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Lucius Annaeus Seneca the Elder (/ ˈ s ɛ n ɪ k ə / SEN-ik-ə; c. 54 BC – c. AD 39), also known as Seneca the Rhetorician, was a Roman writer, born of a wealthy equestrian family of Corduba, Hispania.
Lucius Annaeus Seneca the Younger (/ ˈ s ɛ n ɪ k ə / SEN-ik-ə; c. 4 BC – AD 65), [1] usually known mononymously as Seneca, was a Stoic philosopher of Ancient Rome, a statesman, dramatist, and in one work, satirist, from the post-Augustan age of Latin literature.
Gallio (originally named Lucius Annaeus Novatus), the son of the rhetorician Seneca the Elder and the elder brother of Seneca the Younger, was born in Corduba (Cordova) c. 5 BC. He was adopted by Lucius Junius Gallio, a rhetorician of some repute, from whom he took the name of Junius Gallio.
It is part of Seneca's series of Dialogi (dialogues). [11] The essay is addressed to Seneca's elder brother, Lucius Annaeus Novatus. The work's first sentence reads: [6] You have asked me Novatus to write on how anger can be mitigated. Although split into three books, De Ira is effectively divided into two parts.
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.
Double Herm of Socrates and Seneca (Antikensammlung Berlin) Senecan tragedy refers to a set of ten ancient Roman tragedies, [1] eight of which were probably written by the Stoic philosopher and politician Lucius Annaeus Seneca. [2] Senecan tragedy, much like any particular type of tragedy, had specific characteristics to help classify it.
Naturales quaestiones (Natural Questions) is a Latin work of natural philosophy written by Seneca around AD 65. It is not a systematic encyclopedia like the Naturalis Historia of Pliny the Elder, though with Pliny's work it represents one of the few Roman works dedicated to investigating the natural world.
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. [11]