Apocolocyntosis: Carnivalesque and Menippean Satire
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This article recuperates Seneca’s Apocoloyntosis—an obscure, short, and oft-misunderstood text, which for millennia has been expurgated from the Roman canon due to its obscene content and bizarre formal features. Probably written for the Saturnalia of 53 C.E., the text is usually read as anti-Claudian, anti-divination propaganda (Haffter 1972, Grimal 1978, Nauta 1987, Braund and James 1998, Robinson 2005). However (following Relihan 1993, Branham 2000, and Weinbrot 2005), I hold that Seneca wrote an accomplished, dynamic literary text, central to the development of Roman prose fiction in particular and to dialogic writing in general, including the modern novel. Bakhtin (in a critical move at once similar to and yet paradoxically at odds with Aristotle’s positioning of Sophocles’ Oedipus Rex at the center of his poetics of unity) places the Apocolocyntosis at the source of a pluralistic and untidy genealogy of the dialogic novel, one predicated upon the poetics of disunity, or syncrisis. Consolidating the poetic program of Menippean satire, this text’s programmatic double-duty shows itself as a long series of over-the-top formal and thematic mismatches of verse and prose, Greek and Latin, scurrilous character assassination and apotheosis, scatological humor and moral messages.
Abstract
This article recuperates Seneca’s Apocoloyntosis—an obscure, short, and oft-misunderstood text, which for millennia has been expurgated from the Roman canon due to its obscene content and bizarre formal features. Probably written for the Saturnalia of 53 C.E., the text is usually read as anti-Claudian, anti-divination propaganda (Haffter 1972, Grimal 1978, Nauta 1987, Braund and James 1998, Robinson 2005). However (following Relihan 1993, Branham 2000, and Weinbrot 2005), I hold that Seneca wrote an accomplished, dynamic literary text, central to the development of Roman prose fiction in particular and to dialogic writing in general, including the modern novel. Bakhtin (in a critical move at once similar to and yet paradoxically at odds with Aristotle’s positioning of Sophocles’ Oedipus Rex at the center of his poetics of unity) places the Apocolocyntosis at the source of a pluralistic and untidy genealogy of the dialogic novel, one predicated upon the poetics of disunity, or syncrisis. Consolidating the poetic program of Menippean satire, this text’s programmatic double-duty shows itself as a long series of over-the-top formal and thematic mismatches of verse and prose, Greek and Latin, scurrilous character assassination and apotheosis, scatological humor and moral messages.
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