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Notes on Seneca's Trojan Women for Vce Students
NOTES ON SENECA’S TROJAN WOMEN FOR VCE STUDENTS Betty Gabriel-Jones Seneca’s Trojan Women, is, like most of his plays, modelled on a Greek original, Eurip- ides’ Women of Troy. However, he brings a distinctly Roman attitude to his plays, an attitude no doubt at least partly formed by a life led in and around the courts of the Julio-Claudian emperors. Seneca thrived under Tiberius, fell out of favour with Caligula, returned to Rome on Caligula’s death, was exiled by Claudius, then recalled, became influential at the court of Nero (indeed was probably the second most powerful man in Rome, after the emperor) and was eventually sentenced to death by Nero. This eventful and, one assumes, stressful life surely played a part in his somewhat pessimistic view of life. It is hard to see how this could not be the case. After all, his protégé, Nero, murdered his own stepbrother, his stepsister/wife and his mother Agrippina. His second wife, whom he supposedly loved, he kicked to death in a drunken rage. Witnessing such events, even if one were not involved, would not lead one to see life as a sunny, cheerful affair. And Seneca was not uninvolved. He was no innocent, and may even have condoned the killing of Agrippina; certainly he composed a speech for Nero in which he justified his action. In addition to all this, Seneca lived in a Rome where bloody and murderous games were the staple entertainment of the masses. By philosophy, Seneca was a stoic—that is to say, he advised a life designed around ra- tional behaviour, modesty, and discipline. -
The Darkness of Man: a Study of Light and Dark Imagery in Seneca's
The Darkness of Man: A Study of Light and Dark Imagery in Seneca’s Thyestes and Agamemnon A Senior Thesis in Classics The Colorado College In Partial Fulfillment of the Requirements for the Degree Bachelor of Arts By Emily Kohut May 2016 Kohut 1 Acknowledgments I would like to give my deepest and heartfelt thanks to Colorado College’s Classics department. Thank you Owen Cramer, Sanjaya Thakur, Marcia Dobson, and Richard Buxton for all of your help, edits, and advice throughout the course of my time here at CC and especially while working on this project. Thank you to my family and friends for supporting me through this whole process and to the many others who have been involved in my time here at CC. This has been an amazing experience and I could not have done it without all of you. Thank you very much. Kohut 2 The Darkness of Man: A Study of Light and Dark Imagery in Seneca’s Thyestes and Agamemnon Seneca’s Thyestes and Agamemnon are texts in which light rarely presents itself, instead it is dark that is present from start to finish. Throughout the course of these texts, I take note of the use and presence, or lack, of light. There appear to be two specific uses of light that serve specific purposes in Thyestes and Agamemnon: natural light (generally indicated with primarily die- or luc-1 based words), and artificial light (referenced by words related to/derived from flamma or ardeo2). Natural light is prominently used only when discussing its being consumed by darkness, while artificial light appears in passages saturated with destruction and chaos. -
AGAMEMNON PROLOGUE: Lines 1-39
AGAMEMNON PROLOGUE: Lines 1-39 GUARD: Watching from a WatchTower in Argos for the beacon of light announcing the fall of Troy! Laments of how long he has waited and watched with “elbow-bent, doglike,” without sleep. At prologues end, the beacon of light has brightened the sky. Guard has much joy, and hope that this will turn the house around. Imagery: Light/ Dark Lines 16-18: We know there is something amiss with how the house is being “administered.” The mix of anticipation and foreboding sets mood of the play. Something’s Coming. PARADOS: Prelude Lines 40- 103 What Character is the Chorus Playing? Lines 72-76 PRELUDE Continued WHAT’S GOING ON? - Trojan War has just ended after 10 years, but how did it began? MENELAUS- KING OF SPARTA AGAMEMNON- KING OF ARGOS/ BROTHER OF MENELAUS Vs. PARIS (ALEXANDER)- PRINCE OF TROY HELEN- Once Wife of Menelaus now Wife of Paris (Clytemnestra's Sister) “Promiscuous Girl, Stop Teasing Me” NESTRA: WAIT, SO MY HUSBAND LEFT TO FIGHT A WAR TO FORCE MY \ SISTER TO STAY MARRIED TO HIS BROTHER? CHORUS: YES, CLYTEMNESTRA. NESTRA: ALRIGHT, COOL. SO, I’M JUST GONNA TRY TO TAKE CARE OF THIS KINGDOM OF ARGOS THEN, I GUESS. CHORUS: BUT, WHY ARE YOU BURNING ALL THESE SACRIFICES FOR THE GODS AND ORDERING ALL THESE CELEBRATIONS? NESTRA: WELL… CHORUS: IMMA LET YOU FINISH BUT, I GOTTA TELL YOU ABOUT THIS OTHER MESS REAL QUICK.. PARADOS: Three-Part ODE Part One: STROPHE (East To West, or From Stage Right) ANTISTROPHE (West to East, or From Stage Left) EPODE (From Center, could be by one member of chorus or multiple) CALCHAS: I’m a Soothsayer and those two eagles eating that pregnant rabbit means VICTORY for the two brothers! ARTEMIS: Yes, but those eagles killed a pregnant rabbit. -
Seneca: Apocolocyntosis Free
FREE SENECA: APOCOLOCYNTOSIS PDF Lucius Annaeus Seneca,P.T. Eden,P. E. Easterling,Philip Hardie,Richard Hunter,E. J. Kenney | 192 pages | 27 Apr 1984 | CAMBRIDGE UNIVERSITY PRESS | 9780521288361 | English | Cambridge, United Kingdom SENECA THE YOUNGER, Apocolocyntosis | Loeb Classical Library Rome,there have been published many other editions and also many translations. The following are specially noteworthy:. The English translation with accompanying largely plain text by W. Graves appended a translation to his Claudius the GodLondon The Satire of Seneca on the Apotheosis of Claudius. Ball, New York,has introduction, notes, and translation. Weinreich, Berlin, with German translation. Bibliographical surveys : M. Coffey, Seneca: Apocolocyntosis, Apocol. More Contact Us How to Subscribe. Search Publications Pages Publications Seneca: Apocolocyntosis. Advanced Search Help. Go To Section. Find in a Library View cloth edition. Print Email. Hide annotations Display: View facing pages View left- hand pages View right-hand pages Enter full screen mode. Eine Satire des Annaeus SenecaF. Buecheler, Symbola Philologorum Bonnensium. Leipzig, —Seneca: Apocolocyntosis. Petronii Saturae et liber Priapeorumed. Heraeus, ; and edition 6, revision and augmentation by W. Heraeus, Annaei Senecae Divi Claudii Apotheosis. Seneca: Apocolocyntosis, Bonn, Waltz, text and French translation and notes. Seneca, Apokolokyntosis Inzuccatura del divo Claudio. Text and Italian translation A. Rostagni, Seneca: Apocolocyntosis, Senecae Apokolokyntosis. Text, critical notes, and Italian translation. A Ronconi, Milan, Filologia Latina. Introduction, Seneca: Apocolocyntosis, and critical notes, Italian translation, and copious commentary, bibliography, and appendix. This work contains much information. A new text by P. Eden is expected. Sedgwick advises for various allusions to read also some account of Claudius. That advice indeed is good. -
CLAS 4000 Seminar in Classics on Seneca's Thyestes and LATN 4002 Roman Drama
CLAS 4000 Seminar in Classics on Seneca’s Thyestes and LATN 4002 Roman Drama http://myweb.ecu.edu/stevensj/CLAS4000/2016syllabus.pdf Prof. John A. Stevens Spring 2016 Office: Ragsdale 133 [email protected] Office Hours: TTh 11-1:30 and by appt. (252) 328-6056 Objectives. Upon completion of this course, you will be able to: • Situate Senecan tragedy in the contexts of Roman literature, history and political philosophy • Analyze the elements of Roman Stoicism present in Seneca’s Thyestes • Characterize contemporary literary approaches to the play • Evaluate the play’s literary and philosophical elements as an integral whole Writing Intensive (WI) CLAS 4000 is a writing intensive course in the Writing Across the Curriculum Program at East Carolina University. With committee approval, this course contributes to the twelve-hour WI requirement for students at ECU. Additional information is available at: http://www.ecu.edu/writing/wac/. WI Course goals: • Use writing to investigate complex, relevant topics and address significant questions through engagement with and effective use of credible sources; • Produce writing that reflects an awareness of context, purpose, and