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Seneca's main sources were Stoic.J. Fillion-Lahille has argued that the first book of the De Ira was inspired by the Stoic philosopher Chrysippus' (3rd-century BC) treatise On Passions (Peri Pathôn), whereas the second and third drew mainly from a later Stoic philosopher, Posidonius (1st-century BC), who had also written a treatise On Passions and differed from Chrysippus in giving a bigger ...
On Passions consisted of four books; of which the first three discussed the Stoic theory of emotions and the fourth book discussed therapy and had a separate title—Therapeutics. Most surviving quotations come from Books 1 and 4, although Galen also provides an account of Book 2 drawn from the 1st-century BCE Stoic philosopher Posidonius .
While Seneca's plays evoke Aeschylus' Oresteia in narrative and characters, they also serve the important purpose of shedding light on unclear scenes in the original Agamemnon. Additionally, Seneca once again philosophizes the original story further, while adding more violently-detailed recounts of the murders that took place off-stage. [12]
In De Ira (On Anger), Book I, Chapter XVIII, Seneca tells of Gnaeus Calpurnius Piso, a Roman governor and lawmaker, when he was angry, ordering the execution of a soldier who had returned from a leave of absence without his comrade, on the grounds that if the man did not produce his companion, he had presumably killed the latter.
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.
Each of Seneca's books was introduced by a preface, an approach he compared to that adopted by organizers of gladiatorial shows. [18] Each preface presents pen-portraits of famous declaimers, either as individuals or in pairs. In the tenth preface, Seneca provided a group presentation of declaimers previously overlooked.
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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.