45:
2069:
author and statesman who died in 1719. The bibliography is disappointing in both range and accuracy. The underlying text is very bad and turns of phrase suggest that the translation was more likely from French renderings than directly from the original Latin. Despite the publisher's slip of paper ascribing it to Oscar Wilde, the style is not good enough and
Carrington could not, when challenged, produce any of the manuscript. Gaselee, Stephen, "The Bibliography of Petronius",
319:
212:
1141:) based on the novel. It was staged in Edinburgh in October 2022 as a co-production between Arbery Theatre and the Edinburgh Graduate Theatre Group. In Foreman's adaptation the presumed author of the book, Petronius, plays an editorializing role, commenting on structural aspects of the text, such as its fragmentary nature, as well as on philosophical themes it addresses, such as 1st-century AD
778:, had given the character of a medley of prose and verse composition. But the string of fictitious narrative by which the medley is held together is something quite new in Roman literature. The author was happily inspired in his devices for amusing himself and thereby transmitted to modern times a text based on the ordinary experience of contemporary life; the precursor of such novels as
294:
fight ends in laughter and the friends reconcile but still agree to split at a later date (9–10). Later, Encolpius tries to have sex with Giton, but is interrupted by
Ascyltos, who assaults him after catching the two in bed (11). The three go to the market, where they are involved in a convoluted dispute over stolen property (12–15). Returning to their lodgings, they are confronted by
498:
his impotence (140). He warns
Eumolpus that, because the wealth he claims to have has not appeared, the patience of the legacy-hunters is running out. Eumolpus's will is read to the legacy-hunters, who apparently now believe he is dead, and they learn they can inherit only if they consume his body. In the final passage preserved, historical examples of cannibalism are cited (141).
2373:
870:"Daytime," said he, "is nothing. You turn around and night comes on. Then there's nothing better than going straight out of bed to the dining room. And it's been pretty cold. I could scarcely get warm in a bathtub. But a hot drink is a wardrobe in itself. I've had strong drinks, and I'm flat-out drunk. The wine has gone to my head."
728:). That the author is the same as this courtier is disputed. Many modern scholars accept the identification, pointing to a perceived similarity of character between the two and to possible references to affairs at the Neronian court. Other scholars consider this identification "beyond conclusive proof".
2068:
Boroughs, Rod, "Oscar Wilde's
Translation of Petronius: The Story of a Literary Hoax", English Literature in Transition (ELT) 1880-1920, vol. 38, nr. 1 (1995) pages 9-49. The 1902 translation made free use of Addison's 1736 translation, but mistakenly attributes it to Joseph Addison, the better known
484:
at his temple for healing (133). Proselenos and the priestess
Oenothea arrive. Oenothea, who is also a sorceress, claims she can provide the cure desired by Encolpius and begins cooking (134–135). While the women are temporarily absent, Encolpius is attacked by the temple's sacred geese and kills one
472:
When the text resumes, the companions have apparently been in
Crotona for some time (125). A maid named Chrysis flirts with Encolpius and brings to him her beautiful mistress Circe, who asks him for sex. However, his attempts are prevented by impotence (126–128). Circe and Encolpius exchange letters,
293:
Encolpius then gets lost and asks an old woman for help returning home. She takes him to a brothel which she refers to as his home. There, Encolpius locates
Ascyltos (7–8) and then Giton (8), who claims that Ascyltos made a sexual attempt on him (9). After raising their voices against each other, the
832:
survives has tantalized many readers, and between 1692 and the present several writers have attempted to round the story out. In certain cases, following a well-known conceit of historical fiction, these invented supplements have been claimed to derive from newly discovered manuscripts, a claim that
497:
An aging legacy-huntress named
Philomela places her son and daughter with Eumolpus, ostensibly for education. Eumolpus makes love to the daughter, although because of his pretence of ill health he requires the help of Corax. After fondling the son, Encolpius reveals that he has somehow been cured of
345:
Extravagant courses are served while
Trimalchio flaunts his wealth and his pretence of learning (31–41). Trimalchio's departure to the toilet (he is incontinent) allows space for conversation among the guests (41–46). Encolpius listens to their ordinary talk about their neighbors, about the weather,
305:
The companions are overpowered by
Quartilla, her maids, and an aged male prostitute, who sexually torture them (19–21), then provide them with dinner and engage them in further sexual activity (21–26). An orgy ensues and the sequence ends with Encolpius and Quartilla exchanging kisses while they spy
405:
This ends when those who are walking in the adjoining colonnade drive Eumolpus out with stones (90). Encolpius invites Eumolpus to dinner. As he returns home, Encolpius encounters Giton, who begs him to take him back as his lover. Encolpius finally forgives him (91). Eumolpus arrives from the baths
1079:
In Fellini's adaptation, the fact that Ascyltos abducts this hermaphrodite, who later dies a miserable death in a desert landscape, is posed as an ill-omened event, and leads to the death of Ascyltos later in the film (none of which is to be found in the Petronian version). Other additions Fellini
571:
To many scholars, that suggests Encolpius had been condemned for a crime of murder, or more likely he simply feared being sentenced, to fight to his death in the arena. The statement probably is linked to an earlier insult by Ascyltos (9), who called Encolpius a "gladiator". One scholar speculates
559:
Statements in the extant narrative allow the reconstruction of some events that must have taken place earlier in the work. Encolpius and Giton have had contact with Lichas and Tryphaena. Both seem to have been lovers of Tryphaena (113) at a cost to her reputation (106). Lichas' identification of
389:
Encolpius returns with his companions to the inn but, having drunk too much wine, passes out while Ascyltos takes advantage of the situation and seduces Giton (79). On the next day, Encolpius wakes to find his lover and Ascyltos in bed together naked. Encolpius quarrels with Ascyltos and the two
265:
The work is narrated by its central figure, Encolpius. The surviving sections of the novel begin with Encolpius traveling with a companion and former lover named Ascyltos, who has joined Encolpius on numerous escapades. Encolpius' slave, Giton, is at his owner's lodging when the story begins.
390:
agree to part, but Encolpius is shocked when Giton decides to stay with Ascyltos (80). After two or three days spent in separate lodgings sulking and brooding on his revenge, Encolpius sets out with sword in hand, but is disarmed by a soldier he encounters in the street (81–82).
417:(95–96), which is broken up by the manager Bargates. Then Ascyltos arrives with a municipal slave to search for Giton, who hides under a bed at Encolpius's request (97). Eumolpus threatens to reveal him but after much negotiation ends up reconciled to Encolpius and Giton (98).
2376:
519:
Although interrupted by frequent gaps, 141 sections of consecutive narrative have been preserved. These can be compiled into the length of a longer novella. The extant portions were supposedly "from the 15th and 16th books" from a notation on a manuscript found in
862:"Diēs," inquit, "nihil est. Dum versās tē, nox fit. Itaque nihil est melius quam dē cubiculō rēctā in triclīnium īre. Et mundum frīgus habuimus. Vix mē balneus calfēcit. Tamen calda pōtiō vestiārius est. Stāminātās dūxī, et plānē mātus sum. Vīnus mihi in cerebrum abiit."
