Satyricon (or Satyrica) is a Latin work of fiction in a mixture of prose and poetry (prosimetrum).

It is believed to have been written by Gaius Petronius, though the manuscript tradition identifies the author as a certain Titus Petronius. As with theMetamorphoses of Apuleius, classical scholars often describe it as a "Roman novel", without necessarily implying continuity with the modern literary form.[1] The surviving portions of the text detail the misadventures of the narrator, Encolpius, and his lover, a handsome sixteenyear-old boy named Giton. Throughout the novel, Encolpius has a hard time keeping his lover faithful to him as he is constantly being enticed away by others. Encolpius's friend Ascyltus (who seems to have previously been in a relationship with Encolpius) is another major character. It is one of the two most extensive witnesses to the Roman novel, the only other being fully extant Metamorphoses of Apuleius, which is quite different in style and plot. It is also extremely important evidence for the reconstruction of what everyday life must have been like for the lower classes during the earlyRoman Empire. The work is narrated by its central figure, Encolpius, a former gladiator. 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, a boy named Giton, is apparently at Encolpius' lodging when the story begins. (Giton is constantly referred to as "brother" throughout the novel, thereby indicating that they were lovers.) Chapters 1-26 In the first passage preserved, Encolpius is in a Greek town in Campania, perhaps Puteoli, where he is standing outside a school, railing against the Asiatic style 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 sophist, 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). Encolpius locates Ascyltos (7-8) and then Giton (8), who claims that Ascyltos made a sexual attempt on him (9). After some conflict (9-11), the three go to the market, where they are involved in a dispute over stolen property (12-15). Returning to their lodgings, they are confronted by Quartilla, a devotee of Priapus, who condemns their attempts to pry into the cult's secrets (16-18). The companions are overpowered by Quartilla and her maids, who overpower and 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 through a keyhole at Giton having sex with a virgin girl; and finally sleeping together (26). Chapters 26-78, Cena Trimalchionis (Trimalchio's dinner) This section of the Satyricon, regarded by classicists such as Conte and Rankin as emblematic ofMenippean satire, takes place a day or two after the beginning of the extant story. Encolpius and companions are invited, along with Agamemnon, to a dinner at the estate of Trimalchio, a freedmanof enormous wealth, who entertains his guests with ostentatious and grotesque extravagance. After preliminaries in the baths and halls (26-30), the guests (mostly freedmen) join their host and enter the dining room. 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 neighbours, about the weather, 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 millionaires of his age. 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 zodiac signs. Falling into an argument with Agamemnon (a guest who secretly holds Trimalchio in disdain) Trimalchio reveals that he once saw the Sibyl of Cumae, who because of her great age was suspended in a flask for eternity (48). Supernatural stories about a werewolf (62) and witches are told (63). Following a lull in the conversation, a stonemason named Habinnas 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). 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 vigiles, 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). Chapters 79-98 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 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). 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 Pergamon while employed as his tutor, the youth got the better of him (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 Troy by some verses on that theme (89). This ends in those who are walking in the adjoining colonnade driving 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 and reveals that a man there (evidently Ascyltos) was looking for someone called Giton (92). 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 insula (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' request (97). Eumolpus threatens to reveal him but after much negotiation ends up reconciled to Encolpius and Giton (98). Chapters 99-124 In the next scene preserved, Encolpius and his friends board a ship, along with Eumolpus' hired servant, later named as Corax (99). Encolpius belatedly discovers that the captain is an old enemy, Lichas of Tarentum. 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' slaves (103), Encolpius and Giton are identified (105). 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 Ephesus. At first she planned to starve herself to death in her husband's tomb, but she was seduced by a soldier guarding crucified corpses, and when one of these was stolen she offered the corpse of her husband as a replacement (110112). 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 Crotona, 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). 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 Civil War between Julius Caesar and Pompey (119-124). When they arrive in Crotona, the legacy-hunters prove hospitable. Chapters 125-141 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, 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 magical cure (131). Nonetheless, he fails again to make love, as Circe has Chrysis and him flogged (132). Encolpius is tempted to sever the offending organ, but prays to Priapus 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 of them. Oenothea is horrified, but Encolpius pacifies her with an offer of money (136-137).

Then, 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," (scorteum fascinum) 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). An aging legacy-huntress called 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. Encolpius reveals that he has somehow been cured of 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' will is read to the legacyhunters, 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). Principal characters

Encolpius. The narrator and principal character. Giton. A handsome sixteen-year-old boy, the lover of Encolpius. Ascyltus. A friend and traveling companion of Encolpius, and his rival for the affections of Giton. Trimalchio. A very rich freedman who displays his wealth. Eumolpus. A pedant who prides himself on his poetry, which no-one else can stand. Lichas. An enemy of Encolpius. Tryphaena. A woman infatuated with Giton. Corax. The hired servant of Eumolpus. Circe. A woman attracted to Encolpius. Chrysis. Circe's servant, also in love with Encolpius.

