the naked Ascyltos (92.9-10), to personal opinions of characters, such as Hermeros’ insecure rant about his status (57-58) or Circe’s maid’s haughty declaration that she prefers men of higher status (126.10). Men of high status never actually appear center stage but instead remain in the background while characters like Trimalchio attempt to fill their place. Viewing the upper class from the perspectives of the novel’s predominantly uncultured and lower class characters enables us to see how Petronius envisions the relationship between rich and poor, cultured and uncultured. I argue that appearances of and references to higher status individuals in the Satyricon reveal how the lower class characters viewed both their own status and the status of those of higher social standing. The references to upper class individuals are overwhelmingly negative.
    [Show full text]
  • Seneca's Apocolocyntosis and Petronius' Satyricon
    Seneca’s Apocolocyntosis and Petronius’ Satyricon MICHAEL PASCHALIS University of Crete Introduction In chapter 5 of Seneca’s Apocolocyntosis it is announced to Jupiter that a weird character has arrived in heaven, who is shaking his head all the time and dragging his right leg and when asked about his nationality, replies in a confused, unintelligible language that is neither Greek nor Latin, nor of any known race. Jupiter orders Hercules, who was widely traveled and was thus expected to know all nations of the world, to go and find out who this cha- racter is. Hercules is shocked at the shape of this unusual fellow, his limping gait and his hoarse, inarticulate voice, reminiscent of a sea animal.1 He be- gins to think that his thirteenth labor has arrived when on closer inspection he realizes that the beast may be some kind of human being. Being a ‘Greekling’ (Graeculus), Hercules addresses him with a Homer- ic verse: ‘Who are you and from where? What are your city and parents?’ In Odyssey 1,170 this line2 is addressed by Telemachus to a female goddess (Athene) disguised as a male (Mentes); here it is appropriately adapted to render the ambiguity of race and species surrounding this character. Her- cules’ question provokes the following reaction from the newly arrived, who is none other than the deceased emperor Claudius: ‘Claudius rejoiced that there were philologi up there; he began to hope that there would be some place for his historical works’ (Eden’s translation). So he, too, used a verse of Homer (Odyssey 9,39) to indicate that he was a Caesar and said: ‘The wind, bearing me from Ilion, brought me to the Cicones’.
    [Show full text]
  • Contribution to the Definition of the Relationships Between the Satyricon
    Contribution to the definition of the relationships between the Satyricon of Petronius and Menippean satire Autor(es): Ferreira, Paulo Sérgio Centro de Estudos Clássicos e Humanísticos; Imprensa da Universidade Publicado por: de Coimbra URL persistente: URI:http://hdl.handle.net/10316.2/32078 DOI: DOI:http://dx.doi.org/10.14195/978-989-721-060-0_1 Accessed : 28-Sep-2021 06:59:15 A navegação consulta e descarregamento dos títulos inseridos nas Bibliotecas Digitais UC Digitalis, UC Pombalina e UC Impactum, pressupõem a aceitação plena e sem reservas dos Termos e Condições de Uso destas Bibliotecas Digitais, disponíveis em https://digitalis.uc.pt/pt-pt/termos. Conforme exposto nos referidos Termos e Condições de Uso, o descarregamento de títulos de acesso restrito requer uma licença válida de autorização devendo o utilizador aceder ao(s) documento(s) a partir de um endereço de IP da instituição detentora da supramencionada licença. Ao utilizador é apenas permitido o descarregamento para uso pessoal, pelo que o emprego do(s) título(s) descarregado(s) para outro fim, designadamente comercial, carece de autorização do respetivo autor ou editor da obra. Na medida em que todas as obras da UC Digitalis se encontram protegidas pelo Código do Direito de Autor e Direitos Conexos e demais legislação aplicável, toda a cópia, parcial ou total, deste documento, nos casos em que é legalmente admitida, deverá conter ou fazer-se acompanhar por este aviso. pombalina.uc.pt digitalis.uc.pt Colecção Autores Gregos e Latinos Série Ensaios Cláudia Teixeira Delfim
    [Show full text]
  • The Annotated Waste Land with Eliot's Contemporary Prose
    the annotated waste land with eliot’s contemporary prose edited, with annotations and introduction, by lawrence rainey The Annotated Waste Land with Eliot’s Contemporary Prose Second Edition yale university press new haven & london First published 2005 by Yale University Press. Second Edition published 2006 by Yale University Press. Copyright © 2005, 2006 by Lawrence Rainey. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Set in Scala by Duke & Company, Devon, Pennsylvania Printed in the United States of America. Library of Congress Control Number: 2006926386 A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Commit- tee on Production Guidelines for Book Longevity of the Council on Library Resources. ISBN-13: 978-0-300-11994-7 (pbk. : alk. paper) ISBN-10: 0-300-11994-1 (pbk. : alk. paper) 10987654321 contents introduction 1 A Note on the Text 45 the waste land 57 Editor’s Annotations to The Waste Land 75 Historical Collation 127 eliot’s contemporary prose London Letter, March 1921 135 The Romantic Englishman, the Comic Spirit, and the Function of Criticism 141 The Lesson of Baudelaire 144 Andrew Marvell 146 Prose and Verse 158 vi contents London Letter, May 1921 166 John Dryden 172 London Letter, July 1921 183 London Letter, September 1921 188 The Metaphysical Poets 192 Notes to Eliot’s Contemporary Prose 202 selected bibliography 251 general index 261 index to eliot’s contemporary prose 267 Illustrations follow page 74 the annotated waste land with eliot’s contemporary prose Introduction Lawrence Rainey when donald hall arrived in London in September 1951, bear- ing an invitation to meet the most celebrated poet of his age, T.
