Search results
Results from the WOW.Com Content Network
In a recurring theme throughout the dialogues, Petrarch advises humility in prosperity and fortitude in adversity. [1] The dialogue is a development of a type seen in Seneca's De remediis fortuitorum. For 1520, Sebastian Brant was involved in publishing an edition in Strassburg. [2]
Seneca was most likely motivated to write this letter of consolation to Marcia in order to gain her favor; Marcia was the daughter of a prominent historian, Aulus Cremutius Cordus, and her family's enormous wealth and influence most likely inspired Seneca to write this letter of consolation. Through the essay he sticks to philosophical ...
De Beneficiis (English: On Benefits) is a first-century work by Seneca the Younger.It forms part of a series of moral essays (or "Dialogues") composed by Seneca. De Beneficiis concerns the award and reception of gifts and favours within society, and examines the complex nature and role of gratitude within the context of Stoic ethics.
De Providentia (On Providence) is a short essay in the form of a dialogue in six brief sections, written by the Latin philosopher Seneca (died AD 65) in the last years of his life. He chose the dialogue form (as in the well-known Plato 's works) to deal with the problem of the co-existence of the Stoic design of providence with the evil in the ...
De Tranquillitate Animi (On the tranquility of the mind / on peace of mind) is a Latin work by the Stoic philosopher Seneca (4 BC–65 AD). The dialogue concerns the state of mind of Seneca's friend Annaeus Serenus, and how to cure Serenus of anxiety, worry and disgust with life.
Epistulae Morales ad Lucilium (Latin for "Moral Letters to Lucilius"), also known as the Moral Epistles and Letters from a Stoic, is a letter collection of 124 letters that Seneca the Younger wrote at the end of his life, during his retirement, after he had worked for the Emperor Nero for more than ten years.
The plays would not have included stage directions for actors, who instead would have used the context within dialogue and songs for cues of movement and emotion. [6] A set of central doors would have been included in the set to represent the main site of action, usually a palace, as well as two wings which would have served as entrance and ...
Jason is made a more appealing figure by Seneca - thus strengthening the justification for, and power of, Medea’s passion. [9] Nevertheless, the increased degree of stage violence in the Seneca version, [ 10 ] and its extra gruesomeness, has led it to be seen as a coarser and more sensational version of Euripides’ play.