Persius, in full Aulus Persius Flaccus (AD 34-62), was a Roman poet and satirist of Etruscan origin. In his works, poems and satires, he shows a stoic wisdom and a strong criticism for the abuses of his contemporaries. His works, which became very popular in the middle ages, were published after his death by his friend and mentor the stoic philosopher Lucius Annaeus Cornutus. For alternate uses, see Number 34. ... Centuries: 1st century BC - 1st century - 2nd century Decades: 10s 20s 30s 40s 50s - 60s - 70s 80s 90s 100s 110s Years: 57 58 59 60 61 - 62 - 63 64 65 66 67 Events A great earthquake damages cities in Calabria including Pompeii. ... This article or section may contain original research or unverified claims. ... A poet is someone who writes poetry. ... List of satirists below - writers, cartoonists and others known for their involvement in satire - humourous social criticism. ... Map showing the extent of the Etruscan civilization and the twelve Etruscan League cities. ... 1867 edition of the satirical magazine Punch, a British satirical magazine, ground-breaking on popular literature satire. ... A restored Stoa in Athens. ... Lucius Annaeus Cornutus, Stoic philosopher, flourished in the reign of Nero. ...

Life

According to the Life contained in the manuscripts, Persius was a native of Volterra (Volaterrae, in Latin), a small etruscan city in the province of Pisa, of good stock on both parents' side. When six years old he lost his father, and his step-father died in a few years. At the age of twelve Persius came to Rome, where he was taught by Remmius Palaemon and the rhetor Verginius Flavus. Four years later began a close friendship with the Stoic Lucius Annaeus Cornutus. One of the philosopher's pupils, Lucan, became a generous admirer of all Persius wrote. While still a youth, he became the friend of the lyric poet Caesius Bassus, whilst with Thrasea Paetus (whose wife Arria was a relative) he had a close friendship of ten years' duration and shared travels. Later, he met Seneca, but was not impressed by his genius. A view of Volterra Volterra is a town in the Tuscany region, Italy. ... This article discusses the Italian city. ... Quintus Remmius Palaemon, Roman grammarian, a native of Vicentia, lived in the reigns of Tiberius and Claudius. ... Rhetoric (from Greek ρητωρ, rhêtôr, orator) is one of the three original liberal arts or trivium (the other members are dialectic and grammar). ... A restored Stoa in Athens. ... Lucius Annaeus Cornutus, Stoic philosopher, flourished in the reign of Nero. ... Marcus Annaeus Lucanus (November 3, AD 39-April 30, 65), better known in English as Lucan, was a Roman poet, and is one of the outstanding figures of the Silver Latin period. ... Caesius Bassus a Roman lyric poet, who lived in the reign of Nero. ... Publius Clodius Thrasea Paetus, Roman senator and Stoic philosopher, lived during the reign of Nero. ... In Roman mythology, Arria was a woman whose husband, Caecina Paetus, was ordered by the emperor to commit suicide. ... Bust, traditionally thought to be Seneca, now identified by some as Hesiod. ...

In his boyhood, Persius wrote a tragedy dealing with an episode in Roman history, and another work, probably on travel; the excursions with Thrasea could not yet have taken place. Reading Lucilius made Persius want to write like him, and be set to work on a book of satires. But he wrote seldom and slowly; a premature death (uitio stomachi) prevented the completion of his task. He has been described as having "a gentle disposition, girlish modesty and personal beauty", and is said to have lived a life of exemplary devotion towards his mother Fulvia Sisenna, his sister and his aunt. To his mother and sister he left his considerable fortune. Cornutus suppressed all his work except the satires, to which he made some slight alterations before handing it over to Bassus for editing. It proved an immediate success. In general usage a tragedy is a drama, movie or sometimes a real world event with a sad outcome. ... History - Ancient history - Ancient Rome This is a List of Ancient Rome-related topics, that aims to include aspects of both the Ancient Roman Republic and Roman Empire. ... Lucilius is the nomen of the gens Lucilia of ancient Rome. ...