381:, mistaking the sound of horns for a signal that a fire has broken out, burst into the residence (78). Using this sudden alarm as an excuse to get rid of the sophist Agamemnon, whose company Encolpius and his friends are weary of, they flee as if from a real fire (78).
833:
may appear all the more plausible since the real fragments actually came from two different medieval sources and were only brought together by 16th- and 17th-century editors. The claims have been exposed by modern scholarship, even 21st-century apocryphal supplements.
1080:
makes in his filmic adaptation: the appearance of a minotaur in a labyrinth (who first tries to club Encolpius to death, and then attempts to kiss him), and the appearance of a nymphomaniac whose husband hires Ascyltos to enter her caravan and have sex with her.
346:
about the hard times, about the public games, and about the education of their children. In his insightful depiction of everyday Roman life, Petronius delights in exposing the vulgarity and pretentiousness of the illiterate and ostentatious wealthy of his age.
397:
while employed as his tutor, the youth wore him out with his own high libido (85–87). After talking about the decay of art and the inferiority of the painters and writers of the age to the old masters (88), Eumolpus illustrates a picture of the capture of
494:), and the women apply various irritants to him, which they use to prepare Encolpius for anal penetration (138). Encolpius flees from Oenothea and her assistants. In the following chapters, Chrysis herself falls in love with Encolpius (138–139).
808:
of certain nineteenth-century French novels: "In its highly polished style, its astute observation, its solid structure, he could discern curious parallels and strange analogies with the handful of modern French novels he was able to tolerate."
932:(Chapter 48), a supposedly immortal prophetess whose counsel was once sought on all matters of grave importance, but whose grotto by Neronian times had become just another site of local interest along with all the usual Mediterranean
341:
of enormous wealth, who entertains his guests with ostentatious and grotesque extravagance. After preliminaries in the baths and halls (26–30), the guests (mostly freedmen) enter the dining room, where their host joins them.
372:
Encolpius and his companions, by now wearied and disgusted, try to leave as the other guests proceed to the baths, but are prevented by a porter (72). They escape only after Trimalchio holds a mock funeral for himself. The
614:. Courtney notes that the prominence of Egypt in the ancient Greek novels might make it plausible for Petronius to have set an episode there, but expresses some doubt about the oracle's relevance to Encolpius's travels,
368:
arrives with his wife Scintilla (65), who compares jewellery with Trimalchio's wife Fortunata (67). Then Trimalchio sets forth his will and gives Habinnas instructions on how to build his monument when he is dead (71).
449:, and that the inhabitants are notorious legacy-hunters (116). Eumolpus proposes taking advantage of this, and it is agreed that he will pose as a childless, sickly man of wealth, and the others as his slaves (117).
430:. Also on board is a woman called Tryphaena, by whom Giton does not want to be discovered (100–101). Despite their attempt to disguise themselves as Eumolpus's slaves (103), Encolpius and Giton are identified (105).
444:
The ship is wrecked in a storm (114). Encolpius, Giton, and Eumolpus get to shore safely (as apparently does Corax), but Lichas is washed ashore drowned (115). The companions learn they are in the neighbourhood of
425:
In the next scene preserved, Encolpius and his friends board a ship, along with Eumolpus's hired servant, later named as Corax (99). Encolpius belatedly discovers that the captain is an old enemy, Lichas of
889:
had considered several titles for his book including "Trimalchio" and "Trimalchio in West Egg;" Fitzgerald characterizes Gatsby as Trimalchio in the novel, notably in the first paragraph of Chapter VII:
1157:
has frequently been translated into English, often in limited editions. The translations are as follows. The online versions, like the originals on which they are based, often incorporate spurious
599:
in the gardens of Massilia. It has been proposed that Encolpius's wanderings began after he offered himself as the scapegoat and was ritually expelled. Other fragments may relate to a trial scene.
393:
After entering a picture gallery, he meets with an old poet, Eumolpus. The two exchange complaints about their misfortunes (83–84), and Eumolpus tells how, when he pursued an affair with a boy in
841:
The Satyricon provides description, conversation, and stories that have become invaluable evidence of colloquial Latin. In the realism of Trimalchio's dinner party, we are provided with informal
856:
Chapter 41, the dinner with Trimalchio, depicts such a conversation after the overbearing host has left the room. A guest at the party, Dama, after calling for a cup of wine, begins first:
290:, who shifts the blame from the teachers to the parents (3–5). Encolpius discovers that his companion Ascyltos has left and breaks away from Agamemnon when a group of students arrive (6).
894:
It was when curiosity about Gatsby was at its highest that the lights in his house failed to go on one Saturday night—and, as obscurely as it had begun, his career as Trimalchio was over.
433:
Eumolpus speaks in their defence (107), but it is only after fighting breaks out (108) that peace is agreed (109). To maintain good feelings, Eumolpus tells the story of a widow of
636:
was controversial in 19th- and 20th-century scholarship, with dates proposed as varied as the 1st century BC and 3rd century AD. A consensus on this issue now exists. A date under
409:
Encolpius decides not to reveal Giton's identity, but he and the poet fall into rivalry over the boy (93–94). This leads to a fight between Eumolpus and the other residents of the
2136:
983:, a supercomputer entrusted with analyzing and finding solutions to the world's problems, is asked "Multivac, what do you yourself want more than anything else?" and, like the
740:
is considered one of the gems of Western literature, and, according to Branham, it is the earliest of its kind in Latin. Petronius mixes together two antithetical genres: the
686:. There is disagreement about the value of some individual arguments but, according to S. J. Harrison, "almost all scholars now support a Neronian date" for the work.
349:
After Trimalchio's return from the lavatory (47), the succession of courses is resumed, some of them disguised as other kinds of food or arranged to resemble certain
333:, takes place a day or two after the beginning of the extant story. Encolpius and companions are invited by one of Agamemnon's slaves to a dinner at the estate of
488:
Oenothea tears open the breast of the goose, and uses its liver to foretell Encolpius's future (137). That accomplished, the priestess reveals a "leather dildo" (
556:. The extant text runs to 140 pages in the Arrowsmith edition. The complete novel must have been considerably longer, but its true length cannot be known.
473:
and he seeks a cure by sleeping without Giton (129–130). When he next meets Circe, she brings with her an elderly enchantress called Proselenos who attempts a
452:
As they travel to the city, Eumolpus lectures on the need for elevated content in poetry (118), which he illustrates with a poem of almost 300 lines on the
1509:
2434:
2210:
Habermehl, Peter, Petronius, Satyrica 79–141. Ein philologisch–literarischer Kommentar. Band III: Bellum civile (Sat. 119–124). Berlin: de Gruyter. 2021.
971:
I once saw the Sibyl of Cumae in person. She was hanging in a bottle, and when the boys asked her, "Sibyl, what do you want?" she said, "I want to die."
560:
Encolpius by examining his groin (105) implies that they have also had sexual relations. Lichas' wife has been seduced (106) and his ship robbed (113).
