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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.
It appears in an occupatio passage wherein Seneca imagines Lucilius's objections to his arguments. Non vitae sed scholae discimus ("We learn [such literature] not for life but for classtime") was thus already a complaint, the implication being that Lucilius would argue in favor of more practical education and that mastery of literature was ...
Seneca's first letter to Lucilius, discussing the value of time, in Latin with English subtitles. His works discuss both ethical theory and practical advice, and Seneca stresses that both parts are distinct but interdependent. [51] His Letters to Lucilius showcase Seneca's search for ethical perfection. [51]
[1] At the time Seneca wrote his Letters (c. 65 AD), Lucilius was the procurator (and possibly governor) of Sicily. [2] He was a Roman Knight, a status he had achieved through "persistent work," [3] and he owned a country villa in Ardea, south of Rome. [4] Seneca devotes one of his shorter letters to praising a book Lucilius had written, [5 ...
The work cannot be precisely dated, but since it is addressed to Lucilius, who is the addressee of some of Seneca's final works including his Letters, and since the essay has similarities to letters 106, 108, and 109 then the work is usually considered a late one dating to around 64 AD.
De Brevitate Vitae (English: On the Shortness of Life) is a moral essay written by Seneca the Younger, a Roman Stoic philosopher, sometime around the year 49 AD, to his father-in-law Paulinus. The philosopher brings up many Stoic principles on the nature of time , namely that people waste much of it in meaningless pursuits.
At the San Diego Naval Medical Center, the eight-week moral injury/moral repair program begins with time devoted simply to allowing patients to feel comfortable and safe in a small group. Eventually, each is asked to relate his or her story, often a raw, emotional experience for those reluctant to acknowledge the source of their pain.
These neoclassicists adopted Seneca's innovation of the confidant (usually a servant), his substitution of speech for action, and his moral hairsplitting. The 1800s saw a period of general disparagement of Senecan drama, as criticism surrounding the violence and supposed monotony of the plays flourished. [ 21 ]