Of the many masterpieces which classical antiquity has bequeathed to modern times, few have attained, at intervals, to such popularity; few have so gripped the interest of scholars and men of letters, as has this scintillating miscellany known as the Satyricon, ascribed by tradition to that Petronius who, at the court of Nero, acted as arbiter of elegance and dictator of fashion. The flashing, wit, the masterly touches which bring out the characters with all the detail of a fine old copper etching; the marvelous use of realism by this, its first prophet; the sure knowledge of the perspective and background best adapted to each episode; the racy style, so smooth, so elegant, so simple when the educated are speaking, beguile the reader and blind him, at first, to the many discrepancies and incoherences with which the text, as we have it, is marred. The more one concentrates upon this author, the more apparent these faults become and the more one regrets the lacunae in the text. Notwithstanding numerous articles which deal with this work, some from the pens of the most profound scholars, its author is still shrouded in the mists of uncertainty and conjecture. He is as impersonal as Shakespeare, as aloof as Flaubert, in the opinion of Charles Whibley, and, it may be added, as genial as Rabelais; an enigmatic genius whose secret will never be laid bare with the resources at our present command. As I am not writing for scholars, I do not intend going very deeply into the labyrinth of critical controversy which surrounds the author and the work, but I shall deal with a few of the questions which, if properly understood, will enhance the value of the Satyricon, and contribute, in some degree, to a better understanding of the author. For the sake of convenience the questions discussed in this introduction will be arranged in the following order: 1. The Satyricon. 2. The Author. a His Character. b His Purpose in Writing. c Time in which the Action is placed. d Localization of the Principal Episode. 3. Realism. a Influence of the Satyricon upon the Literature of the World. 4. The Forgeries. I THE SATYRICON. Heinsius and Scaliger derive the word from the Greek, whence comes our English word satyr, but Casaubon, Dacier and Spanheim derive it from the Latin 'satura,' a plate filled with different kinds of food, and they refer to Porphyrion's 'multis et variis rebus hoc carmen refertum est.'