Doubts over his biography

The scholia add a few details--on what authority is, as generally with such sources, very doubtful. The Life itself, though not free from the suspicion of interpolation and undoubtedly corrupt and disordered in places, is probably trustworthy. The manuscripts say it came from the commentary of Valerius Probus, no doubt a learned edition of Persius like those of Virgil and Horace by this same famous "grammarian" of Berytus, the poet's contemporary. The only case in which it seems to conflict with the Satires themselves is in its statement as to the death of Persius's father. The declaiming of a suasoria in his presence (Sat. 3. 4 sqq.) implies a more mature age than that of six in the performer. But pater might here mean "step-father," or Persius may have forgotten his own autobiography, may be simply reproducing one of his models. The mere fact that the Life and the Satires agree so closely does not of course prove the authenticity of the former. One of the points of harmony is, however, too subtle for us to believe that a forger evolved it from the works of Persius. Marcus Valerius Probus, of Berytus, was a Roman grammarian and critic, who flourished during the reign of Nero. ... A sculpture of Virgil, probably from the 1st century AD. For other uses, see Virgil (disambiguation). ... Horace, as imagined by Anton von Werner Quintus Horatius Flaccus, (December 8, 65 BC - November 27, 8 BC), known in the English-speaking world as Horace, was the leading Roman lyric poet during the time of Augustus. ... Beirut ( translit: ) is the capital, largest city, and chief seaport of Lebanon. ...

The Life gives an impression it gives of a "bookish" youth, who has never strayed far from home and family. This is also the picture drawn by the Satires. So much better does Persius know his books than the world that he draws the names of his characters from Horace. A keen observer of what occurs within his narrow horizon, he cannot but discern the seamy side of life (cf. e.g. such hints as Sat. iii. 110); he shows, however, none of Juvenal's undue stress on unsavoury detail or Horace's easy-going acceptance of human weaknesses. The sensitive, homebred nature of Persius shows itself perhaps also in his frequent references to ridicule, whether of great men by street gamins or of the cultured by Philistines.Montaigne mentions Persius several times. Map showing the location of Philistine land and cities of Gaza, Ashdod, and Ascalon Map of the southern Levant, c. ...

Work

The chief interest of Persius's work lies in its relation to Roman satire, in its interpretation of Roman Stoicism, and in its use of the Roman tongue. The influence of Horace on Persius can, in spite of the silence of the Life, hardly have been less than that of Lucilius. Not only characters, as noted above, but whole phrases, thoughts and situations come direct from him. The resemblance only emphasizes the difference between the caricaturist of Stoicism and its preacher. Persius strikes the highest note that Roman satire reached; in earnestness and moral purpose rising far superior to the political rancour or good natured persiflage of his predecessors and the rhetorical indignation of Juvenal, he seems a forerunner of the great Christian Apologists. From him we learn how that philosophy could work on minds that still preserved the depth and purity of the old Roman gravitas. Some of the parallel passages in the works of Persius and Seneca are very close, and cannot be explained by assuming the use of a common source. Like Seneca, Persius censures the style of the day, and imitates it. Indeed in some of its worst failings, straining of expression, excess of detail, exaggeration, he outbids Seneca, whilst the obscurity, which makes his little book of not seven hundred lines so difficult to read and is in no way due to great depth of thought, compares poorly with the terse clearness of the Epistolae morales. A curious contrast to this tendency is presented by his free use of "popular" words. As of Plato, so of Persius we hear that he emulated Sophron; the authority is a late one (Lydus, De mag. I. 41), but we can at least recognize in the scene that opens Sat. 3. kinship with such work as Theocritus' Adoniazusae and the Mimes of Herodas. Frontispiece depicting Juvenal and Persius, from a volume translated by John Dryden in 1711. ... It has been suggested that this article or section be merged into Christianity. ... Plato (ancient Greek: Πλάτων, Plátōn, wide, broad-shouldered) (c. ... Sophron, of Syracuse, writer of mimes, flourished about 430 BC. He was the author of prose dialogues in the Doric dialect, containing both male and female characters, some serious, others humorous in style, and depicting scenes from the daily life of the Sicilian Greeks. ... Theocritus (Greek Θεόκριτος), the creator of Ancient Greek bucolic poetry, flourished in the 3rd century BC. Little is known of him beyond what can be inferred from his writings. ... Herodas (Greek: ), or Herondas (the name is spelt differently in the few places where he is mentioned), Greek poet, the author of short humorous dramatic scenes in verse, written under the Alexandrian empire in the 3rd century BC. Apart from the intrinsic merit of these pieces, they are interesting in...