Primul roman latin, Satyricon-ul (din care s-au pstrat numai 141 de capitole) nsumeaz caracteristicile a ceea ce am denumit mai nainte roman al condiiei umane. Acest roman a fost scris n timpul domniei lui Nero, perioad care reprezent cea mai tensionat i mai bogat n semnificaii secven a secolului. El prezint atmosfera particular a acestei epoci, pune n discuie unele probleme literare care o pasionau i utilizeaz ca sistem de referin moravurile specifice domniei acestui mprat. Eliminarea reziduurilor de via i structura social mai veche, evoluia sinuoas a economiei, afirmarea ostentativ a unui absolutism imperial oarecum utopic, necrutor cu vechile valori sociale, confer un dramatism intens i foarte complex existenei oamenilor. n textul conservat se pot distinge trei mari episoade: Aventurile lui Encolpius, Cena Trimalchionis i Aventurile lui Eumolpus. n prima parte a textului l ntlnim pe tnrul intelectual Encolpius (acesta fiind i naratorul) n postura de student ocazie care reprob ruperea retoricii de viaa real i decadena culturii.n continuare codul i coordonatele naraiei se schimb brusc urmnd o serie de aventuri ale lui Encolpius i ale colegului su Ascyltos. Encolpius nareaz apoi banchetul lui Trimalchio, descrie casa acestuia, obiceiurile ei extravagante i ridicole, meserii, feluritele feluri de mncare i diversele ntmplri ce au loc n timpul cinei, nota definitorie a banchetului organizat de Trimalchio fiind prostul gust. De altfel gazda sfrete prin a se mbta, povestete cum a fcut carier i i face funerariile nc din via. Profitnd de glgie Encolpius i prietenii fug la un han.n ultima parte a romanului Encolpius se mprietenete cu btrnul poet rtcitor Eumolpus, un maniac al versificrii. Pentru a scpa de urmrirea lui Ascyltos, Encolpius i Giton se mbarc pe un vas unde, dup o crunt rfuial cu Lichas i Triphaene vechi dumani pe care i ntlnesc din ntmplare, naufragiaz i ajung n Crotona. Aici profit de lcomia locuitorilor, toi nite vntori de testamente. Encolpius ia numele de Polyaenos, se d drept mare bogta fr urmai iar ceilali trec drept sclavii si. Romanul se ntrerupe brusc cu stabilirea testamentului fictiv al lui Eumolpus care i las averea celor dispui s-i mnnce cadavrul. Petronius folosete aadar episoadele cliee ale romanului grec: cltorii pe mare mascate de furtuni, ntlniri neprevzute, recunoateri, scene de gelozie, dispute ntre hoi. Din aceast colecie a tiparelor romanetilor lipsete numai atacul

pirailor. Personajele lui Petronius au fost calificate de ctre unii cercettori drept antieroi, fiind socotite intenionat contrapuse eroilor sentimentali ai romanului helen. Intenia de a parodia, de a contesta comic industria romanului grec serios este evident, Petronius pornete de la romanul grec dar totodat l persifleaz. n romanul lui Petronius ntlnim un fel de desacralizare a miturilor i a credinelor fa de zei. Religiozitatea lipsete, personajele fiind adepte ale eticii epicureice. De altfel ntr-un pasaj romancierul atribuie poetului Eumolpus notaia c Epicur este negreit un om divin(1). Eumolpus respinge ideea transmigrrii sufletului i a dezvoltrii ciclice a universului. Tot el deriv din optica materialist preconizarea tririi integrale a prezentului concret: eu am trit totdeauna i n orice loc ca i cum mi-a petrece cea din urm zi dintr-o via care n-ar mai reveni niciodat (2). Aceast fraz definete un stil de existen, ntreg romanul semnificnd trirea direct, concret n viziunea imanentist ntrebrile referitoare la condiia uman i gsesc rspunsul numai n mediul lucrurilor i relaiilor n care personajele i caut un loc. Stilul de via carnal i totodat umoristic pe care l adopt eroii lui Petronius poate duce la un eec. Astzi nu cunoatem cum se sfrea Satyricon-ul, dac finalul romanului era unul fericit sau tragic ns itinerariul lui Encolpius se desfoar ntr-un mediu aproape damnat fiind supus inevitabil eecului. Este vorba despre un eec ce se acumuleaz treptat i care conduce la degradarea potenat a personajului, degradare provocat de chiar stilul se via adoptat de erou. Satyricon-ul ilustreaz criza eposului n cadrul creia eroii i pun ntrebri, la care nu cunosc rspunsul i i problematizeaz cutrile, adesea