ancient biographies assert that Juvenal's denunciation of actors embodied in the seventh satire offended an actor who was the favourite of the princeps. They are supported by Apollinaris Sidonius,[704] who speaks of Juvenal as the 'exile-victim of an actor's anger', and by Johannes Malala.[705] The latter writer, with certain of the ancient biographies, identifies the actor with Paris, the favourite of Domitian; others, again, say that the poet was banished by Nero[706]--a manifestly absurd statement--others by Trajan,[707] while our best authority asserts that he was eighty years old when banished, and that he died of grief and mortification.[708] The place of exile is variously given. Most of the biographies place it in Egypt, the best of them asserting that he was given a military command in that province.[709] Others mention Britain,[710] others the Pentapolis of Libya.[711] Amid such discrepancies it is impossible to give any certain answer. But it is certain that the actor who caused Juvenal's banishment was not Paris, who was put to death by Domitian as early as 83, and almost equally certain that Domitian is guiltless of the poet's exile. It is, however, possible that he was banished by Trajan or Hadrian, though it would surprise us to find Trajan, for all the debauchery of his private life, so far under the influence of an actor[712] as to sacrifice a Roman citizen to his displeasure; while as regards Hadrian it is noteworthy that the very satire said to have offended the _pantomimus_ contains an eloquent panegyric of that emperor. Further, it is hard to believe the story that Juvenal was banished to Egypt at the advanced age of eighty under the pretext of a military command. The problem is insoluble.[713] The most that can be said is that the persistence of the tradition gives it some claim to credibility, though the details handed down to us are wholly untrustworthy, and probably little better than clumsy inferences from passages in the satires. The scope of Juvenal's work and the motives that spur him are set forth in the first satire. He is weary of the deluge of trivial and mechanical verse poured out by the myriad poetasters of the day: Still shall I hear and never quit the score, Stunned with hoarse Codrus' Theseid, o'er and o'er? Shall this man's elegies and t'other's play Unpunished murder a long summer's day? ... since the world with writing is possest, I'll versify in spite; and do my best To make as much waste-paper as the rest.[714] He will write in a different vein from his rivals. Satire shall be his theme. In such an age, when virtue is praised and vice practised, the age of the libertine, the _parvenu_, the forger, the murderer, it is hard not to write satire. 'Facit indignatio versum!'[715] he cries. 'All the daily life of Rome shall be my theme': quidquid agunt homines votum timor ira voluptas gaudia discursus nostri est farrago libelli.[716]