That the extraordinary narrative experiment known as theSatyriconhas regularly stimulated scholarly investigation into the relationship between status and freedom is not surprising for a work, the longest surviving section of which features an excessive dinner party at the house of alibertus. Much of the discussion has concentrated on the depiction of the dinner's host and his freedmen friends. Following the lead of F. Zeitlin and others in seeing the depiction of a ‘freedmen's milieu’ in theCena, J. Bodel argued in a (...) seminal paper published twenty years ago that theCenaopens a window onto the ‘freedman's mentality’. The last ten years or so have seen a revival of the theme, with much emphasis on the display of an open society in theCena, even a Saturnalian world-view, based on a suspension or reversal of the traditional social hierarchies, all framed by a general air of excessive liberality: whatever satirical lens theSatyricon’s author is seen to have projected onto Trimalchio and his freedmen friends,theyare understood as celebrating ‘freedom's defining difference’. In the light of such a unifying conceptualization of theCena’s motley crew, it is not surprising that scholars have come to understand the libertine assemblage as a reflection of ‘the social class of the “freedmen” in first-centurya.d.Italy’. After all, ‘class’ can be defined as ‘a number of individuals (persons or things) possessing common attributes’, and, with specific regard to human society, as ‘a division of society according to status’. (shrink)