audience, particularly within the written genres (including genres that integrate writing with visuals, audio or other multi-modal components) of their major disciplines and/or career fields; • Understand that writing as a process made more effective through drafts and revision; • Produce writing that is proofread and edited to avoid grammatical and mechanical errors; • Ability to assess and explain the major choices made in the writing process. • Students are responsible for uploading the following to iWebfolio (via Courses/Student Portfolio in OneStop): 1) A final draft of a major writing project from the WI course, 2) A description of the assignment for which the project was written, and 3) A writing self-analysis document (a component of our QEP). -
Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal Timothy Hanford Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/427 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by TIMOTHY HANFORD A dissertation submitted to the Graduate Faculty in Classics in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 ©2014 TIMOTHY HANFORD All Rights Reserved ii This dissertation has been read and accepted by the Graduate Faculty in Classics in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Ronnie Ancona ________________ _______________________________ Date Chair of Examining Committee Dee L. Clayman ________________ _______________________________ Date Executive Officer James Ker Joel Lidov Craig Williams Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by Timothy Hanford Advisor: Professor Ronnie Ancona This dissertation explores the relationship between Senecan tragedy and Virgil’s Aeneid, both on close linguistic as well as larger thematic levels. Senecan tragic characters and choruses often echo the language of Virgil’s epic in provocative ways; these constitute a contrastive reworking of the original Virgilian contents and context, one that has not to date been fully considered by scholars. -
Matthew Gwinne's Nero
Matthew Gwinne’s Nero (1603): Seneca, Academic Drama, and the Politics of Polity 16 Emma Buckley University of St. Andrews Broadly speaking, J.W. Cunliffe’s narrative of the role of Senecan influence in the early modern period still holds good today, positing as it does a reception history moving from performance, to the influential 1550s translations, to a final phase of Senecan contact in the mature vernacular dramaturgy of the Elizabethan age, where Senecan drama plays an important (but more limited role) in inspiring the Renaissance revenge-tragedy model. Though it may be difficult to isolate ‘Seneca’ in the melting-pot of other literary influences, from the medievalde casibus tradition to tragedies being produced on the continent, it is clear that Senecan tragedy makes a special contribution to the bloodthirsty, spectacular and rhetorically-daring theatre of the late Tudor age.1 In its movement from production, through translation, to cre- ative reconfiguration, and working from dependency to independence, from Latin to English, and from private to public, such a reception-model for ‘Seneca in English’ offers a satisfying arc of progression that fits with the broader story of a Renaissance literary culture, challenging and surpassing norms of what had previously been con- sidered Classical ‘perfection’. In such a narrative, it is easy for the so-called ‘academic drama’ of the late six- teenth century-a form of theatre displaying conspicuous and deep-set engagement with Seneca, and with its roots in the earlier phases of Senecan reception-to -
The Medea of Euripides and Seneca: a Comparison
