Juvenal in the Specular City

Juvenalian satire writes specularity, firstly, by mirroring its own constitutive elements and discursive procedures, and, secondly, through its preoccupation with gazing at others and the self. The roving satirist-narrator, who resembles Kristeva’s ‘deject’ and Poe’s ‘Man of the Crowd’, inhabits the paradoxical space of Maingueneau’s paratopia within the specular city of Rome. As a specular text, Juvenal’s collection strives for coherence through various devices of doubling, repetition, and mirroring (linguistic, rhetorical, and thematic); yet in this cityscape the search for a unified sense of self, and an accompanying topographical wholeness, is continually frustrated, as the satirist—along with us, the spectators accompanying him—is confronted by human and architectural embodiments of ambiguity, transgression, and the pernicious mixing of categories, including Umbricius at the Porta Capena (3.12–20 and 318–22), Otho with his mirror (2.99–109), and Gracchus’ appearance as a retiarius in the arena (2.143–8 and 8.200–10).