BiblioVault - Books about Lucian, of Samosata

Culture and Society in Lucian

Christopher P. Jones

Harvard University Press, 1986

The works of the second-century satirist Lucian--of which about seventy survive--have had a marked influence on western literature since the Renaissance. Translated by Erasmus, and called "inimitable" by Gibbon, Lucian is the first to tell the famous story of the Sorcerer's Apprentice. His subjects range from the hypocrisy of philosophers to fantastic voyages in space. He is often thought the true father of science fiction and, at the same time, is one of the most important witnesses to early Christianity. C. P Jones examines Lucian's work, setting this brilliant writer in the social and intellectual context of an age that proved pivotal in Greco-Roman history.

Lucian's art has been widely considered bookish, concerned with people and customs he and his readers knew only from literature. Jones argues that on the contrary his attacks on such targets as mercenary Stoics and the snake-god Glycon were aimed with mischievous precision. The result is a fresh portrait of Lucian and a vivid picture of a society whose outward assurance masked uncertainty and the onset of profound change.

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Lucian and the Latins

Humor and Humanism in the Early Renaissance

David Marsh

University of Michigan Press, 1998

The works of the second-century Greek satirist Lucian enjoyed a tremendous vogue in the early Renaissance. His Greek prose furnished one of the first texts in the Florentine classroom around 1400, and it aroused as much interest as Plato. At first praised as an eloquent rhetorician, Lucian was soon appreciated for his irreverent wit, which inspired new satirical and paradoxical currents in Renaissance literature.
Until now, no study has attempted to connect the Latin translators and imitators of Lucian with his wider European influence. In Lucian and the Latins, David Marsh describes how Renaissance authors rediscovered the comic writings of Lucian. He traces how Lucianic themes and structures made an essential contribution to European literature beginning with a survey of Latin translations and imitations, which gave new direction to European letters in the fifteenth and sixteenth centuries. The Lucianic dialogues of the dead and dialogues of the gods were immensely popular, despite the religious backlash of the sixteenth century. The paradoxical encomium, represented by Lucian's "The Fly" and "The Parasite," inspired so-called serious humanists like Leonardo Bruni and Guarino of Verona. Lucian's "True Story" initiated the genre of the fantastic journey, which enjoyed considerable popularity during the Renaissance age of discovery. Humanist descendants of this work include Thomas More's Utopia and much of Rabelais' Pantagruel.
Lucian and the Latins will attract readers interested in a wide variety of subjects: the classical tradition, the early Italian Renaissance, the origins of modern European literature, and the uses of humor and satire as instruments of cultural critique.
David Marsh is Professor of Italian, Rutgers University.

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Lucian’s Laughing Gods

Religion, Philosophy, and Popular Culture in the Roman East

Inger N.I. Kuin

University of Michigan Press, 2023

No comic author from the ancient world features the gods as often as Lucian of Samosata, yet the meaning of his works remain contested. He is either seen as undermining the gods and criticizing religion through his humor, or as not engaging with religion at all, featuring the gods as literary characters. His humor was traditionally viewed as a symptom of decreased religiosity, but that model of religious decline in the second century CE has been invalidated by ancient historians. Understanding these works now requires understanding what it means to imagine as laughing and laughable gods who are worshipped in everyday cult.

In Lucian's Laughing Gods, author Inger N. I. Kuin argues that in ancient Greek thought, comedic depictions of divinities were not necessarily desacralizing. In religion, laughter was accommodated to such an extent as to actually be constituent of some ritual practices, and the gods were imagined either to reciprocate or push back against human laughter—they were never deflated by it. Lucian uses the gods as comic characters, but in doing so, he does not automatically negate their power. Instead, with his depiction of the gods and of how they relate to humans—frivolous, insecure, callous—Lucian challenges the dominant theologies of his day as he refuses to interpret the gods as ethical models. This book contextualizes Lucian’s comedic performances in the intellectual life of the second century CE Roman East broadly, including philosophy, early Christian thought, and popular culture (dance, fables, standard jokes, etc.). His texts are analyzed as providing a window onto non-elite attitudes and experiences, and methodologies from religious studies and the sociology of religion are used to conceptualize Lucian’s engagement with the religiosity of his contemporaries.

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Unruly Eloquence

Lucian and the Comedy of Traditions

Bracht Branham

Harvard University Press, 1989

Branham expounds with sophistication and subtlety the essential ingredients of Lucian's satirical humor. He makes frequent reference to its importance for comic theory and literary history.

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