544:
Still, speculation as to the size of the original puts it somewhere on the order of a work of thousands of pages, and comparisons for length range from
286:
and false taste in literature, which he blames on the prevailing system of declamatory education (1–2). His adversary in this debate is Agamemnon, a
2424:
1072:
though the androgynous Giton (Max Born) gives the graphic picture of Petronius's character. Among the chief narrative changes Fellini makes to the
353:
signs (35). Falling into an argument with Agamemnon (a guest who secretly holds Trimalchio in disdain), Trimalchio reveals that he once saw the
187:
The surviving sections of the original (much longer) text detail the bizarre exploits of the narrator, Encolpius, and his (possible) slave and
1938:
1418:
1371:
899:
618:"since we have no reason to suppose that Encolpius reached the Danube or the far north, and we cannot suggest any reason why he should have."
546:
2207:
Habermehl, Peter, Petronius, Satyrica 79–141. Ein philologisch–literarischer Kommentar. Band II: Satyrica 111–118. Berlin: de Gruyter. 2020.
1631:
2321:
2204:
Habermehl, Peter, Petronius, Satyrica 79–141. Ein philologisch–literarischer Kommentar. Band I: Satyrica 79–110. Berlin: de Gruyter. 2006.
647:
imitates colloquial language, as in the speeches of the freedmen at Trimalchio's dinner, its style corresponds with the literary prose of
643:
Evidence in the author's style and literary concerns also indicate that this was the period during which he was writing. Except where the
2464:
2414:
2449:
990:
A sentence written by Petronius in a satyrical sense, to represent one of the many gross absurdities told by Trimalchio, reveals the
2153:
2120:
1608:
1576:
1482:
1398:
1390:
1379:
1360:
1352:
1341:
1131:
790:
651:. Eumolpus' poem on the Civil War and the remarks with which he prefaces it (118–124) are generally understood as a response to the
536:"this evidence is late and unreliable and needs to be treated with reserve, all the more since – even on the assumption that the
2108:
2395:
1321:, 1930, New York: The Panurge Press. (This is the same translation published in 1902 with a false attribution to Oscar Wilde.)
2454:
1281:
1085:
648:
640:(1st century AD) is indicated by the work's social background and in particular by references to named popular entertainers.
474:
1992:
595:
refers to "Arbiter", by which he apparently means Petronius's narrator Encolpius, as a worshipper of the "sacred stake" of
226:
Encolpius: The narrator and principal character, moderately well educated and presumably from a relatively elite background
976:
678:
1678:
1445:
1158:
823:
752:
1315:(with the illustrations by Norman Lindsay), 1927, London: Fanfrolico Press; 1944, New York: Willey; 1960, London: Elek.
2419:
1541:
760:
756:
2355:
1566:
1182:
1006:
913:
713:) refer to the author as "Arbiter". The name Arbiter is likely derived from Tacitus' reference to a courtier named
437:. At first she planned to starve herself to death in her husband's tomb, but she was seduced by a soldier guarding
28:
191:
Giton, a handsome sixteen-year-old boy. It is the second most fully preserved Roman novel, after the fully extant
2459:
1127:
611:
580:
540:
contained 16 rather than, say, 20 or 24 books – the result would have been a work of unprecedented length."
2439:
1169:
1119:
1022:
2045:
1318:
1142:
763:. The mixing of these two radically contrasting genres generates the sophisticated humor and ironic tone of
702:
441:
corpses, and when one of these was stolen she offered the corpse of her husband as a replacement (110–112).
1213:
Erotica: The elegies of Propertius, The Satyricon of Petronius Arbiter, and The Kisses of Johannes Secundus
1046:. These were included in several 20th century translations, including, eventually, one by the artist's son
2444:
2429:
1705:
1247:
771:
725:
658:
552:
142:
in the late 1st century AD, though the manuscript tradition identifies the author as Titus Petronius. The
1312:
1270:
1262:
1193:
1047:
741:
453:
199:
is also regarded as useful evidence for the reconstruction of how lower classes lived during the early
180:), classical scholars often describe it as a Roman novel, without necessarily implying continuity with
1173:
576:
rather than a criminal, but there is no clear evidence in the surviving text for that interpretation.
2345:
1655:
1627:
785:
706:
698:
592:
44:
1294:
1090:
908:
showing some of the languages that T. S. Eliot used in the poem: Latin, Greek, English and Italian.
886:
799:
942:
Nam Sibyllam quidem Cumīs ego ipse oculīs meīs vīdī in ampullā pendere, et cum illī puerī dīcerent
477:
cure (131). Nonetheless, he fails again to make love, as Circe has Chrysis and him flogged (132).
2409:
2335:
2130:
1886:
1833:
1791:
1752:
1701:
1327:
1219:
1076:
text is the addition of a hermaphroditic priestess, who does not exist in the Petronian version.
673:
529:
329:
This section of the Satyricon, regarded by classicists such as Conte and Rankin as emblematic of
318:
211:
2392:
1330:, 1959, The University of Michigan Press. Also 1960, New York: The New American Library/Mentor.
2231:
Groningen: Barkhuis Publishing and Groningen University Library (Ancient narrative Suppl. 2).
2220:
Holmes, Daniel. 2008. "Practicing Death in Petronius' Cena Trimalchionis and Plato's Phaedo."
2149:
2116:
1934:
1604:
1572:
1478:
1414:
1408:
1394:
1386:
1375:
1367:
1356:
1348:
1337:
1223:
1200:
1060:
2100:
1928:
485:
of them. Oenothea is horrified, but Encolpius pacifies her with an offer of money (136–137).
406:
and reveals that a man there (evidently Ascyltos) was looking for someone called Giton (92).
2144:
S. J. Harrison (2003). "Petronius Arbiter". In Simon Hornblower and Antony Spawforth (ed.).
1878:
1825:
1783:
1744:
1404:
1254:
1112:
American composer James Nathaniel Holland adapted the story and wrote music for the ballet,
1106:
1065:
881:
748:
330:
229:
Giton: A handsome sixteen-year-old boy, a (possible) slave and a sexual partner of Encolpius
147:
2201:
Edited by Jaś Elsner & Jamie Masters. Chapel Hill: University of North Carolina Press.
1301:
1286:
795:
1274:
364:(62) and witches are told (63). Following a lull in the conversation, a stonemason named
241:
Eumolpus: An aged, impoverished and lecherous poet of the sort rich men are said to hate
1290:
1186:
1043:
993:
924:
904:
354:
219:
168:
71:
2148:(3rd edition, revised ed.). Oxford: Oxford University Press. pp. 1149–1150.
1523:
Harrison (1999). Nonetheless, Moore (101–3) aligns it with modern novels like Joyce's
1265:, 1913, Boston: Allyn and Bacon (being an excerpt from "The Banquet of Trimalchio" in
1222:, and ascribed by the publisher (on a loose slip of paper inserted into each copy) to
2403:
1837:
1756:
1503:
1498:
1234:
998:
feeling present in some Latin literature; a feeling perfectly seized by T. S. Eliot.
