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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.
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 ...
The information about Lucilius comes from Seneca's writings, especially his Moral Letters, which are addressed to Lucilius. Seneca also dedicated his Naturales Quaestiones and his essay De Providentia to Lucilius. Lucilius seems to have been a native of Campania, and Seneca refers repeatedly to "your beloved Pompeii." [1] At the time Seneca ...
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]
The earliest known reference to them is in Jerome's On Illustrious Men chapter 12, a work of around 392 CE: [7]. Lucius Annaeus Seneca of Cordova, a disciple of the Stoic Sotion, and paternal uncle of the poet Lucan, was a man of very temperate life whom I would not place in a catalogue of saints, were it not that I was prompted to do so by those Letters from Paul to Seneca and from Seneca to ...
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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. [1]
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 ]