Der Satiriker Lucilius und seine Zeit (review)

In mid-February 2001 at the University of Freiburg, a symposium was held under the aegis of Professor Eckard Lefèvre on the theme "Lucilius, Identity, and Alterity." Moving with lightning speed, Gesine Manuwald edited fifteen of the papers given there and had them ready in June so that Beck could publish them in record time. This is the swiftest production of the doings of such a symposium that I have come across. If only there had been some really new things to say about Lucilius, it would make this monograph invaluable. Unfortunately, no new fragments have appeared, and the identity of Lucilius remains shrouded in mystery for lack of new historical evidence. As for alterity, most of the participants in the project did not feel comfortable with addressing that aspect of Lucilius, probably again for lack of useful data on the satirist and his period.

Nine of the fifteen papers come from the hands of students and faculty at the University of Freiburg. In addition, there are contributions from Johannes Christes of Berlin, C. J. Classen of Göttingen, Ursula Gärtner of Leipzig, Severin Kostner of Erlangen, Werner Krenkel of Rostock, and Eckart Olshausen of Stuttgart. All of the titles try to link Lucilius with a genre like epic, with a specific poet like Callimachus or Aristophanes, or with a cultural or historical phenomenon like the city of Rome or the times in which the poet lived. One essay alone addresses a specific satire, predictably the Trip to Sicily in Book 3, which provides enough surviving lines to allow a discussion of fifteen pages.

Several of the essays illustrate the difficulty of putting a confident hand on the "identity" of Lucilius. Even the famous disclaimer of ambition to become a publican in the new province of Asia, though firmly linked to Lucilius' name in its text, does not necessarily justify the conclusion that the poet is expressing personal pride as Manuwald claims. A pose is certainly struck, but what exactly is Lucilius proud of, and what does he propose instead? The statement could be the opening to his artistic creed as satirist, but it has other possibilities, e.g., the choice of an Epicurean existence or an attack on equestrian operators, and we need to advance every inference very tentatively. It is indeed quite possible that the lines came from a fictional dramatic situation.

The first paper, by Ulrike Auhagen, deals with Lucilius and comedy, an important and difficult topic. In his early poems of the first edition, Lucilius wrote a number of scenes in comic meters. Before he completed that edition, he seems to have decided permanently against those meters, senarius and septenarius, and he confined himself to hexameters in Book 30, the last book of that edition. Did he also abandon the way he used the comic meters? That is, in his early satirical experiments, did he produce little comic vignettes on fictional situations, familiar in Plautus and Terence, or did he use comedy to make satiric commentary on the Rome of his day? If the former, which I had hoped Auhagen would consider, then we can infer the variety of the satura that the poet was exploring. If the latter, then Lucilius is already from his earliest works the hard-hitting moralist that Auhagen imagines, ready to turn any meter and any situation into an arena for his polemics. I would plead for more openness to alterity.

Various papers deal with Lucilius' interest in other genres or writers. Thus, Andreas Bagordo downplays the connection with Callimachus, which Puelma Piwonka daringly argued. Bernhard Zimmermann considers Horace's apparent belief that Lucilius depended greatly on Aristophanes, and he puts it rightly into perspective. Manuwald shows how little the satirist admired the Greek and Roman tragedians, but she could have spent more time on the programmatic relevance of his disapproval: he was, after all, staking...