By Maria Plaza
Maria Plaza units out to investigate the functionality of humor within the Roman satirists Horace, Persius, and Juvenal. Her place to begin is that satire is pushed by way of explanations, that are to a undeniable quantity adversarial: to reveal humor, and to advertise a major ethical message. She argues that, whereas the Roman satirist wishes humor for his work's aesthetic advantage, his proposed message suffers from the ambivalence that humor brings with it. Her research indicates that this paradox isn't just socio-ideological but in addition aesthetic, forming the floor for the curious, hybrid nature of Roman satire.
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Maria Plaza units out to research the functionality of humor within the Roman satirists Horace, Persius, and Juvenal. Her place to begin is that satire is pushed via causes, that are to a definite quantity antagonistic: to reveal humor, and to advertise a major ethical message. She argues that, whereas the Roman satirist wishes humor for his work's aesthetic benefit, his proposed message suffers from the ambivalence that humor brings with it.
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Additional resources for The Function of Humour in Roman Verse Satire: Laughing and Lying
Yet the assumption that rigidus cachinnus means nothing but criticism, ‘a mirthless laugh’,82 seems somewhat hasty when the context is considered. Rigidus implies sternness and admonition, and this is perhaps to be expected from the laughter of a philosopher83—but it does not imply lack of gaiety in the laugher. The contrast with the crying Heraclitus presupposes the opposite attitude in Democritus for its eVect, and the image of the violently laughing philosopher, ‘perpetuo risu pulmonem agitare solebat j Democritus’ (‘Democritus’ sides used to shake with incessant laughter’), 33–4, likewise suggests hearty laughter.
The linkage of óðïıäÆæåØí and ðÆØæåØí is used of Socrates in Gorg. 481b and Phaedr. 234d. Thus we have to agree with R. B. : Harvard University Press, 1989), 27), and point out that the assumption that the Cynics called themselves óðïıäÆØïªåºïØïØ and were thus called by their contemporaries, is a reconstruction, though a fairly certain one. For the term see further Giangrande, Spoudaiogeloion, 17– 19; for Cynic humour in general, cf. Grant, Theories of the Laughable, 53–70; Z. Stewart, ‘Laughter in the Greek Philosophers: a Sketch’, in S.
Ru¨tten, Demokrit—lachender Philosoph & sanguinischer Melancholiker. Eine pseudohippokratische Geschichte (Leiden: Brill, 1992), esp. 8–53. 79 Note the thematic development from Hor. Ep. 194–8 to Juv. 33–46: in Horace Democritus would have been watching the people gaping foolishly at the games, but there is no twist of social injustice, which is central to Juvenal’s scene. 52. 80 If we accept the identiWcation of Juvenal’s and the philosopher’s outlooks, the next step must be to scrutinize the nature of the humour suggested in satire 10.
The Function of Humour in Roman Verse Satire: Laughing and Lying by Maria Plaza