The Satyricon stands as a fragmented illustration of an elaborate narrative tapestry, potentially part of a mock-epic prose romance. Discovered in 1663 at Trau in Dalmatia, the manuscript’s attached scribe's note suggested it was extracted from "the fifteenth and sixteenth books," hinting at an originally extensive work. This enigmatic piece, attributed traditionally to Gaius Petronius, has been the subject of scholarly debate for centuries regarding its purpose, scope, and meaning.

The Enigma of Authorship

Despite the traditional attribution to Gaius Petronius—known as Petronius Arbiter, a court arbiter under Nero—the identity of the author of The Satyricon remains uncertain. Tacitus’s depiction of Petronius's demise aligns intriguingly with the persona suggested by the text: a sophisticated, cynical aficionado of Roman hedonism. However, beyond Tacitus's brief account, little concrete evidence regarding the author or the text's reception exists, leading to frequent misinterpretations over time.

Translation Challenges

Translating The Satyricon into English has posed significant challenges, particularly with 19th and early 20th-century versions. Many translations suffer from censorship, with sections deemed offensive either omitted or replaced with content that diverges greatly from Petronius’s refined erotic language. William Arrowsmith’s translation is widely considered one of the most faithful, capturing the vigorous and sensitive qualities of the Latin original. For Latin readers, scholarly editions by Alfred Ernout, E.T. Sage, and W.D. Lowe provide insightful resources. Readers are advised to avoid translations that modify the text’s tone or content significantly, especially those omitting critical passages like Eumolpus’s “The Civil War.”

Stylistic Parody and Literary Devices

Eumolpus’s poem within the narrative imitates and parodies heroic styles, exemplifying Petronius's penchant for parodying literary conventions. The title The Satyricon can translate to both “medley” and “satyr-book,” reflecting its dual nature as a Roman satire—a mélange of stories and styles—and as a collection of comic-erotic adventures. Interwoven within the central plot, stories such as “The Widow of Ephesus” add layers of irony and comedy, enriching the main narrative about Encolpius’s adventures. Petronius uses parody not just to entertain but also to offer incisive literary and societal commentary.

The Nature of Satire

While The Satyricon fits the Menippean satire genre, blending verse with prose and philosophy with comedy, it shouldn’t be easily categorized under traditional satire focused on moral critique. Petronius’s depiction of Roman life is rife with vulgarity and excess but lacks overt moral judgment. Scenes like Trimalchio’s banquet, perceived by some as satire on Roman debauchery, may instead be comic burlesques of ostentation. Petronius’s irony is light-hearted, lacking the moralistic fervor of figures like Juvenal, suggesting a more nuanced approach to societal flaws.

Characters and Social Commentary

The characterization within The Satyricon reflects Petronius’s moral ambivalence. Homosexual characters, such as Encolpius and his companions, are portrayed as roguishly charming rather than objects of satire. Encolpius’s journey, hindered by his partner Gito and rival Ascyltus's schemes, unfolds in a world where homosexual liaisons are commonplace. Petronius extends the same wry tolerance to heterosexual dynamics, depicting women like Quartilla and Tryphaena as sexually autonomous as their male counterparts.

Petronius’s Perspective on Roman Society

Petronius’s work does not pass harsh judgment on Roman society; instead, it presents a detached observation of human behavior. The narrative's obscenity debates, particularly after the Circe episode, highlight that the book’s potentially offensive elements are in the eye of the beholder. The interpretation of the text as either social criticism or mock-epic romance ultimately rests with the reader.

Mock-Epic Elements and Mythical Parallels

Viewed as a mock-epic, The Satyricon follows Encolpius, seemingly cursed by the sex god Priapus. His misadventures, including forced participation in orgies and humiliations in love, mirror the trials of Odysseus, who was similarly tormented by Poseidon. This comparison suggests that, if intact, The Satyricon would parallel the scope and richness of later works like James Joyce’s Ulysses. Both Petronius’s and Joyce’s works abound with stylistic innovation, puns, and verbal games, creating intricate moral universes through mythological and symbolic frameworks.