Persius's satires are composed in hexameters, except for the scazons of the short prologue above referred to, in which he half ironically asserts that he writes to earn his bread, not because he is inspired. The first satire censures the literary tastes of the day as a reflection of the decadence of the national morals. The theme of Seneca's 114th letter is similar. The description of the recitator and the literary twaddlers after dinner is vividly natural, but an interesting passage which cites specimens of smooth versification and the languishing style is greatly spoiled by the difficulty of appreciating the points involved and indeed of distributing the dialogue (a not uncommon crux in Persius). The remaining satires handle in order (2) the question as to what we may justly ask of the gods (cf. Plato's second Alcibiades), (3) the importance of having a definite aim in life, (4) the necessity of self-knowledge for public men (cf. Plato's first Alcibiades), (5) the Stoic doctrine of liberty (introduced by generous allusions to Cornutus' teaching), and (6) the proper use of money. Hexameter is a literary and poetic form, consisting of six metrical feet per line as in the Iliad. ... Alcibiades Alcibiades Cleiniou Scambonides (also Alkibiades) (Greek: Αλκιβιάδης Κλεινίου Σκαμβωνίδης)¹ (c. ...

The Life tells us that the Satires were not left complete; some lines were taken (presumably by Cornutus or Bassus) from the end of the work so that it might be quasi finitus. This perhaps means that a sentence in which Persius had left a line imperfect, or a paragraph which he had not completed, had to be omitted. The same authority says that Cornutus definitely blacked out an offensive allusion to the emperor's literary taste, and that we owe to him the reading of the manuscripts in Sat. i. 121,--"auriculas asini quis non Mida rex habet!" Traces of lack of revision are, however, still visible; cf. e.g. v. 176 (sudden transition from ambition to superstition) and vi. 37 (where criticism of Greek doctores has nothing to do with the context). The parallels to passages of Horace and Seneca are recorded in the commentaries: in view of what the Life says about Lucan, the verbal resemblance of Sat. iii. 3 to Phars. x. 163 is interesting. Examples of bold language or metaphor: i. 25, rupto iecore exierit caprificus, 60, linguae quantum sitiat canis; iii. 42, intus palleat, 81, silentia rodunt; v. 92, ueteres auiae de pulmone reuello. Passages like iii. 87, 100 sqq. show elaboration carried beyond the rules of good taste. "Popular" words: baro, cerdo, ebullire, glutto, lallare, mamma, muttire, obba, palpo, scloppus. Fine lines, etc., in i. 116 sqq., ii. 6 sqq., 61 sqq., 73 sqq., iii. 39 sqq.

Authorities

The manuscripts of Persius fall into two groups, one represented by two of the best of them, the other by that of Petrus Pithoeus, so important for the text of Juvenal. Since the publication of J. Bieger's de Persii cod. pith. recte aestimando (Berlin, 1890) the tendency has been to prefer the tradition of the latter. Pierre Pithou (November 1, 1539 – November 1, 1596), was a French lawyer and scholar. ... Frontispiece depicting Juvenal and Persius, from a volume translated by John Dryden in 1711. ...

The first important editions were: (1) with explanatory notes: Isaac Casaubon (Paris, 1605, enlarged edition by Johann Friedrich Dübner, Leipzig, 1833); Otto Jahn (with the scholia and valuable prolegomena, Leipzig, 1843); John Conington (with translation; 3rd ed., Oxford, 1893), etc; but there are several modern editions. Isaac Casaubon (February 18, 1559 - July 1, 1614) was a classical scholar, first in France then later in England, regarded by many at the time as the most learned in Europe. ... Johann Friedrich Dübner (December 20, 1802 - December 13, 1867), German classical scholar (naturalized a Frenchman), was born in Horselgau, near Gotha. ... John Conington (August 10, 1825 - October 23, 1869) was an English classical scholar. ...

This article incorporates text from the Encyclopædia Britannica Eleventh Edition, a publication now in the public domain. Encyclopædia Britannica, the 11th edition The Encyclopædia Britannica Eleventh Edition (1910–1911) is perhaps the most famous edition of the Encyclopædia Britannica. ... The public domain comprises the body of all creative works and other knowledge—writing, artwork, music, science, inventions, and others—in which no person or organization has any proprietary interest. ...