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.pl 29.7c \" A4 dimensions: 21c x 29.7c .ll 16.5c .lt 16.5c .fp 6 NR .fp 7 NI .fp 8 NB .ft 6 .ps 12 .vs 1.75m .hy 14 .ev 1 .ll 16.5c .lt 16.5c .fp 6 NR .fp 7 NI .fp 8 NB .ft 6 .ps 11 .hy 14 .ev .de h \" HEADING .nr n 0 .bp .\".if e .bp .nr n 1 .sp 3 \\$1 \" heading .sp 2 .ns .. .de p \" PARAGRAPH .ti +2 .. .de bl \" INDENTED BLOCK BEGIN .in 4m .ll -4m .. .de ck \" INDENTED BLOCK END .ll +4m .in 0 .. .nr fc 0 1 \" footnote counter .nr f 0 1 \" boolean footnotes on this page .de f \" FOOTNOTE \u\s-4\\n+(fc\s0\d .ev 1 .da fn .fi .ti 1 \\n(fc. \\$1 .br .if \\n+f=1 .nr y -2v .di .ev .nr y -\\n(dn .ch fo \\nyu .. .wh 0 he .de he \" HEADER .nr y 27.7c-1v .ch fo \\nyu .ie \\n(bs \{\ \" page-offset for printing on both sides . if o .po 2.5c . if e .po 2c \} .el .po 2.5c .\".el .po 2.25c .ev 1 'sp 2c-1.5 .if \\nn .tl ''%'' .ev 'sp |2c .. .wh 27.7c-1v fo .de fo \" FOOTER .ev 1 .nf .if \\nf \{\ . nr y +2.5v . sp |\\nyu . fn . rm fn . nr f 0 . nr y 0 \} 'sp |27.7c .if \\n(fm=1 .tl ''%'' \" page number at bottom for front matter .ev 'bp .. \c .sp 4 .ce 99 \s+(12CIVIL WAR IN THE \f7SATYRICON\f6 \s-8THE \f7BELLVM CIVILE\f6 OF EUMOLPUS\s-4 .\" other titles entertained: .\"MILESIAN COUNTERPOINT: CIVIL WAR IN THE \f7SATYRICON\f6 .\"DISAFFECTED POETICS: EUMOLPUS \f7DE BELLO CIVILI\f6 .\"PETRONIUS AND HIS \f7CARMEN DE BELLO CIVILI\f6 .sp 8 TRAVIS EDWARD MOORE .sp 8 A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Latin, The University of Auckland, 2012 .ce 0 .bp .ce 1 CIVIL WAR IN THE \f7SATYRICON\f6 .bl The \f7Bellum Ciuile\f6 is the longest piece of verse in the extant \f7Satyricon\f6, the prosimetric masterpiece of Petronius. It is a poem on the Civil War of 49–45 BC, recited during a long journey by the disreputable poet-character Eumolpus. The present study approaches this unique and intriguing specimen in the hope of appreciating its literary merits more fairly than has hitherto been the custom. It is found to be entirely possible to appreciate the \f7Bellum Ciuile\f6 in a more charitable way, and the implications of such an appreciation for the usual discussions of Petronius are then discussed. .bp .nr fm 1 .af % i .ce 1 ACKNOWLEDGEMENTS I would like to thank first and foremost Marcus Wilson as my supervisor and for cultivating my interest in Roman fiction. The helpful comments of Bill Barnes and Maxine Lewis in the Classics department at the University of Auckland were also greatly appreciated. I am eternally indebted to my parents for their support, and to Alyx Fausett for her tireless proofreading and infinite patience. The shortcomings of the work are of course my own.\p .ck .bp .ce 1 CONTENTS .ta 2 16.5cR \f7Acknowledgements\f6iii Introduction1 ONE: \f7POEMA QVA POEMA\f63 Metre5 Metrical effects9 Hyperbole14 Simile and metaphor15 Repetition and anaphora19 Wordplay21 TWO: EUMOLPUS \f7DE ARTE POETICA\f623 The target of Eumolpus' criticism23 Eumolpus' literary models27 Allusion32 Diction34 \f7Sententiæ\f635 Divine machinery37 Fact and fiction46 THREE: IMPLICATIONS53 Length and occasion53 Eumolpus' audience57 Dead rat inside a python59 Genre65 Characterization71 Conclusion82 \f7Bibliography\f683 .ta 3 +3 +3 +3 +3 +3 +3 +3 .fi