By Eric Dodson Robinson
In Brill's significant other to the Reception of Senecan Tragedy, Eric Dodson-Robinson contains essays through experts operating throughout disciplines and nationwide literatures right into a refined narrative tracing the varied scholarly, literary and theatrical receptions of Seneca's tragedies. The tragedies, influential through the Roman international well past Seneca's time, plunge into obscurity in overdue Antiquity and approximately disappear throughout the center a while. Profound outcomes stick to from the rediscovery of a dusty manuscript containing 9 performs attributed to Seneca: it's seminal to either the renaissance of tragedy and the delivery of Humanism. Canonical Western writers from Antiquity to the current have revisited, remodeled, and eviscerated Senecan precedents to strengthen, in Dodson-Robinson's phrases, "competing tragic visions of business enterprise and the human position within the universe."
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Extra resources for Brill’s Companion to the Reception of Senecan Tragedy: Scholarly, Theatrical and Literary Receptions
19 While he believes that one man wrote both the prose and the dramatic texts, he argues that Seneca the philosopher would have ultimately disavowed his poetic output. 21 Furthermore, as Harry Hine points out, since we can never know Seneca’s intentions for writing his plays, the best that can be achieved is what he refers to as a “Stoic diagnosis” of the plays. 22 With these caveats in mind, this chapter will argue that Seneca’s plays are critically engaged with Stoicism. The plays question and challenge Stoic tenets about drama and the emotions, but they do not abandon the world of Seneca’s prose works.
Death lurks at every corner so do not fear earthquakes (the topic of the book)—after all, a drop of water can kill you (Nat. quaest. 5). Seneca introduces the following Virgilian quote with an interesting comment on the epic situation of Aeneid 2, “these words were spoken to those people stupefied at their unexpected capture among fires and 16 Cf. Star in this volume, 41–53. 17 The earlier stress on a “place” (locus) for virtus becomes tied to Medea’s revenge (“A place has opened by which to wound him,” vulneri patuit locus, 550; 564).
On the one hand, we must acknowledge the breadth and complexity of his corpus. g. Hadot 1995, Foucault 1986, Sorabji 2000, Inwood 2005; performance aspects of Senecan drama, Harrison 2000, Kohn 2013. 24 Rosenmeyer 1989, Nussbaum 1994, Volk and Williams 2006, Bartsch 2006, Bartsch and Wray 2009, Ker 2009, Staley 2010, Star 2012. 25 Given Seneca’s wide-ranging literary corpus, perhaps we should view him less as a philosopher and/or tragedian and think of him more as a man with great literary ambitions, who sought to leave his mark on a wide range of genres.