rned with memory and presentation, which is important judicially but not here. The next important section is the perocation , or summing up of the theme, once again intended to drum up sympathy, contrasting current sufferings with past prosperity and playing on Roman virtues .
             Juvenal's exordium gives the theme that is to dominate the satire. He briefly lists a few examples of people who have suffered by the very things they have prayed for, whilst always contrasting this with the humbler person who does not have these things and who consequently does not suffer. Wealth immediately becomes apparent as a main issue to be debated. The three main examples of the exordium are the men who crave wealth and power , and are thus ultimately brought down by it (the cases of Seneca and Longinus are given), contrasted starkly to the humble man whose mere attic room is never raided. And also the wealthy man who walks in fear at night even jumping at the shadows, he too is contrasted to the poor traveller who 'sings in the robber's face' . Finally the person who drinks from a jewelled cup fearing for poison as opposed to the man who drinks from an earthenware cup, in which no aconite is found .
             This immediately puts forward a case favourable to the poor as opposed to the ridiculously wealthy, who have prayed for the very devise that makes them live in fear. All this is a moral argument intended along the themes of Roman rhetoric to make the audience receptive to his main attack. It is Juvenal's justification for his theme: the futility of aspiration. Juvenal ends his introduction by naming the two philosophers, Democritus and Heroclitus, one who can do nothing but laugh at the futility of the world, and the other simply cry . Thus Juvenal's audience is on his
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