929:
457:
283:
898:
933:
200:
99:
2272:
Sandy, Gerald. 1970. "Petronius and the Tradition of the Interpolated Narrative."
1869:
J. P. Sullivan (1968). "Petronius, Seneca, and Lucan: A Neronian Literary Feud?".
1336:
J. P. Sullivan, 1965 (revised 1969, 1977, 1986), Harmondsworth, England: Penguin.
928:, is prefaced by a verbatim quotation out of Trimalchio's account of visiting the
804:
2232:
2000:
2367:
2364:
2340:
1227:
1102:
1001:
919:
850:
842:
438:
161:
2255:
Coimbra: Centro de Estudos Clássicos e Humanísticos da Universidade de Coimbra.
1297:. Includes the supplements by de Salas, Nodot, and Marchena separately marked.
1238:
912:
An early version of the novel, still titled "Trimalchio", was published by the
2229:
The Recollections of Encolpius: The Satyrica of Petronius as Milesian Fiction.
1829:
1748:
1453:
1069:
1017:
693:
ascribe the work to a "Petronius Arbiter", while a number of ancient authors (
665:
584:
334:
235:
464:(119–124). When they arrive in Crotona, the legacy-hunters prove hospitable.
17:
2091:
846:
714:
694:
653:
588:
573:
295:
287:
139:
61:
1068:, was loosely based upon the book. The film is deliberately fragmented and
587:
of allowing a poor man, during times of plague, to volunteer to serve as a
357:, who because of her great age was suspended in a flask for eternity (48).
2307:
Zeitlin, F. 1971. "Petronius as Paradox: Anarchy and Artistic Integrity."
2260:
Il teatro nel racconto. Studi sulla fabula scenica della matrona di Efeso.
591:, receiving support for a year at public expense and then being expelled.
579:
A number of fragments of Petronius's work are preserved in other authors.
306:
through a keyhole at Giton deflowering a seven-year-old virgin girl (26).
2382:
2096:
980:
780:
775:
525:
394:
365:
361:
338:
275:
188:
173:
166:); serious and comic elements; and erotic and decadent passages. As with
2297:
Studien zur klassischen Philologie 165. Frankfurt am Main: Peter Lang.
1513:. Vol. 19 (11th ed.). Cambridge University Press. p. 834.
1432:
1215:. London: Henry G. Bohn. Includes the supplements by Nodot and Marchena.
770:
The name “satyricon” implies that the work belongs to the type to which
1890:
1355:. Also 1997, Berkeley and Los Angeles: University of California Press.
1233:
reprint "in the translation attributed to Oscar Wilde", 1927, Chicago:
745:
596:
481:
446:
434:
427:
412:
376:
299:
279:
151:
2389:
The Widow of Ephesus (Satyricon 110.6–113.4): A Grammatical Commentary
1795:
1172:, 1694, London: Samuel Briscoe. Includes Nodot's spurious supplement.
302:, who condemns their attempts to pry into the cult's secrets (16–18).
2309:
Transactions and Proceedings of the American Philological Association
2274:
Transactions and Proceedings of the American Philological Association
2215:
Transactions and Proceedings of the American Philological Association
1871:
Transactions and Proceedings of the American Philological Association
1776:
Transactions and Proceedings of the American Philological Association
1770:
Henry T. Rowell (1958). "The Gladiator Petraites and the Date of the
1199:
Revised by Gilbert Bagnani, 1964, New York: Heritage. Illustrated by
987:
s Sibyl when faced with the same question, responds "I want to die."
710:
607:
603:
521:
461:
350:
155:
1882:
158:. The work contains a mixture of prose and verse (commonly known as
1787:
1347:
R. Bracht Branham and Daniel Kinney, 1996, London, New York: Dent.
2185:
Petronius the Poet: Verse and Literary Tradition in the Satyricon.
1385:
Sarah Ruden, 2000, Indianapolis: Hackett Publishing Company, Inc.
897:
528:
in 1663 by Petit. However, according to translator and classicist
317:
232:
Ascyltos: A friend of Encolpius, rival for the ownership of Giton
210:
195:
by Apuleius, which has significant differences in style and plot.
181:
135:
1366:
P. G. Walsh, 1997, Oxford and New York: Oxford University Press.
1246:
Michael Heseltine, 1913, London: Heinemann; New York; Macmillan (
682:
has been detected in the moralizing remarks of characters in the
637:
480:
Encolpius is tempted to sever the offending organ, but prays to
399:
274:
In the first passage preserved, Encolpius is in a Greek town in
2239:
Theatrum Arbitri. Theatrical Elements in Satyrica of Petronius.
2178:
The Language of the Freedmen in Petronius' Cena Trimalchionis.
1413:
Andrew Brown, 2009, Richmond, Surrey: Oneworld Classics Ltd.
1230:). Includes the Nodot supplements; these are not marked off.
1010:, mentions "What to imperial Neronian Rome the author of the
958:
946:
282:, where he is standing outside a school, railing against the
1502:
2021:
1969:, pp 119. Scribners Trade Paperback 2003 edition.
1257:, 1969, Cambridge, Massachusetts: Harvard University Press.
567:"I escaped the law, cheated the arena, killed a host" (81).
2199:
Reflections of Nero: Culture, History, and Representation.
1309:
J. M. Mitchell, 1923, London: Routledge; New York: Dutton.
2391:
by John Porter, University of Saskatchewan, with frames
2190:
George, P. 1974. "Petronius and Lucan De Bello Civili."
2253:
The Satyricon of Petronius: Genre, Wandering and Style.
2295:
Arbitri Nugae: Petronius' Short Poems in the Satyrica.
2115:. Oxford: Oxford University Press. pp. xi–xxxix.
2304:
Baltimore and London: Johns Hopkins University Press.
2173:
Edited by Heinz Hofmann. London; New York: Routledge.
2164:
The Novel, an Alternative History: Beginnings to 1600
2022:"The Satyricon: the 2,000 year old outrageous comedy"
1431:
Laurent Tailhade, 1922, Paris: Éditions de la Sirène
1137:
British director Martin Foreman wrote a play (titled
256:
Chrysis: Circe's servant, also in love with Encolpius
150:, which is different from the formal verse satire of
1333:
Paul J. Gillette, 1965, Los Angeles: Holloway House.
27:
This article is about the book. For other uses, see
1181:Included in the edition of 1910, London, edited by
95:
85:
77:
67:
57:
2197:Goddard, Justin. 1994. "The Tyrant at the Table."
2109:"Twentieth-Century Scholarship on the Roman Novel"
1477:. Oxford: Oxford University Press. pp. xiii.
1324:Paul Dinnage, 1953, London: Spearman & Calder.
1735:R. Browning (May 1949). "The Date of Petronius".
138:work of fiction believed to have been written by
2248:Stockholm: Almqvist & Wiksell International.
2135:: CS1 maint: bot: original URL status unknown (
2046:"The Satyricon : All Edinburgh Theatre.com"
1933:. University of California Press. p. xvi.
