As regards the life and personality of the last great Roman satirist we are in all but total ignorance. Several lives of him exist which are confused and contradictory in detail. He was born at Aquinum, probably in the reign of Nero; an inscription on a little temple of Ceres, dedicated by him there, indicates that he had served in the army as commander of a Dalmatian cohort, and was superintendent (as one of the chief men of the town) of the civic worship paid to Vespasian after his deification. The circumstance of his banishment for offence given to an actor who was high in favour with the reigning Emperor is well authenticated; but neither its place nor its time can be fixed. It appears from the _Satires_ themselves that they were written late in life; we are informed that he reached his eightieth year, and lived into the reign of Antoninus Pius. Martial, by whom he is repeatedly mentioned, alludes to him only as a rhetorician, not as a satirist. The sixteen satires (of which the last is, perhaps, not genuine) were published at intervals under Trajan and Hadrian. They fall into two groups; the first nine, which are at once the most powerful and the least agreeable, being separated by a considerable interval of years from the others, in which a certain softening of tone and a tendency to dwell on the praise of virtue more than on the ignoble details of vice is united with a failing power that marks the approach of senility. Juvenal is the most savage--one might almost say the most brutal--of all the Roman satirists. Lucilius, when he "scourged the town," did so in the high spirits and voluble diction of a comparatively simple age. Horace soon learned to drop the bitterness which appears in his earlier satires, and to make them the vehicle for his gentle wisdom and urbane humour. The writing of Persius was that of a student who gathered the types he satirised from books rather than from life. Juvenal brought to his task not only a wide knowledge of the world--or, at least, of the world of the capital--but a singular power of mordant phrase, and a mastery over crude and vivid effect that keeps the reader suspended between disgust and admiration. In the commonplaces of morality, though often elevated and occasionally noble, he does not show any exceptional power or insight; but his graphic realism, combined (as realism often is) with a total absence of all but the grimmest forms of humour, makes his verses cut like a knife. _Facit indignatio versum_, he truly says of his own work; with far less flexibility, he has all the remorselessness of Swift. That singular product of the last days of paganism, the epigrammatist Palladas of Alexandria, is the only ancient author who shows the same spirit. Of his earlier work the second and ninth satires, and a great part of the sixth, have a cold prurience and disgustingness of detail, that even Swift only approaches at his worst moments. Yet the sixth satire, at all