You’re ambling along one of the main thoroughfares of ancient Rome, minding your own business, with not a lot on your mind. It’s a route you know well and, despite being a pretty important figure round these parts, you’re blending fairly well into your surroundings: no one is really noticing you.
Though of course someone does. Oh dear. A pest, a bore, a social climber, a wannabe literary type strides up. He peppers you with conversation, having grabbed your hand with a note of urgency, and he insists on addressing you with an uncomfortably over-familiar greeting: ‘Dahhhhhling’. The campness of the greeting doesn’t offend but the presumption does.
So what can you do here? Naturally, you must do your best to deflect him: you suggest (not perfectly) politely that you really must be getting on now, that you’re due on the other side of town, that you need to see someone who’s not very well and whom he definitely doesn’t know. Your implication is that there won’t be a welcome for him at the end of it if he follows you on your journey.
The truth is that this bore, this try-hard, this nobody wants you not for your conversation, but for your contacts. He doesn’t seem to care sincerely for your everyday affairs, nor for your welfare more generally… still less does he show any sign of caring to praise or discuss your poetic genius! Hmmph.
Let’s be clear, then: it’s influence, introductions, and a route upward he’s after. And you represent a nice networking opportunity. Which is to say you’re a cog in a machine here: not a figure of veneration, nor – frankly – any kind of inspiration.
This might just be an example of the cost of your literary celebrity: dealing with people who care about your connections, not your talent. Well, sort of. In a way – and let’s admit this very quietly – this whole interaction is in fact a nice reminder that you matter. That you know important people and that important people care about your work.
But shhhh. Back to what an ordeal this whole thing is. That feels safe and modest. And yes, it’s awkward being you, right now, in this situation. But then again: you’re good at doing awkward. It is, in fact, one of your talents (if you do say so yourself!).
Now, before you rejoin the conversation, consider this: doesn’t this pest remind you of someone? Well, ummm yes. Because of course there was a time not too long ago when you yourself weren’t exactly flavour of the month among the Roman cognoscenti. Could this be the reason, then, why you’re not quite able to summon the brusqueness his impudent outpourings deserve? Why you’re (just about) prepared to indulge him where others would have given him a brisk dismissal?
See, this is why you’re good at awkwardness: you like finding yourself in your adversaries.
And so there you have it, maybe. Now: allow yourself to be peppered! And don’t pretend there’s nothing of creative interest here for you. Because, actually, this might just be the scene of a poem for a talented poet like you. A walk down the Via Sacra with this character might well titillate your regular readers, if skilfully done. And if you go to print, then future pests will have a way to know what you’re really thinking!
Looking back on 3 weeks of reading Horace’s Satire 1.9 with my sixth form classes, I thought it might be fun to try to give a sense of the scene we’ve been looking at together. Above was my hasty attempt to do just this. In it, I wanted to try to capture something of the delicate sensibility and subjective awareness I think we encounter in the poem, but also to bring to light a few further ideas and issues that may simmer beneath the surface of the poem in a way Horace himself does not.
While we’ve been looking at the satire together, I’ve been trying to put my finger on the full range of experiences that pupils (and teachers) might hope to have when reading it.
A big focus when looking at the poem has been on its stylistic and literary features: the way words and phrases are used and manipulated, the way the writer creates effects. There is a subtle genius to the way Horace presents his account of the encounter with the literary pest that is made manifest through close study of his Latin.
One feature of the poem I’ve tried to emphasise is that it’s useful to think in terms of 3 voices being in play in the poem: the voice of the narrator (Horace) when he’s speaking with the pest, the voice of the pest himself, and then the voice of the narrator when he’s not speaking with the pest (that is, when he’s relaying to the reader his inner thoughts about their encounter).
I stressed the interest of thinking about these different voices, about how Horace plays them off against each other – but also about how we get a very interesting (and uncannily contemporary-feeling) sense of the narrator’s subjective consciousness as a result of this style of writing.
On this latter point, it strikes me that the poem calls to mind something of what it’s like dealing with everyday interactions for us, still today. For it shows an example of a context in which we might say one thing and think another, and it gives an example of how and why a person might be led to do this.
Its central theme, maybe, is the subtlety and complexity that can be at stake when dealing with everyday human interactions of the kind we might find tricky or awkward, as we try to negotiate them. Rather than trying neatly to dissolve (or resolve) any of this trickiness, Horace just takes us into one such situation, and shares an account of dealing with it (or not dealing with it). It’s an invitation, perhaps, to reflection.
And so maybe, then, I should have asked pupils to think in terms of 4 voices being important for their reading of the poem: the fourth being their own. Because there is an implicit invitation from Horace to join him in the poem, to try to wrestle with the situation involving the pest, with him. I suppose this post has been my attempt to take part (just a little) in this very process, and to give an expression to my own ‘fourth voice’.