1922:
1920:
1918:
1877:. The Johns Hopkins University Press: 453–467.
1594:
1592:
1590:
1588:
969:
938:
892:
858:
2251:Ferreira, P., Leão, D. and C. Teixeira. 2008.
1956:trans. Margaret Mauldon (Oxford, 1998), p. 26.
1721:
1719:
879:In the process of coming up with the title of
583:cites Petronius as his source for a custom at
250:Corax: A barber, the hired servant of Eumolpus
2246:Laughter and Derision in Petronius’ Satyrica.
2169:Bodel, John. 1999. “The Cena Trimalchionis.”
1782:. The Johns Hopkins University Press: 14–24.
1153:Over a span of more than three centuries the
849:which give us insight into the unknown Roman
34:Latin work of fiction attributed to Petronius
8:
2086:Branham, R Bracht and Kinney, Daniel (1997)
1407:(Illustrated by Neil Packer), 2003, London:
922:'s seminal poem of cultural disintegration,
602:Among the poems ascribed to Petronius is an
37:
2213:Highet, G. 1941. "Petronius the Moralist."
2125:. Archived from the original on 2006-05-23.
2071:Transactions of the Bibliographical Society
1812:K. F. C. Rose (May 1962). "The Date of the
991:
952:
940:
860:
489:
410:
374:
159:
2281:A Commentary on the Satyrica of Petronius.
2171:Latin Fiction: The Latin Novel in Context.
1038:A series of 100 etchings illustrating the
798:. It reminds the well-read protagonist of
238:: An extremely vulgar and wealthy freedman
43:
36:
1241:as the translation of Alfred R. Allinson.
511:refers to what modern readers would call
247:Tryphaena: A woman infatuated with Giton
2286:Schmeling, G. and J. H. Stuckey. 1977.
1807:
1805:
1603:. Oxford, UK: Oxford University Press.
1465:
2269:Cambridge: Cambridge University Press.
2128:
1993:"Program: "Satyricon" (1972) DOCUMENT"
2267:Petronius and the Anatomy of Fiction.
2187:New York: Cambridge University Press.
1542:"The Satyricon (Illustrated Edition)"
1211:Walter K. Kelly, 1854, in the volume
1058:In 1969 two film versions were made.
253:Circe: A woman attracted to Encolpius
7:
2356:Satyricon at Perseus Digital Library
1161:which are not part of the authentic
1178:Revised by Mr Wilson, 1708, London.
402:by some verses on that theme (89).
2113:Oxford Readings in the Roman Novel
1683:Expositio Vergilianae continentiae
1475:Oxford Readings in the Roman Novel
1282:The Satyricon of Petronius Arbiter
1192:Reprinted with an introduction by
1042:was made by the Australian artist
664:Similarly, Eumolpus's poem on the
572:that Encolpius had been an actual
25:
2435:Italian novels adapted into films
1927:Branham, R. Bracht (1997-07-11).
1132:La MaMa Experimental Theatre Club
1126:) based on the book, directed by
828:The incomplete form in which the
791:The Adventures of Roderick Random
2371:
2283:Oxford: Oxford University Press.
1285:(1922) edited and translated by
979:", Asimov's recurring character
668:(89) has been related to Nero's
325:, illustration by Norman Lindsay
126:The Book of Satyrlike Adventures
2425:Ancient Roman erotic literature
2146:The Oxford Classical Dictionary
1912:Harrison (2003) pages 1149–1150
975:In Isaac Asimov's short story "
902:The epigraph and dedication to
845:that abounds in vulgarisms and
563:Encolpius states at one point,
502:Reconstruction of lost sections
1:
1965:F. Scott Fitzgerald. (1925).
1697:Petronius fragment 14 =
977:All the Troubles of the World
360:Supernatural stories about a
244:Lichas: An enemy of Encolpius
49:A modern illustration of the
2346:Resources in other libraries
2288:A Bibliography of Petronius.
1679:Fabius Planciades Fulgentius
1674:Petronius fragment 8 =
1651:Petronius fragment 4 =
1623:Petronius fragment 1 =
1565:Arrowsmith, William (1959).
824:Supplements to the Satyricon
813:Literary and cultural legacy
2381:public domain audiobook at
2111:. In S. J. Harrison (ed.).
2050:www.alledinburghtheatre.com
1267:Readings in Ancient History
1208:John Addison, 1736, London.
2481:
2465:Novels set in ancient Rome
2415:1st-century books in Latin
2227:Jensson, Gottskalk. 2004.
2073:, vol. 10 (1908) page 202.
1218:Paris, 1902. Published by
1143:Roman attitudes to slavery
1026:repeatedly references the
1007:The Picture of Dorian Gray
959:
947:
914:Cambridge University Press
821:
606:predicting travels to the
29:Satyricon (disambiguation)
26:
2450:Novels about ephebophilia
2341:Resources in your library
2290:Lugduni Batavorum: Brill.
1830:10.1017/S0009838800011721
1749:10.1017/s0009840x00094270
1599:Courtney, Edward (2001).
1109:is named after the book.
676:, and parody of Seneca's
42:
1903:e.g., Courtney, pp. 8–10
1850:Courtney, pp. 8, 183–189
1725:Harrison (1999), p. xvi.
1601:A Companion to Petronius
1568:Petronius: The Satyricon
1023:Lights Out in Wonderland
837:Historical contributions
672:and to the tragedies of
182:the modern literary form
2192:The Classical Quarterly
2107:S. J. Harrison (1999).
1571:. Mentor. p. vii.
1510:Encyclopædia Britannica
1473:S. J. Harrison (1999).
1237:; 1930, Panurge Press.
967:Arrowsmith translates:
689:The manuscripts of the
309:
2366:(English translation)
2237:Panayotakis, C.1995.
1248:Loeb Classical Library
992:
973:
965:
953:
941:
909:
896:
872:
861:
818:Apocryphal supplements
774:, imitating the Greek
553:In Search of Lost Time
490:
411:
375:
326:
222:
160:
2455:Pederastic literature
2222:The Classical Journal
1982:Meridian, 1994, p. 57
1978:Arrowsmith, William.
1859:Courtney, pp. 141–143
1263:William Stearns Davis
1226:(a pseudonym used by
1194:C. K. Scott Moncrieff
1122:wrote a play (called
901:
657:of the Neronian poet
321:
314:(Trimalchio's dinner)
214:
2394:and without frames.
2279:Schmeling, G. 2011.
1656:Sidonius Apollinaris
1295:Boni & Liveright
1149:English translations
721:or fashion adviser (
699:Sidonius Apollinaris
593:Sidonius Apollinaris
207:Principal characters
2293:Setaioli. A. 2011.
1818:Classical Quarterly
1737:Classical Quarterly
1446:Supplements to the
1185:and illustrated by
1091:Gian Luigi Polidoro
887:F. Scott Fitzgerald
800:Joris-Karl Huysmans
628:Date and authorship
91:Late 1st century AD
39:
2420:1st-century novels
2302:Reading Petronius.
