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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.
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 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 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.
As a Roman letter expressing ambivalence about slavery from the 1st century, it has been compared to the early Christian writing in Paul's Epistle to Philemon. [5] And Gregory of Nyssa in the 4th century condemns slavery outright, in rhetorical terms that may draw from Seneca, but that go beyond him.
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 ]
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