By Gian Biagio Conte
The Satyricon of Petronius, a comic book novel written within the first century A.D., is known this present day essentially for its notable ceremonial dinner story, "Trimalchio's Feast." yet this episode is just one a part of the bigger photograph of lifestyles in the course of Nero's rule awarded within the paintings. during this available dialogue of Petronius's masterful use of parody, Gian Biagio Conte deals an interpretation of the Satyricon as a complete. He combines the scholarly precision of shut analyzing with an important, unique theoretical model.At the guts of his interpretation, Conte unearths the means of the "hidden writer" that Petronius employs on the cost of his characters, particularly the teller of the tale, Enclopius. via closing hidden outdoor the narrative, Petronius invitations the reader to grin on the folies de grandeur that happen in a tradition of students and declaimers. but as Conte indicates, in the back of the parody and inexhaustible humor of the Satyricon lies an all at once severe lament. For these conversant in the Satyricon, in addition to for brand spanking new readers, Conte's booklet may be a competent, relaxing advisor to the wonders the Satyricon includes.
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Additional resources for The Hidden Author: An Interpretation of Petronius's Satyricon (Sather Classical Lectures)
Sample text
Aspiciet partoque ibit regina triumpho? . occiderit ferro Priamus? . Dardanium totiens sudarit sanguine litus? ("So shall this woman look on Sparta unharmed and move as queen in the triumph won? Shall Priam perish by the sword? "). Just so Encolpius finds himself saying: effugi iudicium . . ut inter
B. Conte, The Rhetoric of Imitation (Ithaca and London, 1986), 196-207. 12. The different models of the literary sublime (memorable scenes from the great poetic tradition and also from great oratory) function as behavioral models for the character but also as literary models for the narrator: this empowers the aspects of naïveté and mythomania which govern Encolpius' attitudes. But obviously, from my perspective, we must assume the unity of the character-narrator, the "agent 'I'" and the "narrating 'I'" (even if occasionally one can perceive a slight tension between the two functions filled by Encolpius; these tensions I have not failed to note here and there).
Page 13 anthology pieces, powerful and memorable passages, scenarios and postures of grand effect which come to the memory under the goad of emotion. Often there is a kind of homology of sense which links together these accumulated literary suggestions. But what most of all unites them is their grandiosity of tone. Encolpius feels himself to be the enraged Achilles, but his come-uppance is already lurking in the text. Dum attonito vultu efferatoque nihil aliud quam caedem et sanguinem cogito: this is a blatant exaggeration.
