The paper discusses the conception of philosophy and ethics in Seneca’s Letters, as well as in his other writings, which it sets in the broader context of ancient and modern thought. The introduction outlines the Socratic and Stoic foundations of Seneca’s ethics. The next section focuses on the interpretation of passages from the Letters that remind us that the task of philosophy is to teach human to live an active life. The paper points out that, according to Seneca, philosophy resembles (...) art more than knowledge, and Seneca adapts his language and the examples he uses to this effect. In the next section, the paper returns to delineating the relationship between theoretical and practical thought. The specificity of Seneca’s position becomes visible in the background of Aristotle’s problematization of this relationship. The last section asks how we should approach Seneca’s conception of ethics and philosophy. The analyses outlined above show that Seneca’s Letters fully express an approach to philosophy as an art of living, an approach that modern authors such as Nietzsche and Foucault consider determinative for the whole of ancient philosophy. (shrink)

For Seneca, the firmness of the Wise is shown in his ability to remain calm against attacks, as he explains in his treatise of that name. Attacks can come in the form of injustice, iniuria, and disparagement, contumelia; Seneca proves that neither of them affects the wise man. Contumelia is linked to contemptus in definition and conceptualization so that the remarks on how to deal with disparagement contain clues as to what contemptus means for Seneca. The article argues that Seneca (...) understands the term in a double sense: First, contemptus denotes a reprehensible attitude. Second, it designates a kind of indifference which is to be understood in the context of Stoic apatheia. (shrink)

A list of the principal works referred to is given in my previous article, ‘Notes on Some Passages in Seneca's Tragedies and the Octavia’, CQ 39 , 186–96.

The relationship between the choruses of Seneca's tragedies and the action of the plays in which they occur is one of the least understood and most controversial aspects of the Roman dramatist's work. It is often asserted that Seneca's choral odes are mere act-dividers, that their relationship with the play's action is loose and unconvincing. I would not care to assert that the handling of the chorus is flawless in all instances in Seneca's tragedies , but in his best works (...) it is, I believe, masterly. In this paper I propose to illustrate the close and complex interconnection between ode and action in Senecan tragedy through an analysis of the choruses of Thyestes. (shrink)

The relationship between the choruses of Seneca's tragedies and the action of the plays in which they occur is one of the least understood and most controversial aspects of the Roman dramatist's work. It is often asserted that Seneca's choral odes are mere act-dividers, that their relationship with the play's action is loose and unconvincing. I would not care to assert that the handling of the chorus is flawless in all instances in Seneca's tragedies, but in his best works it (...) is, I believe, masterly. In this paper I propose to illustrate the close and complex interconnection between ode and action in Senecan tragedy through an analysis of the choruses of Thyestes. (shrink)

The text quoted above each note is that of the edition of Seneca's tragedies by Otto Zwierlein , OCT 1986; numerous passages are discussed in his Kritischer Kommentar zu den Tragüdien Senecas , Stuttgart, 1986; various textual suggestions were made in a correspondence with Zw. by B. Axelson . Other works on Seneca's tragedies, referred to by the scholar's name only, are: Text and translation: F. J. Miller, Loeb, 1917; L. Herrmann, Budé, 1924–6. Text with commentary: R. J. Tarrant, Agamemnon (...) , and Thyestes ; J. G. Fitch, Hercules Furens . Text with commentary and translation: Elaine Fantham, Troades ; A. J.Boyle, Phaedra. (shrink)

The aim of the paper is to examine Seneca’s self-portrait as depicted in his Letters to Lucilius. The first part deals with the place this collection of letters occupies in the context of ancient epistolary literature. It shows how it contributed to the introspective character of ancient philosophical prose. Introspection as a method of self-knowledge and self-creation is analyzed in the second part. The resulting vision of the identity of the author of Letters is neither unified, nor consistent: Seneca is (...) presented as a “man of many faces” in his life as well as in literature. (shrink)

