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A.D. 101 Trajan for the first time extended the arms of Rome beyond the Danube. Cf. 1. 169.

The plunder of his province of Africa, by Marius Priscus, was a recent event (1. 120 "nuper"); but, as we have said above, he was impeached by Pliny and Tacitus in the year A.D. 100. Ponticus, to whom the Satire is addressed, may be the person to whom Martial refers in his twelfth book, which was written A.D. 104.

There are two allusions by which we may form a conjecture as to the date of the ninth Satire. Crepereius Pollio is mentioned as nearly in the same circumstances of profligate poverty (1. 6, 7) as is described in the eleventh Satire (1. 43), which was undoubtedly written in Juvenal's later years; and he alludes (1. 117) to Saufeia, in very much the same terms in which he speaks of her in the sixth Satire (1. 320), which we suppose to have been written in his old age.

The internal evidence, supplied by the sustained majesty and dignified flow of language of the tenth (as well as of the fourteenth) Satire, without taking into consideration the philosophical nature of the subject of both, is quite sufficient to prove that they must have been the finished productions of a late period of a thoughtful life. We are therefore quite prepared to admit the conjecture that the allusion in line 136 is to the column of Trajan, erected in the year A.D. 113. The repetition of the line (226) also connects this with the first Satire, which it probably preceded only by a short interval.

The 203d line of the eleventh Satire fixes its date to the later years of Juvenal's life. It breathes, besides, throughout the spirit of a calm and philosophic enjoyment of the blessings of life, that tells of declining age; cheered by a chastened appreciation of the comforts by which it is surrounded, but far removed from all extraneous or meretricious excitement, and utterly abhorrent of all noisy or exuberant hilarity. An additional argument is mentioned in the Chronology for referring it to the date A.D. 124.

The twelfth Satire contains nothing by which we can fix its date with any certainty. If, however, as the commentators suppose, the wife of Fuscus, in the 45th line, be Saufeia, it will be connected with the sixth, ninth, and eleventh Satires, and may probably be considered the work of his advanced

age.

The thirteenth Satire is fixed by line 17 to the year A.D. 118, the 60th after the consulship of L. Fonteius Capito. This is the only Satire to which Mr. Clinton has assigned a date.

The argument applied to the tenth Satire will apply with nearly equal force to the fourteenth. We are therefore prepared to admit the plausibility of the conjecture, that 1. 196 refers to the progress of Hadrian through Britain, which would fix the date to A.D. 120; a very short time previous to the composition of the following Satire.

The event recorded in the fifteenth Satire cccurred shortly after the consulship of Junius, 1. 27, "nuper consule Junio gesta." This was, in all probability, Junius Rusticus, who was consul with Hadrian A.D. 119. The 110th line also probably refers to the influx of Greeks and other foreigners into Rome, in the train of Hadrian (to which we have alluded in discussing the date of the third Satire), which took place in the preceding year.

The

The sixteenth Satire may have either been the draft of a longer pcem, commenced in early life (as 1. 3 may imply), which the poet never cared to finish; or an outline for a more perfect composition, which he never lived to elaborate. mention of Fucus may connect it with the twelfth Satire. But though there is quite enough remaining to warrant us in unhesitatingly ascribing the authorship to Juvenal, there is too little left to enable us to form even a probable conjecture as to the date of its composition.

It is hardly necessary to add, that, after a careful examination of the foregoing Chronology, it must be evident to every novice in scholarship, that the whole life of Juvenal, as usually given, is a mere myth, to which one can not even apply, as in many legendary biographies, the epithet of poetical.

L. E.

ARGUMENTS

OF THE

SATIRES OF JUVENAL.

SATIRE I.

THIS Satire seems, from several incidental circumstances to have been produced subsequently to most of them; and was probably drawn up after the author had determined to collect and publish his works, as a kind of Introduction.

He abruptly breaks silence with an impassioned complaint of the importunity of bad writers, and a resolution of retaliating upon them; and after ridiculing their frivolous taste in the choice of their subjects, declares his own intention to devote himself to Satire. After exposing the corruption of men, the profligacy of women, the luxury of courtiers, the baseness of informers and fortune-hunters, the treachery of guardians, and the peculation of officers of state, he censures the general passion for gambling, the servile rapacity of the patricians, the avarice and gluttony of the rich, and the miserable poverty and subjection of their dependents; and after some bitter reflections on the danger of satirizing living villainy, concludes with a resolution to attack it under the mask of departed names.

SATIRE II.

This Satire contains an animated attack upon the hypocrisy of the philosophers and reformers of the day, whose ignorance, profligacy, and impiety it exposes with just severity.

Domitian is here the object; his vices are alluded to under every different name; and it gives us a high opinion of the intrepid spirit of the man who could venture to circulate, even in private, so faithful a representation of that blood-thirsty tyrant.