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1941 The Medea of Euripides and Seneca: A Comparison Mary Enrico Frisch Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the Classics Commons Recommended Citation Frisch, Mary Enrico, "The Medea of Euripides and Seneca: A Comparison" (1941). Master's Theses. 180. https://ecommons.luc.edu/luc_theses/180 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1941 Mary Enrico Frisch -If.. THE MEDEA OF EURIPIDES AND SENECA: A COMPARISON by Sister Mary Enrico Frisch, S.S.N.D. A Thesis submitted 1n partial ~ul~illment o~ the requirements ~or the degree o~ Master o~ Arts Loyola University August, 1941 TABLE OF CONTENTS CHAPTER PAGE I Introduction: Survey o~ Opinion. 1 II Broad Similarities in Moti~ and 6 Sentiment. III Broad Similarities in the Plot 30 o~ the Medea o~ Euripides and the Medea o~ Seneca. IV Parallels in Phraseology. 51 v Characters and Their Attitude 73 to the Gods. Bibliography a. Re~erences ~or the Medea 91 o~ Euripides. b. Re~erences ~or the Medea 95 o~ Seneca. c. General Works. 98 THE MEDEA OF EURIPIDES AND SENECA: A COMPARISON Chapter I INTRODUCTION: SURVEY OF OPINION It is not a new theory that Seneca used the plays o~ Eurip ides as models for his Latin tragedies, particularly his Medea, Hippolytus, Hercules Furens, Troades and the Phoenissae. -
Apocolocyntosis De Providentia
Sêneca Apocolocyntosis De Providentia Belo Horizonte FALE/UFMG 2010 Diretor da Faculdade de Letras Sumário Luiz Francisco Dias Vice-Diretor Introdução . 5 Sandra Bianchet Heloísa Maria Moraes Moreira Penna Comissão editorial Apocolocyntosis Divi Clavdii / Apocoloquintose . 8 Eliana Lourenço de Lima Reis De Providentia / Da Providência . 35 Elisa Amorim Vieira Lucia Castello Branco Maria Cândida Trindade Costa de Seabra Maria Inês de Almeida Sônia Queiroz Capa e projeto gráfico Glória Campos Mangá – Ilustração e Design Gráfico Revisão e normalização Eduardo de Lima Soares Taís Moreira Oliveira Formatação Eduardo de Lima Soares Janaína Sabino Revisão de provas Martha M. Rezende Ramon de Araújo Gomes Endereço para correspondência FALE/UFMG – Setor de Publicações Av. Antônio Carlos, 6627 – sala 2015A 31270-901 – Belo Horizonte/MG Telefax: (31) 3409-6007 e-mail: [email protected] Introdução Na literatura latina, há diversos escritores que muito produziram e influenciaram as gerações posteriores com inúmeras e densas obras. Impressionam até hoje a prosa moral de Cícero, a irreverência lírica de Catulo, a grandiosidade épica de Virgílio, o rigor formal de Horácio, a ousadia contemporânea de Ovídio e a potência filosófica e trágica de Sêneca, só para citar alguns dos grandes nomes dessa literatura abrangente. É desse último autor de textos filosóficos, dramáticos e satíricos que vamos tratar na presente publicação. Lúcio Aneu Sêneca é um dos escritores mais lidos e comentados da literatura latina. Seus textos têm conteúdo atemporal por tratarem da alma humana, dos problemas que a afligem em qualquer época, e por servirem de conselheiros aos espíritos atormentados pelas questões existenciais. É fato que nascera numa época privilegiada e que tirara disso grande proveito: após a chamada Idade de Ouro da literatura latina, em que figuraram poetas de obras imortais, tais como Virgílio, Horácio, Propércio, Tibulo e Ovídio. -
Power Struggles in Aeschylus' Oresteia
ILCEA Revue de l’Institut des langues et cultures d'Europe, Amérique, Afrique, Asie et Australie 40 | 2020 English for Specific Purposes (ESP) and the Underlying Dynamics of Power, Empowerment and Disempowerment Power Struggles in Aeschylus’ Oresteia: ESP, Law and Literature and Greek Tragedy Luttes de pouvoir dans l’Orestie d’Eschyle : anglais de spécialité, droit et littérature et tragédie grecque Malcolm Harvey Electronic version URL: http://journals.openedition.org/ilcea/10741 DOI: 10.4000/ilcea.10741 ISSN: 2101-0609 Publisher UGA Éditions/Université Grenoble Alpes Printed version ISBN: 978-2-37747-204-8 ISSN: 1639-6073 Electronic reference Malcolm Harvey, « Power Struggles in Aeschylus’ Oresteia: ESP, Law and Literature and Greek Tragedy », ILCEA [Online], 40 | 2020, Online since 04 June 2020, connection on 06 September 2020. URL : http://journals.openedition.org/ilcea/10741 ; DOI : https://doi.org/10.4000/ilcea.10741 This text was automatically generated on 6 September 2020. © ILCEA Power Struggles in Aeschylus’ Oresteia: ESP, Law and Literature and Greek Tra... 1 Power Struggles in Aeschylus’ Oresteia: ESP, Law and Literature and Greek Tragedy Luttes de pouvoir dans l’Orestie d’Eschyle : anglais de spécialité, droit et littérature et tragédie grecque Malcolm Harvey Introduction 1 In a departure