    [Show full text]
  • Freedmen, Identity, and Cultural Belonging in the Early Empire
    Studies in Mediterranean Antiquity and Classics Volume 2 Issue 1 Article 4 June 2008 Foreign Citizens: Freedmen, Identity, and Cultural Belonging in the Early Empire Hayley Steptoe Macalester College Follow this and additional works at: https://digitalcommons.macalester.edu/classicsjournal Recommended Citation Steptoe, Hayley (2008) "Foreign Citizens: Freedmen, Identity, and Cultural Belonging in the Early Empire," Studies in Mediterranean Antiquity and Classics: Vol. 2 : Iss. 1 , Article 4. Available at: https://digitalcommons.macalester.edu/classicsjournal/vol2/iss1/4 This Article is brought to you for free and open access by the Classics Department at DigitalCommons@Macalester College. It has been accepted for inclusion in Studies in Mediterranean Antiquity and Classics by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. Steptoe: Foreign Citizens Foreign Citizens: Freedmen, Identity, and Cultural Belonging in the Early Empire Hayley Steptoe The beginning of the Roman empire saw its citizens’ identities shaken and reformed. Under Augustus, Rome matured into the leading city of the Mediterranean, class lines between citizens hardened, and political authority consolidated at the very top of society, sapping the power of the senatorial class. Freed slaves, or liberti, who were both Romans and outsiders, had to position themselves within the new ideological scheme of what constituted Romanness. From the existing evidence, we can reconstruct two major parts of the discourse about freedmen’s Roman identity during the early empire. In this essay, I argue that while the old Roman elites treated freedmen as tasteless, unnatural pretenders to power, the freedmen emphasized their cultural belongingness and societal value.
    [Show full text]
  • The Invisibility of Juvenal James Uden Submitted in Partial Fulfillment of Th
    The Invisibility of Juvenal James Uden Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2011 2011 James Uden All rights reserved. ABSTRACT The Invisibility of Juvenal James Uden This dissertation offers a reading of Juvenal’s Satires. It maintains that Juvenal consciously frustrates readers’ attempts to identify his poetic voice with a single unitary character or persona. At the same time, it argues that Juvenal’s poems are influenced in both form and theme by cultural trends in the early second century. The arguments staged in these poems constitute a critique of aspects of Roman intellectual culture in the reigns of Trajan and Hadrian. Contents Preface 1. Provoking the Charge: Epic Poet and Reticent Informer in Satire One The Recitation Hall (Part One) The Paradox of Contemporary Epic The Satirist as Delator The Crisis of Criticism Satiric Voices in Tacitus’ Dialogus de Oratoribus The Recitation Hall (Part Two) 2. The Invisibility of Juvenal ‘Atopic Topology’: The Thirteenth Oration of Dio Chrysostom Juvenal’s Second Satire: Strategies for Speech and Disguise Secrecy and Violence in Satire Nine 3. Satire Four: Playing the Panegyrist The Art of Exaggeration The Emperor over Nature Natural Reversal and Fish Savagery The Perils of Panegyrical Speech i 4. Cynic Philosophy and Ethical Education in Satires Ten and Fourteen Debasing the Coinage The Laugh of Democritus and the Cynic Ideal Satire Fourteen: The Domestication of Ethical Teaching 5. Satire Twelve: Repetition and Sacrifice in Hadrianic Rome Horatian Ritual and the “New Augustus” Substitution and Sacrifice: Animals and Humans in Satire Twelve The Gods and their Captatores Reading across Books: Atheism and Superstition in Satire Thirteen Appendix: Martial 12.18 and the Dating of Juvenal’s First Book ii ACKNOWLEDGMENTS Thanks must go first to Gareth Williams, friend and mentor for the past half-decade.