This paper is an attempt to think through paranoia’s epistemic and affective features, which pervade both the worldview presented in Senecan tragedy and the inner life of many of its protagonists. Drawing upon recent literary-critical work, I argue that paranoia is temporally and epistemically ambivalent: subjects simultaneously attempt to “get ahead” of a looming cataclysm—looking to the future in an attempt to avert disaster—while inevitably “falling behind,” failing to predict or preempt the future in time to protect themselves. Much of (...) Senecan tragedy plays out paranoia’s future-oriented vigilance on the formal level. Foreshadowing, allusions, and meta-literary flourishes serve to render both readers and characters hyperaware of the earth-shattering horrors to come; however, in doing so, they also reveal that this forward-oriented bracing only serves to dredge up negative affect in advance. By contrast, I argue that Seneca’s Phoenissae thematizes in the character of Oedipus not only paranoia’s future-looking vigilance but also its inherent lagging, the failure to know and act in advance. These elements of slowness, stuckness, and delay open a space for stillness, relief, and intimacy, even within a narrative which hurtles toward cataclysm. (shrink)

John Henderson focuses on three key Letters visiting three Roman villas, and reveals their meaning as designs for contrasting lives. Seneca brings the philosophical epistle to Latin literature, creating models for moralizing which feature self-criticism, parody, and animated revision of myth. The Stoic moralist wrests writing away from Greek gurus and texts, and recasts it into critical thinking in Latin terms, within a Roman context. The Letters embody critical thinking on metaphor and translation, self-transformation and cultural tradition.

Hecuba's grief upon learning of Hector's death in Hom.Il. 22.430‒6 and in the presence of his corpse later on inIl. 24.747‒59 seems to foreshadow the queen's miserable fate in the aftermath of the fall of Troy. In the subsequent literary tradition, the character of Hecuba ends up merging with the destiny of her city: as Harrison points out with reference to Seneca'sTroades, Hecuba, the Latin counterpart of Greek Hekabe, functions as a metaphor for the fall of Troy (118), even represents (...) the fallen Troy itself (128). In turning into an exemplar of maternal grief, she also comes to embody the vicissitudes of fortune. In these pages, I am interested in exploring a possible wordplay on the queen's name in Seneca'sTroades, which may have originated, as I suggest, from Hecuba's distinctive posture in Euripides’ diptychHecubaandTrojan Women(for convenience's sake I will employ the Latin form of the name throughout these pages with the exception of a few passages, in which the Greek form ‘Hekabe’ will be used in order to bring to the fore an etymological connection I will discuss below). (shrink)

This paper presents an analysis of Seneca's 58th letter to Lucilius and Porphyry's Isagoge, which were the origin of the tree diagrams that became popular in philosophy and logic from the early Middle Ages onwards. These diagrams visualise the extent to which a concept can be understood as a category, genus, species or individual and what the method of dihairesis (division) means. The paper explores the dissimilarities between Seneca's and Porphyry's tree structures, scrutinising them through the perspective of modern graph (...) theory. Although traditional trees can be interpreted in a modern way, their terms and definitions defy modern standardisation. These distinctions are not only useful for differentiating between Seneca's and Porphyry's trees, but also for comprehending the evolution of this philosophical tradition. Thus the paper highlights the continued significance of these tree diagrams in analysing concepts and categories in philosophy and structuring objects and information in modern fields such as artificial intelligence, computer science, bioinformatics, graph theory, and many more. (shrink)

This article looks at the complexity of the thought processes that lead Seneca's Oedipus to choose the mors longa of blindness as punishment for his crime. It offers an analysis of the consolation of this existence on the threshold between life and death, notably with reference to the end of the Oedipus, but also of the sorrow of this liminal existence. The latter is described in Seneca's Phoenissae, which suggests an escape, by death stricto sensu, from the threshold represented by (...) blindness, by which Oedipus now feels trapped.By examining these three topics, the article shows how the threshold between life and death which Oedipus chooses at the end of Seneca's Oedipus and experiences in the Phoenissae mirrors the ambivalence and the errors of his life before he blinded himself. Ultimately, it also illustrates Oedipus’ continuing failure to achieve self-knowledge. (shrink)