2300:Slater, N. 1990.
2183:Connors, C. 1998.
2166:. Continuum, 2010.
1702:Isidore of Seville
1546:Barnes & Noble
1328:William Arrowsmith
1319:Alfred R. Allinson
1220:Charles Carrington
1089:, was directed by
948:Σίβυλλα τί θέλεις;
910:
719:arbiter elegantiae
674:Seneca the Younger
530:William Arrowsmith
507:In the text below
327:
312:Cena Trimalchionis
223:
218:, illustration by
2322:Library resources
2265:Rimell, V. 2002.
2233:Available online.
1940:978-0-520-21118-6
1529:Gravity's Rainbow
1419:978-1-84749-116-9
1409:The Folio Society
1372:978-0-19-283952-7
1304:, 1927, New York.
1289:. Illustrated by
1224:Sebastian Melmoth
1201:Antonio Sotomayor
1174:Available online.
1097:Music and theatre
1083:The other movie,
1061:Fellini Satyricon
875:Modern literature
786:Alain-René Lesage
703:Marius Victorinus
491:scorteum fascinum
176:(also called the
146:is an example of
105:
104:
96:Publication place
16:(Redirected from
2472:
2460:Satirical novels
2375:
2374:
2258:Ragno, T. 2009.
2244:Plaza, M. 2000.
2176:Boyce, B. 1991.
2159:
2140:
2134:
2126:
2074:
2066:
2060:
2059:
2057:
2056:
2042:
2036:
2035:
2033:
2032:
2018:
2012:
2011:
2009:
2008:
1999:. Archived from
1989:
1983:
1976:
1970:
1967:The Great Gatsby
1963:
1957:
1951:
1945:
1944:
1924:
1913:
1910:
1904:
1901:
1895:
1894:
1866:
1860:
1857:
1851:
1848:
1842:
1841:
1809:
1800:
1799:
1767:
1761:
1760:
1732:
1726:
1723:
1714:
1711:
1695:
1689:
1686:
1672:
1666:
1663:
1649:
1643:
1640:
1621:
1615:
1614:
1596:
1583:
1582:
1562:
1556:
1555:
1553:
1552:
1538:
1532:
1521:
1515:
1514:
1506:
1495:
1489:
1488:
1470:
1405:Frederic Raphael
1393:(hardcover) and
1271:available online
1255:E. H. Warmington
1239:Available online
1066:Federico Fellini
1014:once had been."
997:
962:
961:
956:
954:respondēbat illa
950:
949:
944:
882:The Great Gatsby
864:
749:menippean satire
632:The date of the
493:
468:Chapters 125–141
416:
380:
331:Menippean satire
310:Chapters 26–78,
165:
148:Menippean satire
87:Publication date
47:
40:
21:
2480:
2479:
2475:
2474:
2473:
2471:
2470:
2469:
2440:Novels in Latin
2400:
2399:
2372:
2352:
2351:
2350:
2330:
2329:
2325:
2318:
2162:Moore, Steven.
2156:
2143:
2127:
2123:
2106:
2083:
2081:Further reading
2078:
2077:
2067:
2063:
2054:
2052:
2044:
2043:
2039:
2030:
2028:
2026:thesatyricon.uk
2020:
2019:
2015:
2006:
2004:
1997:LaMama Archives
1991:
1990:
1986:
1977:
1973:
1964:
1960:
1954:Against Nature,
1952:
1948:
1941:
1926:
1925:
1916:
1911:
1907:
1902:
1898:
1883:10.2307/2935857
1868:
1867:
1863:
1858:
1854:
1849:
1845:
1811:
1810:
1803:
1769:
1768:
1764:
1734:
1733:
1729:
1724:
1717:
1700:
1696:
1692:
1677:
1673:
1669:
1654:
1650:
1646:
1626:
1622:
1618:
1611:
1598:
1597:
1586:
1579:
1564:
1563:
1559:
1550:
1548:
1540:
1539:
1535:
1522:
1518:
1497:
1496:
1492:
1485:
1472:
1471:
1467:
1462:
1442:
1302:Charles Whibley
1287:W. C. Firebaugh
1275:Latin word list
1196:, 1923, London.
1183:Stephen Gaselee
1170:William Burnaby
1151:
1099:
1056:
1036:
960:ἀποθανεῖν θέλω.
877:
839:
826:
820:
815:
796:Tobias Smollett
734:
666:capture of Troy
630:
625:
504:
470:
423:
421:Chapters 99–124
387:
316:
298:, a devotee of
272:
263:
209:
140:Gaius Petronius
88:
53:
35:
32:
23:
22:
15:
12:
11:
5:
2478:
2476:
2468:
2467:
2462:
2457:
2452:
2447:
2442:
2437:
2432:
2427:
2422:
2417:
2412:
2402:
2401:
2398:
2397:
2386:
2369:
2358:
2349:
2348:
2343:
2338:
2332:
2331:
2320:
2319:
2317:
2316:External links
2314:
2313:
2312:
2305:
2298:
2291:
2284:
2277:
2270:
2263:
2262:Bari: Palomar.
2256:
2249:
2242:
2241:Leiden: Brill.
2235:
2225:
2218:
2211:
2208:
2205:
2202:
2195:
2194:24.1: 119–133.
2188:
2181:
2180:Leiden: Brill.
2174:
2167:
2160:
2154:
2141:
2121:
2104:
2082:
2079:
2076:
2075:
2061:
2037:
2013:
1984:
1980:The Satyricon.
1971:
1958:
1946:
1939:
1914:
1905:
1896:
1861:
1852:
1843:
1824:(1): 166–168.
1801:
1788:10.2307/283660
1762:
1727:
1715:
1713:
1712:
1690:
1688:
1687:
1667:
1665:
1664:
1644:
1642:
1641:
1616:
1609:
1584:
1577:
1557:
1533:
1527:and Pynchon's
1516:
1501:, ed. (1911).
1499:Chisholm, Hugh
1490:
1483:
1464:
1463:
1461:
1458:
1457:
1456:
1451:
1441:
1438:
1437:
1436:
1423:
1422:
1411:
1402:
1383:
1364:
1345:
1334:
1331:
1325:
1322:
1316:
1310:
1307:
1306:
1305:
1291:Norman Lindsay
1278:
1260:
1259:
1258:
1244:
1243:
1242:
1216:
1209:
1206:
1205:
1204:
1197:
1190:
1187:Norman Lindsay
1179:
1150:
1147:
1101:The Norwegian
1098:
1095:
1064:, directed by
1055:
1052:
1044:Norman Lindsay
1035:
1032:
994:cupio dissolvi
925:The Waste Land
905:The Waste Land
876:
873:
838:
835:
822:Main article:
819:
816:
814:
811:
733:
730:
629:
626:
624:
621:
620:
619:
569:
568:
542:
541:
517:
516:
503:
500:
469:
466:
422:
419:
386:
385:Chapters 79–98
383:
355:Sibyl of Cumae
315:
308:
271:
268:
262:
259:
258:
257:
254:
251:
248:
245:
242:
239:
233:
230:
227:
220:Norman Lindsay
208:
205:
193:The Golden Ass
169:The Golden Ass
103:
102:
97:
93:
92:
89:
86:
83:
82:
79:
75:
74:
69:
65:
64:
59:
55:
54:
48:
33:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2477:
2466:
2463:
2461:
2458:
2456:
2453:
2451:
2448:
2446:
2445:LGBTQ erotica
2443:
2441:
2438:
2436:
2433:
2431:
2430:Erotic novels
2428:
2426:
2423:
2421:
2418:
2416:
2413:
2411:
2408:
2407:
2405:
2396:
2393:
2390:
2387:
2384:
2380:
2379:
2378:The Satyricon
2370:
2368:
2365:
2363:(Latin text)
2362:
2359:
2357:
2354:
2353:
2347:
2344:
2342:
2339:
2337:
2334:
2333:
2328:
2323:
2315:
2311:102: 631–684.