    [Show full text]
  • Review of "The Roman Guide to Save Management: a Treatise by Nobleman Marcus Sidonius Falx" Allison Thomason Southern Illinois University Edwardsville
    The Councilor: A Journal of the Social Studies Volume 78 Article 2 Number 1 Volume 78 No. 1 (2011) January 2017 Review of "The Roman guide to save management: A treatise by Nobleman Marcus Sidonius Falx" Allison Thomason Southern Illinois University Edwardsville Follow this and additional works at: http://thekeep.eiu.edu/the_councilor Part of the Curriculum and Instruction Commons, Economics Commons, Educational Methods Commons, Elementary Education Commons, Elementary Education and Teaching Commons, Junior High, Intermediate, Middle School Education and Teaching Commons, and the Pre- Elementary, Early Childhood, Kindergarten Teacher Education Commons Recommended Citation Thomason, Allison (2017) "Review of "The Roman guide to save management: A treatise by Nobleman Marcus Sidonius Falx"," The Councilor: A Journal of the Social Studies: Vol. 78 : No. 1 , Article 2. Available at: http://thekeep.eiu.edu/the_councilor/vol78/iss1/2 This Article is brought to you for free and open access by the Journals at The Keep. It has been accepted for inclusion in The ouncC ilor: A Journal of the Social Studies by an authorized editor of The Keep. For more information, please contact [email protected]. Thomason: Review of "The Roman guide to save management: A treatise by Nobl Toner, J. (2014). The Roman guide to save management: A treatise by Nobleman Marcus Sidonius Falx. New York, NY: Overlook Press. Jerry Toner’s short book, The Roman Guide to Slave Management: A Treatise by Nobleman Marcus Sidonius Falx (2014, Overlook Press, 216 pp., ISBN 978-1-4683-1172-3) takes a tongue-in- cheek approach in its illustration of the life of a fictitious nobleman and slave owner.
    [Show full text]
  • The Waste Land
    The Connell Guide to T. S. Eliot’s The Waste Land by Seamus Perry NOTES Contents Eliot in the bank 14 The role of Ezra Pound 20 Introduction 3 Who is speaking? 36 A summary of the plot 6 Stravinsky and The Waste Land 50 What is The Waste Land about? 14 Ten responses to The Waste Land 64 Vivien Eliot in The Waste Land 68 What does the epigraph do? 21 Why is The Waste Land difficult? 30 Introduction Do we need to spot the references? 34 The Waste Land, first published in 1922, is not What is wrong with April (1-18)? 40 far from a century old, and it has still not been What is the waste land (19-30)? 44 surpassed as the most famous and, moreover, the most exemplary of all modern poems. In many What does the German mean (31-42)? 49 ways, it continues to define what we mean by What does Madame Sosostris foresee modern whenever we begin to speak about (43-59)? 55 modern verse. Part of that modernity lies in the What happens on London Bridge (60-76)? 57 way it is sometimes referred to as a difficult poem; but, at the same time, as Ted Hughes once Who are these women (77-172)? 62 observed, without denying its genuine kinds of What is the Fire Sermon (173-214)? 81 difficulty, it is also genuinely popular, and not just among the cogniscenti or the degree-bearing. What does Tiresias see (215-265)? 88 “I remember when I taught fourteen-year-old What do the Thames maidens sing (266-311)? 93 boys in a secondary modern school,” Hughes once Who is Phlebas (312-321)? 97 said, “of all the poetry I introduced them to, their favourite was The Waste Land.” What is that sound (322-394)? 98 My own experience as a tutor confirms that What does the Thunder say (395-433)? 105 students – once they allow themselves to become immersed in its rhythms and patterns, and as Is The Waste Land a pessimistic poem? 117 they begin to worry less about obscurity and start 3 attuning themselves instead to the interplay of its her hair voices – take to the poem in a way they do to few Spread out in fiery points others.
    [Show full text]
  • The Waste Land
    THE WASTE LAND By T. S. ELIOT Winner of The Dial's 1922 Award. This prize of two thousand dollars is given annually to a young American writer in recognition of his service to letters. THE WASTE LAND By T. S. Eliot (Winner of the Dial's 1922 Award) Burton Rascoe in the "New York Tribune," characterizes THE WASTE LAND as, "A thing of bitterness and beauty, which is a crystallization or a synthesis of all the poems Mr. Eliot has hitherto written." He goes still further, when he says, THE WASTE LAND, "Is, perhaps, the finest poem of this generation; at all events it is the most significant in that it gives voice to the universal despair or resig- nation arising from the spiritual and economic consequences of the war, the cross purposes of modern civilization, the cul-de-sac into which both science and philosophy seem to have got themselves and the break-down of all great directive purposes which give zest and joy to the business of living. It is an erudite despair: Mr. Eliot stems his poem from a recent anthro- pological study of primitive beliefs, as embodied in the Grail legend and other flaming quests which quickened men in other times; he quotes, or misquotes, lines from the "Satyricon of Petronius," "Tristan und Isolde," the sacred books of the Hindus, Dante, Baudelaire, Verlaine, nursery rhymes, the Old Testament and modern jazz songs. His method is highly elliptical, based on the curious formula of Tris- tan Corbiere, wherein reverential and blasphemous ideas are juxtaposed in amazing antitheses, and there are min- gled all the shining verbal toys, im- pressions and catch lines of a poet who has read voraciously and who pos- sesses an insatiable curiosity about life.
    [Show full text]