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According to the Life contained in the manuscripts, Persius was a native of Volaterrae , 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. 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 LuciliusLucilius is the nomen of the gens Lucilia of ancient Rome. Gaius Lucilius, satirist 2nd century BC Lucilius Junior, friend and correspondent of the younger Seneca. The tomb of Marcus Lucilius Paetus, a military tribune in the time of Augustus, and his sis 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.
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 ProbusMarcus Valerius Probus of Berytus, was a Roman grammarian and critic, who flourished during the reign of Nero. He was a student rather than a teacher, and devoted himself to the criticism and elucidation of the texts of classical authors (especially the m, no doubt a learned edition of Persius like those of VirgilFor other uses see Virgil (disambiguation). Publius Vergilius Maro ( October 15, 70 19 BC) known in English as Virgil or Vergil Latin poet, is the author of the Eclogues the Georgics and the Aeneid this last being a narrative poem in twelve books that is and HoraceQuintus Horatius Flaccus ( December 8, 65 BC 8 BC) known in the English world as Horace was the leading lyric poet in Latin. Horace was the son of a freedman, but himself born free. His father spent considerable money on Horace's education, sending him to 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. 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 PhilistinesThe historic Philistines (see note "Philistines" below) were a people that inhabited the southern coast of Canaan around the time of the arrival of the Israelites, their territory being named Philistia in later contexts. Their origin has been contended am.
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 JuvenalJuvenal Decimus Iunius Iuvenalis was a Roman satiric poet of the 1st century AD. Very little is known about his life, the ancient biographies being generally fictitious. He is best known for coining the phrase "panem et circenses" ("bread and circuses") t, he seems a forerunner of the great ChristianChristian is: a follower of the faith of Christianity a popular first name and surname, especially in Northern Europe According to the New Testament, those who followed Jesus as his disciples were first called Christians by those who did not share their f 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 PlatoFor the computing technology, see PLATO System. Plato ( Greek: Platon (c. 427 BC c. 347 BC) was an immensely influential classical Greek philosopher, student of Socrates, teacher of Aristotle, writer, and founder of the Academy in Athens. Plato, who is be, 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 .
Persius's satires are composed in hexameters, except for the scazens 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 recitcUor 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 jusfly 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. 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, cido, ebullire, gluto, lallare, mamma, muhire, obba, palpo, stioppus. Fine lines, etc., in i. 1i6 sqq., ii. 6 sqq., 61 sqq., 73 sqq., iii. 39 sqq.