ambigue. Chiar faptul c toate personajele se convertesc n antieroi ilustreaz pesimismul autorului. Acest pesimism nu are ns o valoare tragic pentru eroi deoarece acetia nu consider experienele lor ce fiind tragice, ci le iau ca atare, fr a se lamenta n vreun fel. Chiar maniera n care sunt narate este una comic i parodic iar toate cutrile personajelor eueaz n rs, n umor, astfel rezolvndu-se toate tirbulaiile lor. In Evoluia romanului antic Eugen Cizek rezum n felul urmtor caracterul Satyricon-ului de roman al condiiei umane: De aceea noi considerm c infrastructura romanului rezid () tocmai n cutarea acestui cod de existen, pe msura cunoaterii lumii materiale, a plcerilor simple, chiar dac urmate de consecine suprtoare, a rsului captivant. Personajele lui Petronius i mai ales Encolpius colind frenetic lumea, i caut un stil de via, se desfat i sufer tocmai pentru c urmresc i cu aprobarea autorului trirea intens, imanentist a clipei de fa. Aceast trire este recomandat de Petronius nu n virtutea unei indiferene nonalante, strin oricrei reflecii de profunzime, ci tocmai ca o filozofie autentic, tulburtor i dramatic adoptat nainte de a-i arta suprafaa exterioar deliberat surztoare. Pe parcursul romanului Enccolpius apare ca un adevrat personaj picaresc, primul din literatura universal. El apare succesiv ca student, aventurier fr int i pseudosclav iar din aluziile la unele fragmente pierdute rezult c el fusese i preot al Cybelei, deci ceretor, ho mrunt i chiar uciga, gladiator etc. Romanul lui Petronius conine elemente de Bildungsroman, de roman al uceniciei unui personaj. Satyricon-ul schieaz astfel istoricul degringoladei sociale i al capacitii de rezisten moral a lui Encolpius(4). El nu se prezint iniial mai bun, mai virtuos dar ca discipol al lui Agamemnon, Encolpuis beneficiaz de o condiie social oarecum mai puin deplorabil dect ulterior. Orgoliul i inventivitatea sa ajung s se destrame printre eecurile succesive, care culmineaz cu nfrngeri erotice catastrofale. Din aceeai categorie tipologic fac parte i prietenii si Ascyltos, Giton i Eumolpus. Chiar numele i caracterizeaz cci ele comport aluzii la relaiile lor sexuale i la viaa parazitar: ascylton, neobositul (n cele ale dragostei), gheiton, vecinul, de fapt amantul, eumolpus, melodiosul, Trimalchio (tri , triplu i malchio, prost, infatuat). Personajele aparin toate unor categorii ale lumii interlope oricum foarte pestrie. Proaspt mbogii, arlatani vicleni, dar proti i infatuai, tot felul de pungai, intelectuali declasai i perveri, matroane desfrnate i preotese destrblate, curtezane i proxenei colind prin case elegante ca i prin coli, prin taverne, hanuri, pinacoteci i piee, anticipnd experienele picareti. Petronius a recurs n romanul su la satirele menipee i la nuvelele mileziene dar i la materiale i tipare non -romaneti, adic datorate altor specii i genuri literare mai vechi. Romancierul nsui pare a avertiza cititorul asupra mprumuturilor din alte genuri literare i conotaiile lor umoristice. Se apreciaz n general c pn la un punct Satyricon -ul ar fi un epos degradat. Motivul mniei unei diviniti descinde, desigur, din epopee. De asemenea s-a opinat c diferitele ipostaze n care apare Encolpius parodiaz succesiv pe Ahile, Eenea i Ulise. Deriziunea nvluie diverse elemente i episoade epice. Aceast deriziune trebuie corelat cu gustul pentru umorul acid, cu farsa italic cu satura i satira, cu tradiia fescenninilor, a atellanelor i a mimilor. Pe parcursul ntregului roman apar larg uzitate tipare mileziene precum naraia la persoana nti (Ich-Erzhlung) localizarea geografic precis, iretenia unor personaje, tema dragostei efebice, mediul citadin i totodat cotidian n care se desfoar intriga. n acelai timp, Petronius a recurs i la matricole unor povestiri de cltorie, mai ales