This article argues that the encounter between Andromache and Ulysses in Seneca's Troades engages with the genre of declamation to juxtapose two different discourses surrounding torture: one focussed on torture's connection to truth, the other on its connection to tyranny. It describes how the Greek general Ulysses, convinced of the danger of letting the Trojan prince Astyanax live, threatens his mother Andromache with physical torture in order to ascertain the truth of Astyanax's whereabouts. However, Ulysses is countered by Andromache's rhetoric, (...) through which, the article shows, she depicts herself as the archetypal heroic victim of a tyrant. It discusses how Ulysses innovates with an effective psychological torture in response. The article sets the scenario within the broader rhetorical context and demonstrates how it reflects debate among the contemporary elite about the necessity of, and the risks from, the rising use of torture by the Julio-Claudian emperors, a debate which resonates in the modern era. (shrink)

The language of Seneca’s messenger speeches concentrates preceding patterns of imagery into grotesquely violent action. In three tragedies – Phaedra, Thyestes, and Trojan Women – the report of an anonymous messenger dominates an entire act. All three scenes describe gruesome deaths: the impalement of Hippolytus on a tree trunk in Phaedra, Atreus’ butchering of his nephews in Thyestes, and the slaughter of Astyanax and Polyxena in Trojan Women. In portraying violence, these messenger speeches repurpose language established in earlier scenes to (...) realize and deform a dominant theme of each play: distorted sexuality, appetite, and moral dissolution. (shrink)

In his exitus letter on the death of Corellius Rufus, Pliny attempts to present his dead friend with Stoic characteristics. Not only does Corellius follow the Stoic view on suicide in the case of an incurable disease, but also he is implicitly compared to the Stoic sapiens. This is greatly facilitated by allusions to Seneca’s Epistulae Morales, and in particular to epistle 85, where the sapiens is described and dolor is presented as indifferent to the pursuit of virtus. These allusions (...) allow Pliny to both praise Corellius and at the same time express his objections to the prose consolationes of his predecessors. (shrink)

This paper explores the potential for psychic conflict within Seneca's moral psychology. Some scholars have taken Seneca's explicit claim in De Ira that the soul is unitary to preclude any kind of simultaneous psychic conflict, while other interpreters have suggested that Seneca views all cases of anger as instances of akrasia. I argue that Seneca's account of anger provides the resources for accommodating some types of simultaneous psychic conflict; however, he denies the possibility of psychic conflict between two action-generating impulses, (...) thus rejecting the phenomena of genuine akrasia and enkrateia. Although superficially counterintuitive, Seneca's cognitivist account of anger, according to which anger is complex and requires assent to the propositions that ‘I have been wronged’ and ‘I ought to seek revenge’, renders his denial of akrasia and enkrateia more plausible. (shrink)

Examining Seneca’s account of friendship produces an interpretative puzzle: if the good of the Stoic sage is already both complete and self-sufficient, how can friendship be a good? I reject the solution that friendship is simply a preferred indifferent instead of a good and argue that though Seneca’s account can consistently explain both why friendship’s nature as a good does not threaten the completeness or the self-sufficiency of the sage, Stoic friends must choose between intimate friendships that leave them vulnerable (...) or impersonal friendships that lack intimacy but do not undermine their happiness. The consistent Stoic must choose the latter, but I argue that this conflict shows why we ought to reject the Stoic model of friendship. (shrink)

The opening lines of Seneca's Thyestes (1–13), which feature Tantalus’ reference to the so-called great sinners, have received little critical attention. Through both an intertextual and an intratextual analysis, this article reveals the peculiarities of this allegedly canonical list of sinners by comparing it to similar catalogues in other Senecan dramas, as well as by identifying its structural function within this particular tragedy. This kind of two-fold approach enables a reinterpretation of certain key passages of the drama vis-à-vis lines 1–13, (...) as well as a reassessment of Tantalus’ role as the creative force and architect of the tragedy. (shrink)