from mainstream ELP1 studies and their primary focus on the language of the law, this paper is situated in the broader perspective of French ESP studies, which reflects the dominantly academic background of ESP in France and other Continental European countries. While the use of contemporary specialised popular fiction (novels, films, TV series, video games, etc.) in LSP2 has attracted considerable research interest in France and elsewhere since the identification and codification of a relatively new genre known as fiction à substrat professionnel (FASP),3 this paper seeks to go a step further, exploring possible convergences between ESP and the Law and Literature (L&L) movement. -
Introduction: Medea in Greece and Rome
INTRODUCTION: MEDEA IN GREECE AND ROME A J. Boyle maiusque mari Medea malum. Seneca Medea 362 And Medea, evil greater than the sea. Few mythic narratives of the ancient world are more famous than the story of the Colchian princess/sorceress who betrayed her father and family for love of a foreign adventurer and who, when abandoned for another woman, killed in revenge both her rival and her children. Many critics have observed the com plexities and contradictions of the Medea figure—naive princess, knowing witch, faithless and devoted daughter, frightened exile, marginalised alien, dis placed traitor to family and state, helper-màiden, abandoned wife, vengeful lover, caring and filicidal mother, loving and fratricidal sister, oriental 'other', barbarian saviour of Greece, rejuvenator of the bodies of animals and men, killer of kings and princesses, destroyer and restorer of kingdoms, poisonous stepmother, paradigm of beauty and horror, demi-goddess, subhuman monster, priestess of Hecate and granddaughter of the sun, bride of dead Achilles and ancestor of the Medes, rider of a serpent-drawn chariot in the sky—complex ities reflected in her story's fragmented and fragmenting history. That history has been much examined, but, though there are distinguished recent exceptions, comparatively little attention has been devoted to the specifically 'Roman' Medea—the Medea of the Republican tragedians, of Cicero, Varro Atacinus, Ovid, the younger Seneca, Valerius Flaccus, Hosidius Geta and Dracontius, and, beyond the literary field, the Medea of Roman painting and Roman sculp ture. Hence the present volume of Ramus, which aims to draw attention to the complex and fascinating use and abuse of this transcultural heroine in the Ro man intellectual and visual world. -
Revisiting Lucan's Druidic Grove (BC 3.399-452)
Revisiting Lucan’s Druidic Grove (BC 3.399-452) Early in Lucan’s Bellum Civile Caesar and his men deforest a gloomy Druidic grove near Massilia (3.399-452). Recent discussions of Lucan’s models for this episode (e.g. Hunink; Masters) follow the lead of Philips in seeing this passage as an attempt by Lucan to invert the quintessentially Ovidian topos of the locus amoenus. My paper will examine two points. For one, I argue that in his grove episode Lucan does much more than simply subvert Ovidian motifs. Rather, I detect a more complex nexus of influences at work here in the form of allusions to Senecan tragedy, as well as the awareness of a contemporary act of grove- deforestation described by Tacitus (Annales 14.30-1). Second, I illustrate that in this passage we have an example of Tacitean allusion to Lucan, a topic ripe for further study. A close reading of Seneca’s Thyestes, Oedipus, and Hercules Oetaeus reveals that Lucan echoes, both thematically and verbally, descriptions of groves contained in these plays. I argue that Lucan’s depiction of towering trees (rami), a lone oak (quercus), dismal springs (undae), burning wooden images (simulacra), and destruction of an entire grove and the subsequent re-admittance of light and animals owes a great debt to three very similar grove episodes found in the dramas of Seneca. Thus, the influence on Lucan of various Ovidian loci amoeni needs to be reconsidered in light of the close thematic and verbal parallels found in Lucan’s contemporary. Lucan’s allusive gestures here are far more complex than is usually noted.