2310:
2306:
2303:
2299:
2296:
2292:
2289:
2285:
2282:
2278:
2276:101: 463–476.
2275:
2271:
2268:
2264:
2261:
2257:
2254:
2250:
2247:
2243:
2240:
2236:
2234:
2230:
2226:
2224:104.1: 43–57.
2223:
2219:
2216:
2212:
2209:
2206:
2203:
2200:
2196:
2193:
2189:
2186:
2182:
2179:
2175:
2172:
2168:
2165:
2161:
2157:
2155:0-19-860641-9
2151:
2147:
2142:
2138:
2132:
2124:
2122:0-19-872173-0
2118:
2114:
2110:
2105:
2102:
2099:
2098:
2093:
2089:
2085:
2084:
2080:
2072:
2065:
2062:
2051:
2047:
2041:
2038:
2027:
2023:
2017:
2014:
2003:on 2023-02-18
2002:
1998:
1994:
1988:
1985:
1981:
1975:
1972:
1968:
1962:
1959:
1955:
1950:
1947:
1942:
1936:
1932:
1931:
1923:
1921:
1919:
1915:
1909:
1906:
1900:
1897:
1892:
1888:
1884:
1880:
1876:
1872:
1865:
1862:
1856:
1853:
1847:
1844:
1839:
1835:
1831:
1827:
1823:
1819:
1815:
1808:
1806:
1802:
1797:
1793:
1789:
1785:
1781:
1777:
1773:
1766:
1763:
1758:
1754:
1750:
1746:
1742:
1738:
1731:
1728:
1722:
1720:
1716:
1709:
1708:
1703:
1699:
1698:
1694:
1691:
1685:. p. 98.
1684:
1680:
1676:
1675:
1671:
1668:
1662:. 23.155–157.
1661:
1657:
1653:
1652:
1648:
1645:
1638:
1637:
1634:
1629:
1625:
1624:
1620:
1617:
1612:
1610:0-19-924594-0
1606:
1602:
1595:
1593:
1591:
1589:
1585:
1580:
1578:9780451003850
1574:
1570:
1569:
1561:
1558:
1547:
1543:
1537:
1534:
1530:
1526:
1520:
1517:
1512:
1511:
1505:
1504:"Novel"
1500:
1494:
1491:
1486:
1484:0-19-872174-9
1480:
1476:
1469:
1466:
1459:
1455:
1452:
1450:
1449:
1444:
1443:
1439:
1434:
1430:
1429:
1428:
1427:
1420:
1416:
1412:
1410:
1406:
1403:
1400:
1399:0-87220-510-X
1396:
1392:
1391:0-87220-511-8
1388:
1384:
1381:
1380:0-19-283952-7
1377:
1373:
1369:
1365:
1362:
1361:0-520-21118-9
1358:
1354:
1353:0-520-20599-5
1350:
1346:
1343:
1342:0-14-044489-0
1339:
1335:
1332:
1329:
1326:
1323:
1320:
1317:
1314:
1311:
1308:
1303:
1299:
1298:
1296:
1292:
1288:
1284:
1283:
1279:
1276:
1272:
1268:
1264:
1261:
1256:
1252:
1251:
1249:
1245:
1240:
1236:
1232:
1231:
1229:
1225:
1221:
1217:
1214:
1210:
1207:
1202:
1198:
1195:
1191:
1188:
1184:
1180:
1177:
1176:
1175:
1171:
1168:
1167:
1166:
1164:
1160:
1156:
1148:
1146:
1144:
1140:
1139:The Satyricon
1135:
1133:
1129:
1125:
1121:
1117:
1115:
1114:The Satyricon
1110:
1108:
1104:
1096:
1094:
1092:
1088:
1087:
1081:
1077:
1075:
1071:
1067:
1063:
1062:
1053:
1051:
1049:
1045:
1041:
1033:
1031:
1029:
1025:
1024:
1019:
1015:
1013:
1009:
1008:
1003:
999:
996:
995:
988:
986:
982:
978:
972:
968:
964:
955:
943:
937:
935:
934:tourist traps
931:
930:Cumaean Sibyl
927:
926:
921:
917:
915:
907:
906:
900:
895:
891:
888:
884:
883:
874:
871:
868:
865:
863:
857:
854:
852:
848:
844:
836:
834:
831:
825:
817:
812:
810:
807:
806:
801:
797:
793:
792:
787:
783:
782:
777:
773:
768:
766:
762:
758:
754:
750:
747:
743:
739:
731:
729:
727:
724:
720:
716:
712:
708:
704:
700:
696:
692:
687:
685:
681:
680:
675:
671:
667:
662:
660:
656:
655:
650:
646:
641:
639:
635:
627:
622:
617:
616:
615:
613:
609:
605:
600:
598:
594:
590:
586:
582:
577:
575:
566:
565:
564:
561:
557:
555:
554:
549:
548:
539:
535:
534:
533:
531:
527:
523:
514:
510:
506:
505:
501:
499:
495:
492:
486:
483:
478:
476:
467:
465:
463:
459:
458:Julius Caesar
455:
450:
448:
442:
440:
436:
431:
429:
420:
418:
415:
414:
407:
403:
401:
396:
391:
384:
382:
379:
378:
370:
367:
363:
358:
356:
352:
347:
343:
340:
336:
332:
324:
320:
313:
307:
303:
301:
297:
291:
289:
285:
284:Asiatic style
281:
277:
270:Chapters 1–26
269:
267:
260:
255:
252:
249:
246:
243:
240:
237:
234:
231:
228:
225:
224:
221:
217:
213:
206:
204:
202:
198:
194:
190:
185:
183:
179:
178:Metamorphoses
175:
171:
170:
164:
163:
157:
153:
149:
145:
141:
137:
133:
132:
127:
123:
122:
118:
117:
112:
111:
101:
98:
94:
90:
84:
80:
76:
73:
70:
66:
63:
60:
56:
52:
46:
41:
30:
19:
18:The Satyricon
2388:
2377:
2360:
2336:Online books
2326:
2308:
2301:
2294:
2287:
2280:
2273:
2266:
2259:
2252:
2245:
2238:
2228:
2221:
2217:72: 176–194.