Abstract:In many of his works, Seneca puts a philosophical premium on the ability to see through the deceptive appearances of words and things, identifying the hidden truths that underlie these appearances. In this paper, I turn to a passage that casts doubt upon the efficacy of this interpretive method: Seneca's excursus on flattery in the preface to Book 4a of the Natural Questions. Seneca locates in flattery a pleasure that listeners cannot eradicate by exposing its insincerity. By undermining a hermeneutic (...) practice at the heart of many of his therapeutic methods, Seneca draws out, and invites us to dwell within, a contradiction in his system of thought. Furthermore, in his transition from his discussion of flattery to the scientific content of Nat. 4a, Seneca suggests an alternative approach to treacherous pleasures, which locates therapeutic potential not in the ability to look beyond appearances, but in the "surface-level" experiences of distraction and amazement. (shrink)

This paper analyses the problem of shame in the thinking of Lucius Annaeus Seneca. The authors examine this problem primarily in two contexts. The first, social meaning, understands shame as an emotion that appears during a conflict between a person’s “self” and social norms. Seneca mainly tackles this question concerning providing “benefits” (beneficia) in his On Benefits and eighty-first letter of Moral Epistles. The second therapeutic and didactic meaning utilises shame as an instrument to manage some illnesses of the mind (...) (for example, anger). Moreover, to educate a “Stoic disciple” (proficiens), deliberate exposure to shame in public marks one of the important techniques to near the perfect ideal of “the wise man” (sapiens) and to prepare oneself for service in public office. Especially in Moral Epistles, we find a detailed description of this didactic approach and the limiting factors to using this technique. (shrink)

In his essay on Seneca, T.S. Eliot used theHercules Furens(=HF) as his example to illustrate ‘this curious freak of non-theatrical drama’. Even though Senecan scholarship has by and large moved away from his indictment, the sense that the attention seems to be directed away from the stage points to the play's unique dramaturgy. The surest indicator of this reverse orientation is the conspicuous absence of Hercules himself for much of the play. Hercules is (or wishes to be) permanently ‘elsewhere’. His (...) entrance is delayed for a long time; once home, he rushes offstage after a few lines to kill Lycus. He returns onstage only to be attacked by madness, and is drawn inside the palace again to kill his wife and sons. When his madness abates, he falls asleep onstage; on waking, he longs for a place beyond the known world (and underworld) and finally exits into exile. This article proposes a closer examination of the semiotics of space, especially the symbolic value of the offstage. Seneca is constantly drawing attention to the pull towards the stage perimeter and the unseen offstage, characterizing the cosmic nature of Hercules’ conflict with Juno and questioning the hero's place in the world as the son of an immortal father. (shrink)

Presented as a “speculative manual on pedagogy,” this article seeks to provide praxis to Spivak’s Aesthetic Education in the Era of Globalization using Arundhati Roy’s The God of Small Things as a reading in Philippine schools. Its aim is to envision pedagogical ways in which a foreign literary text is introduced into a culturally distant setting, thereby prompting educators – the “supposed trainers of the mind” – to resolve: How does one educate aesthetically? How do we imagine the performance of (...) aesthetic education in local classrooms? In demonstrating a theory and its form, the paper first explores Spivak’s conception of aesthetic education and then adapts it in a specific case: in Philippine classrooms where learners are confronted by a literary work of the Other – particularly, Arundhati Roy’s The God of Small Things. Aesthetic education, as a theoretic idea, is visualized and imaginatively performed through its capacity to realize an “epistemic revolution” happening in local classrooms worldwide. (shrink)

SENECA S LIFE Lucius ANNABUS SENECA was born at Cordoba, then the leading town in Roman Spain, at about the same time as Christ.1 His father, Marcus Annaeus ...