SATIRE III.

Umbritius, an Aruspex and friend of the author, disgusted at the prevalence of vice and the disregard of unassuming virtue, is on the point of quitting Rome; and when a little way from the city stops short to acquaint the poet, who has accompanied him, with the causes of his retirement. These may be arranged under the following heads: That Flattery and Vice are the only thriving arts at Rome; in these, especially the first, foreigners have a manifest superiority over the natives, and consequently engross all favor-that the poor are universally exposed to scorn

and insult that the general habits of extravagance render it difficult for them to subsist-that the want of a well-regulated police subjects them to numberless miseries and inconveniences, aggravated by the crowded state of the capital, from all which a country life is happily free: on the tranquillity and security of which he dilates with great beauty.

SATIRE IV.

In this Satire Juvenal indulges his honest spleen against Crispinus, already noticed, and Domitian, the constant object of his scorn and abhorrence. The introduction of the tyrant is excellent; the mock solemnity with which the anecdote of the Turbot is introduced, the procession of the affrighted counselors to the palace, and the ridiculous debate which terminates in as ridiculous a decision, show a masterly hand. The whole concludes with an indignant and high-spirited apostrophe.

SATIRE V.

Under pretense of advising one Trebius to abstain from the table of Virro, a man of rank and fortune, Juvenal takes occasion to give a spirited detail of the insults and mortifications to which the poor were subjected by the rich, at those entertainments to which, on account of the political connection subsisting between patrons and clients, it was sometimes thought necessary to invite them.

SATIRE VI.

The whole of this Satire, not only the longest, but the most complete of the author's works, is directed against the female sex. It may be distributed under the following heads: Lust variously modified, imperiousness of disposition, fickleness, gallantry, attachment to improper pursuits, litigiousness, drunkenness, unnatural passions, fondness for singers, dancers, etc.; gossiping, cruelty, ill manners; outrageous pretensions to criticism, grammar, and philosophy; superstitious and unbounded credulity in diviners and fortune-tellers; introducing supposititious children; poisoning their step-sons to possess their fortunes; and, lastly, murdering their husbands.

SATIRE VII.

This Satire contains an animated account of the general discouragement under which literature labored at Rome. Beginning with poetry, it proceeds through the various departments of history, law, oratory, rhetoric, and grammar; interspersing many curious anecdotes, and enlivening each different head with such satirical, humorous, and sentimental remarks as naturally flow from the subject.

SATIRE VIII.

Juvenal demonstrates, in this Satire, that distinction is merely personal; that though we may derive rank and titles from our ancestors, yet if we degenerate from the virtues by which they obtained them, we

can not be considered truly noble. This is the main object of the Satire; which, however, branches out into many collateral topics-the profligacy of the young nobility; the miserable state of the provinces, which they plundered and harassed without mercy; the contrast between the state of debasement to which the descendants of the best families had sunk, and the opposite virtues to be found in persons of the lowest station and humblest descent.

SATIRE IX.

The Satire consists of a dialogue between the poet and one Nævolus, a dependent of some wealthy debauchee, who, after making him subserv ient to his unnatural passions, in return starved, insulted, hated, and discarded him. The whole object seems to be, to inculcate the grand moral lesson, that, under any circumstances, a life of sin is a life of slavery.

SATIRE X.

The subject of this inimitable Satire is the vanity of human wishes. From the principal events of the lives of the most illustrious characters of all ages, the poet shows how little happiness is promoted by the attainment of what our indistinct and limited views represent as the greatest of earthly blessings. Of these he instances wealth, power, eloquence, military glory, longevity, and personal accomplishments; all of which, he shows, have proved dangerous or destructive to their respective possessors. Hence he argues the wisdom of acquiescing in the dispensations of Heaven; and concludes with a form of prayer, in which he points out with great force and beauty the objects for which a rational being may presume to approach the Almighty.

SATIRE XI.

Under the form of an invitation to his friend Persicus, Juvenal takes occasion to enunciate many admirable maxims for the due regulation of life. After ridiculing the miserable state to which a profligate patrician had reduced himself by his extravagance, he introduces the picture of his own domestic economy, which he follows by a pleasing view of the simplicity of ancient manners, artfully contrasted with the extravagance and luxury of the current times. After describing with great beauty the entertainment he proposes to give his friend, he concludes with an earnest recommendation to him to enjoy the present with content, and await the future with calmness and moderation.

SATIRE XII.

Catullus, a valued friend of the poet, had narrowly escaped shipwreck. In a letter of rejoicing to their common friend, Corvinus, Juvenal describes the danger that his friend had incurred, and his own hearty and disinterested delight at his preservation, contrasting his own sacrifices of thanksgiving at the event, with those offered by the designing legacyhunters, by which the rich and childless were attempted to be insnared.

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