The article deals with the Roman garden and sets it in the context of identity, imagina tion, and cognitive development. Although the implications of the argument are empire-wide, the focus here is primarily on the urban gardens of the city of Rome ca. 60 b .c .-A.d . 60.The person experiencing one garden sees through it other gardens, real, historical, or poetic. 'The garden' and representations of the garden become places for thinking about literature, history, and identity. Our evidence for this 'thinking' is a lateral or syn chronic layer in the sense that the thinking for which we have textual evidence is all done by fully developed adults. However, there is another, vertical or diachronic, aspect to the process which involves the cognitive development from childhood of the gardenuser and the role of the garden in structuring the prospective citizen's understanding of the world. The garden is a central feature of the urban residence, where the Roman citi zen lives and moves through the course of his cognitive development. It is inside the house, and the house is inside the city, which is inside Italy. The concluding part of the article investigates how the core notion of the garden as enclosed space maps on to larger sets of inside-outside dyads in the Roman world: the garden is a secluded interior, but on a larger scale Rome is a safe interior surrounded by more perilous environment; again, Italy is a civilised interior surrounded by a more dangerous outer world. The gar den is experienced by the child largely through play, and this also feeds into the gardenrelated imaginative acts described in the first part of the paper.1 1 This paper develops ideas put forward in Jones 2011 and at the Colloquium in honour of Niall Rudd: Themes In Latin Literature and Its Reception, Liverpool, Monday, 13 June 2011.1 am © K O N IN K L IJK E BR ILL NV, L E ID E N , 2 0 1 4 | D O I 1 0 .U 6 3 /1 5 6 8 5 2 5 X -1 2 3 4 1 3 6 9 782 JONES KeywordsRoman gardens -architecture -literature -garden painting -art -cognitive development -cognitive patterning From the time of the late Republic, Rome was ringed by huge gardens.* 2 Inside the city, within this necklace of large gardens, there was a varied multiplicity of other gardens: gardens at baths,3 gardened walkways, window boxes, temple groves, roof gardens, gardens in taverns and small inns, and the courtyard gar dens of houses.4 Outside the city, there were also funerary gardens.5 Everyone in Rome, even the poorer inhabitants of insulae, had access to gardens of vari ous kinds, and many (not excluding all of the comparatively less well-off), had their own gardens, facilitated by the Augustan urban water programme of c. 30 b c onwards.6 Nor were there only the physical gardens themselves, for these were replicated on another level by references to them in the poetry of the time.7 Pompey's garden, for example, appears in passing as a feature of the everyday life of the city in Catullus 55 and reappears in Propertius (2.32.7-16) and Ovid (AA 3.
The approach to the Satires of Juvenal via the persona theory is well-known and has been productive. Somewhat less notice has been given to the fact that a considerable number of the satires have their persona moulded around another character, an addressee or an interlocutor, or sometimes an important narrative figure. Such characters ‘justify’ the persona, which can now be seen as a kind of ad hominem irony. This matter is intricately linked with the role of indignatio. Thus indignation, programmed in the first satire, becomes a little suspect in Laronia's mouth in the second. Laronia is a small scale character, but the techniques used in her regard appear again in the third satire, where the difference between Juvenal and Umbricius reveals the inadequacy of indignatio a little more clearly. The difference between the treatment of Crispinus and of Domitian in the fourth satire carries this process further. In the fifth, Juvenal tries to rouse the abject Trebius, but in his own apostrophe to Virro (Sat. 5.107f.) shows that indignatio is not, perhaps, appropriate at all. The role of indignatio diminishes further in the later satires, noticeably in the ninth, where Juvenal's tone is one of banter and Naevolus reveals his own unpleasantness. Much of this process has been charted by S. Braund in a book on the seventh, eighth, and ninth satires. The argument can be resumed with the eleventh satire where there is a further development. In the earlier satires which use address or dialogue there is an impressive realism in dramatic terms about the confrontation and psychology. In the eleventh (and even more, the twelfth) the development of the techniques of irony begins to intrude on the dramatic plausibility: the voice assumed in the poem becomes more aware of the audience as well as the addressee. As the beginning of a demonstration of this change I now provide an analysis of the use of Persicus in the eleventh satire.
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