This volume offers clear and forceful contemporary translations of the most important of Seneca's 'Moral Essays': On Anger, On Mercy, On the Private Life and the first four books of On Favours. They give an attractive, full picture of the social and moral outlook of an ancient Stoic thinker intimately involved in the governance of the Roman empire in the mid first century of the Christian era. A general introduction describes Seneca's life and career and explains the fundamental ideas underlying (...) the Stoic moral, social and political philosophy that informs the essays. Individual introductions, footnotes and biographical notes place the essays in their historical and philosophical contexts, and further assistance to students is provided by section headings in the translations which organize the principal transitions in the argument and the more unfamiliar aspects of Seneca's writing. (shrink)

Die Bibliotheca Teubneriana, gegr ndet 1849, ist die weltweit lteste, traditionsreichste und umfangreichste Editionsreihe griechischer und lateinischer Literatur von der Antike bis zur Neuzeit. Pro Jahr erscheinen 4-5 neue Editionen. S mtliche Ausgaben werden durch eine lateinische Praefatio erg nzt. Die wissenschaftliche Betreuung der Reihe obliegt einem Team anerkannter Philologen: Gian Biagio Conte (Scuola Normale Superiore di Pisa) James Diggle (University of Cambridge) Donald J. Mastronarde (University of California, Berkeley) Franco Montanari (Universit di Genova) Heinz-G nther Nesselrath (Georg-August-Universit t G (...) ttingen) Dirk Obbink (University of Oxford) Oliver Primavesi (Ludwig-Maximilians Universit t M nchen) Michael D. Reeve (University of Cambridge) Richard J. Tarrant (Harvard University) Vergriffene Titel werden als Print-on-Demand-Nachdrucke wieder verf gbar gemacht. Zudem werden alle Neuerscheinungen der Bibliotheca Teubneriana parallel zur gedruckten Ausgabe auch als eBook angeboten. Die lteren B nde werden sukzessive ebenfalls als eBook bereitgestellt. Falls Sie einen vergriffenen Titel bestellen m chten, der noch nicht als Print-on-Demand angeboten wird, schreiben Sie uns an: [email protected] S mtliche in der Bibliotheca Teubneriana erschienenen Editionen lateinischer Texte sind in der Datenbank BTL Online elektronisch verf gbar. (shrink)

Die Bibliotheca Teubneriana, gegr ndet 1849, ist die weltweit lteste, traditionsreichste und umfangreichste Editionsreihe griechischer und lateinischer Literatur von der Antike bis zur Neuzeit. Pro Jahr erscheinen 4-5 neue Editionen. S mtliche Ausgaben werden durch eine lateinische Praefatio erg nzt. Die wissenschaftliche Betreuung der Reihe obliegt einem Team anerkannter Philologen: Gian Biagio Conte (Scuola Normale Superiore di Pisa) James Diggle (University of Cambridge) Donald J. Mastronarde (University of California, Berkeley) Franco Montanari (Universit di Genova) Heinz-G nther Nesselrath (Georg-August-Universit t G (...) ttingen) Dirk Obbink (University of Oxford) Oliver Primavesi (Ludwig-Maximilians Universit t M nchen) Michael D. Reeve (University of Cambridge) Richard J. Tarrant (Harvard University) Vergriffene Titel werden als Print-on-Demand-Nachdrucke wieder verf gbar gemacht. Zudem werden alle Neuerscheinungen der Bibliotheca Teubneriana parallel zur gedruckten Ausgabe auch als eBook angeboten. Die lteren B nde werden sukzessive ebenfalls als eBook bereitgestellt. Falls Sie einen vergriffenen Titel bestellen m chten, der noch nicht als Print-on-Demand angeboten wird, schreiben Sie uns an: [email protected] S mtliche in der Bibliotheca Teubneriana erschienenen Editionen lateinischer Texte sind in der Datenbank BTL Online elektronisch verf gbar. (shrink)