2214:
2198:
2191:
2184:
2177:
2170:
2163:
2145:
2112:
2101:pp.xiii-xxvi
2095:
2088:Introduction
2087:
2070:
2064:
2053:. Retrieved
2049:
2040:
2029:. Retrieved
2025:
2016:
2005:. Retrieved
2001:the original
1996:
1987:
1979:
1974:
1966:
1961:
1953:
1949:
1929:
1908:
1899:
1874:
1870:
1864:
1855:
1846:
1821:
1817:
1813:
1779:
1775:
1771:
1765:
1743:(1): 12–14.
1740:
1736:
1730:
1706:
1693:
1682:
1670:
1659:
1647:
1636:
1632:
1619:
1600:
1567:
1560:
1549:. Retrieved
1545:
1536:
1528:
1524:
1519:
1508:
1493:
1474:
1468:
1447:
1425:
1424:
1401:(paperback).
1363:(paperback).
1313:Jack Lindsay
1293:. New York:
1280:
1266:
1212:
1162:
1154:
1152:
1138:
1136:
1128:John Vaccaro
1123:
1118:
1113:
1111:
1100:
1084:
1082:
1078:
1073:
1059:
1057:
1048:Jack Lindsay
1039:
1037:
1034:Graphic arts
1027:
1021:
1016:
1011:
1005:
1000:
989:
984:
974:
970:
966:
939:
923:
918:
911:
903:
893:
880:
878:
869:
866:
859:
855:
840:
829:
827:
803:
789:
779:
769:
764:
737:
735:
722:
718:
690:
688:
683:
677:
669:
663:
652:
644:
642:
633:
631:
601:
578:
570:
562:
558:
551:
545:
543:
537:
518:
512:
508:
496:
487:
479:
471:
451:
443:
432:
424:
408:
404:
392:
388:
371:
359:
348:
344:
328:
322:
311:
304:
292:
273:
264:
215:
201:Roman Empire
196:
192:
186:
177:
167:
143:
130:
129:
125:
120:
119:
115:
114:
109:
108:
106:
100:Roman Empire
50:
1300:Adapted by
1253:revised by
1228:Oscar Wilde
1159:supplements
1120:Paul Foster
1103:black metal
1002:Oscar Wilde
920:T. S. Eliot
851:proletariat
757:sentimental
162:prosimetrum
2404:Categories
2055:2023-01-13
2031:2023-01-13
2007:2023-02-18
1551:2023-01-13
1460:References
1454:Trimalchio
1018:DBC Pierre
1004:'s novel,
985:Satyricon'
843:table talk
753:idealizing
751:, and the
717:as Nero's
649:the period
335:Trimalchio
278:, perhaps
236:Trimalchio
38:Satyricon
2410:Satyricon
2361:Satyricon
2327:Satyricon
2131:cite book
2092:Petronius
1838:170460020
1814:Satyricon
1772:Satyricon
1757:162540839
1710:. 5.26.7.
1448:Satyricon
1433:Gutenberg
1269:, Vol. 2
1235:P. Covici
1163:Satyricon
1155:Satyricon
1134:in 1972.
1124:Satyricon
1107:Satyricon
1086:Satyricon
1074:Satyricon
1040:Satyricon
1028:Satyricon
1020:'s novel
1012:Satyricon
847:solecisms
830:Satyricon
805:À rebours
765:Satyricon
738:Satyricon
715:Petronius
695:Macrobius
691:Satyricon
684:Satyricon
654:Pharsalia
645:Satyricon
634:Satyricon
589:scapegoat
574:gladiator
547:Tom Jones
538:Satyricon
454:Civil War
439:crucified
323:Fortunata
296:Quartilla
216:Encolpius
197:Satyricon
144:Satyricon
116:Satyricon
110:Satyricon
78:Publisher
62:Petronius
51:Satyricon
2383:LibriVox
2097:Satyrica
1930:Satyrica
1707:Origines
1440:See also
1426:Français
981:Multivac
781:Gil Blas
776:Menippus
707:Diomedes
679:Epistles
623:Analysis
585:Massilia
526:Dalmatia
513:chapters
456:between
428:Tarentum
395:Pergamon
366:Habinnas
362:werewolf
339:freedman
276:Campania
261:Synopsis
189:catamite
174:Apuleius
131:Satyrica
68:Language
1891:2935857
1639:. 3.57.
1628:Servius
1525:Ulysses
1273:with a
1070:surreal
761:romance
746:parodic
726:16.18.2
610:and to
597:Priapus
581:Servius
482:Priapus
475:magical
447:Crotona
435:Ephesus
377:vigiles
300:Priapus
288:sophist
280:Puteoli
152:Juvenal
134:, is a
81:Various
2324:about
2152:
2119:
1937:
1889:
1836:
1796:283660
1794:
1755:
1660:Carmen
1635:Aeneid
1607:
1575:
1481:
1417:
1397:
1389:
1378:
1370:
1359:
1351:
1340:
759:Greek
723:Annals
711:Jerome
670:Troica
608:Danube
604:oracle
462:Pompey
413:insula
351:zodiac
156:Horace
128:), or
58:Author
1887:JSTOR
1834:S2CID
1792:JSTOR
1753:S2CID
1105:band
772:Varro
742:cynic
732:Genre
659:Lucan
612:Egypt
509:books
136:Latin
121:liber
72:Latin
2150:ISBN
2137:link
2117:ISBN
1935:ISBN
1605:ISBN
1573:ISBN
1479:ISBN
1415:ISBN
1395:ISBN
1387:ISBN
1376:ISBN
1374:and
1368:ISBN
1357:ISBN
1349:ISBN
1338:ISBN
1054:Film
788:and
755:and
744:and
736:The
709:and
638:Nero
522:Trau
460:and
400:Troy
337:, a
107:The
2090:to
1879:doi
1826:doi
1816:".
1784:doi
1774:".
1745:doi
1633:on
1250:).
1130:at
957:: "
945:: "
802:'s
794:by
784:by
550:to
524:in
172:by
154:or
2406::
2133:}}
2129:{{
2094:'
2048:.
2024:.
1995:.
1917:^
1885:.
1875:99
1873:.
1832:.
1822:12
1820:.
1804:^
1790:.
1780:89
1778:.
1751:.
1741:63
1739:.
1718:^
1704:.
1681:.
1658:.
1630:.
1587:^
1544:.
1507:.
1277:.)
1165:.
1145:.
1116:.
1093:.
1050:.
1030:.
951:"
936::
916:.
885:,
867:—
853:.
767:.
705:,
701:,
697:,
661:.
532:,
203:.
184:.
113:,
2385:.
2158:.
2139:)
2103:.
2058:.
2034:.
2010:.
1943:.
1893:.
1881::
1840:.
1828::
1798:.
1786::
1759:.
1747::
1613:.
1581:.
1554:.
1531:.
1487:.
1435:.
1421:.
1382:.
1344:.
1203:.
1189:.
963:"
515:.
124:(
31:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.