greceti. Naraiunea la persoana nti ar putea descinde i din povestirile de cltorie. De fapt tema cltoriei n Italia Meridional asigur unitatea discursului romanesc. Personajele Satyricon-ului se deplaseaz nencetat n spaiu i manifest reacii de cltori. Dup cum remarc Paul Veyne stupefiacia ncrcat de Encolpius fa de cele vzute n locuina lui Trimalchio amintete de mirarea cltorului aflat n mijlocul unui peisaj insolit, pe care l ignorase pn atunci. Dup exemplul povestirilor de cltorie, fiecare loc geografic din roman dobndete o valoare fizionomic, relev o calitate moral sau un prodigiu. Crotona este nchipuit ca o capital a cupiditii. Aadar motivul cltoriei este nelipsit din acest roman n care cutarea pe parcursul unui itinerariu aventuros este nsui modul de via al eroilor din Satyricon. Petronius creeaz o lume romaneasc specific epocii sale, o ar a romanului latin care va fi continuat de ctre Apuleius n Metamorfoze. Descoperirea n secolul al XV-lea a manuscrisului banchetului dat de Trimaalchio a impulsionat interesul fa de Satyricon, care a ajuns repede o oper literar iubit de mondeni, n secolul al XVII-lea aprnd chiar multe imitri ale romanului dintre care celebrul fals al ofierului Nodot a nelat o vreme chiar pe unii savani. Acest manuscris ne relav aspecte literare, filozofice i etice demne de luat n seam. La un moment dat, povestitorul Encolpius ntreab n timpul ospului pe vecinul su cine este femeia care alearg n sus i n jos prin sal. I se rspunde c este soia lui Trimalchio, se numete Fortunata i este o femeie care msoar banii cu bania. Aspectul referitor la avere face obiectul unui paralelism ntre ceea ce posed Fortunata n prezent, ca soie a lui Crimalchio i faptul c n trecut aceasta era srac. Comeseanul lui Encolbius descrie nu numai pe Fortunata, pe Trimalchio i pe tovarii lor de mas, ci n acelai timp se descrie i pe sine. Convingerea sa este aceea c bogia este bunul cel mai de pre, cu ct ai mai mult cu att e mai bine (tanta est animi beatitudo), c valoarea vieii se msoar prin faptul de a dobndi mrfuri de cea mai bun calitate, i de a te bucura de ele i c fiecare om procedeaz n consecin, urmrind propriul su avantaj material. ntocma i ca la Homer se revars i aici o lumin limpede, uniform, asupra oamenilor i obiectelor despre care personajul nostru vorbete; el are ca i Homer destul rgaz ca s ne dea o formulare deplin; ceea ce spune este clar i fr echivoc, nescpndu -i nimic. Diferit ns de felul de a se exprima al lui Homer, este faptul c formularea este cu totul subiectiv. Petronius nu spune: lucrul acesta este aa, ci las un eu, care nu este identic nici cu el, nici cu povestitorul fictiv Encolpius, s -i ndrepte reflectorul privirii sale asupra societii din jurul mesei un procedeu de perspectiv ingenios, un fel de dubl refelctare, care n literatura antic ce ni s-a pstrat este, nu ndrznim s spunem unic, dar n orice caz, foarte rar.(5) Forma exterioar a acestui procedeu de perspectiv nu este nou pentru c n toat literatura antic, personajele vorbesc despre ntmplrile i impresiile lor. Dar aceasta este fie numai o expoziiune absolut obectiv, ca n cele povestite de Ulise cnd era oaspete al feacilor sau de Enea la curtea Didonei, fie este vorba de atitudinea unui personaj fa de oameni ori fa de un fapt care i se ntmpl tocmai atunci n cadrul unei aciuni i unde deci, elementul subiectiv este inevitabil i cu totul natural. n fragmentul din opera lui Petronius la care am fcut referire este vorba ns de cel mai acerb subiectivism, accentuat n plus prin limbajul individual pe de o parte, i de o intenie obiectiv pe de alt parte. Pentru comeseanul nostru, lumea se gsete ntr-o continu micare, nimic nu este sigur ci n primul rnd bunstarea i poziia social sunt extrem de instabile. Se tie c problema oscilaiei norocului ocup n genere un loc important n literatura antic i c etica filozofic se bazeaz n mare msur pe ea. Ea apare fie n tragedie ca destin oribil i unic, fie n comedie ca rezultata al coincidenei cu totul extraordinare a unor ntmplri. Predominant este n opera lui Petronius concepia practic-terestr asupra nestatorniciei destinului. Ospul este o lucrare cu caracter exclusiv comic. Att personajele, care apar izolat aici, ct i compoziia, trsturile ntregului, sunt contient i unitar prezentate n stilul cel mai trivial, att n ceea ce privete expresia lor verbal, ct i modul n care sunt tratate; i de aici derv n mod necesar faptul c tot ce e problematic, din punct de vedere psihologic sau sociologic, ar trebui lsat la o parte, cci ar distruge stilul printr-o oper prea mare.