However, when Giovanni Boccaccio ( 1313-1375 ) was commissioned by the city of Florence to write Commento di Dante which he completed c. 1374 ( before the birth of Poggio Bracciolini ), he made clear use of the Annals when he gave an account of Seneca's death directly based on the Tacitus account in Annals book 15.

Regardless of whether the Monte Cassino manuscripts were moved to Florence by Boccaccio or dal Strada, Boccaccio made use of the Annals when he wrote Commento di Dante c. 1374, giving an account of Seneca's death directly based on the Tacitean account in Annals book 15.

Robin Campbell, a translator of Seneca's letters, writes that the " stock criticism of Seneca right down the centuries been ... the apparent contrast between his philosophical teachings and his practice.

It would make sense that Seneca's position of power would make him vulnerable to trumped-up charges, as many public figures were at the time.

Many scholars have thought, following the ideas of the 19th century German scholar Leo, that Seneca's tragedies were written for recitation only.

Other scholars think that they were written for performance and that it is possible that actual performance had taken place in Seneca's lifetime.

Seneca's plays were widely read in medieval and Renaissance European universities and strongly influenced tragic drama in that time, such as Elizabethan England ( Shakespeare and other playwrights ), France ( Corneille and Racine ), and the Netherlands ( Joost van den Vondel ).

It is claimed by Tacitus that Agrippina exercised some erotic power over her son and that Acte advised Nero to resist this power, out of fear for her own safety and with Seneca's encouragement ; she warned Nero of the potential political repercussions with the military if incest with his mother were to become public.

Seneca's first homes from 1967 to 1969 were various buildings in North York:

It is still unclear if Seneca's plays were performed or recited during Roman times ; at any rate, Elizabethan and Jacobean playwrights staged them, as it were, with a vengeance, in plays full of gruesome and often darkly comic violence.

In Seneca's plays such scenes were only acted by the characters.

The information we have about Lucilius comes from Seneca's writings, especially his Moral Letters which are addressed to Lucilius.

Seneca's Apocolocyntosis reinforces the view of Claudius as an unpleasant fool and this remained the official view for the duration of Nero's reign.

Seneca's various works give mostly scattered anecdotes on Caligula's personality.

However, " his plays continued to be applauded even after those of Aeschylus and Sophocles had come to seem remote and irrelevant ", they became school classics in the Hellenistic period ( as mentioned in the introduction ) and, due to Seneca's adaptation of his work for Roman audiences, " it was Euripides, not Aeschylus or Sophocles, whose tragic muse presided over the rebirth of tragedy in Renaissance Europe.

Seneca's " vital spot " seems to have meant the neck.

By 1532, Calvin received his licentiate in law and published his first book, a commentary on Seneca's De Clementia.

Seneca's tragedies greatly influenced the growth of tragic drama in Europe.

With Luigi Squarzina in 1952 he co-founded and co-directed the Teatro d ' Arte Italiano, producing the first complete version of Hamlet in Italy, then rare works such as Seneca's Thyestes and Aeschylus's The Persians.

Nine of Seneca's tragedies survive, all of which are fabula crepidata ( tragedies adapted from Greek originals ); his Phaedra, for example, was based on Euripides ' Hippolytus.

Seneca's tragedies rework those of all three of the Athenian tragic playwrights whose work has survived.

Titus ' revenge may also have been influenced by Seneca's play Thyestes, written in the first century AD.

Galen repeats Seneca's points but adds a new one: finding a guide and teacher can help the person in controlling their passions.

One of his revisionist modern biographers, however, Miriam Griffin says in her biography of Seneca that " the evidence for Seneca's life before his exile in 41 is so slight, and the potential interest of these years, for social history as well as for biography, is so great that few writers on Seneca have resisted the temptation to eke out knowledge with imagination.

Seneca's own writings describe his poor health.

Caligula began his first year as emperor in 38, and there was a severe conflict between him and Seneca ; the emperor is said to have spared his life only because he expected Seneca's natural life to be near its end.

Seneca's influence was said to be especially strong in the first year.

According to it, Nero ordered Seneca's wife to be saved.

" We are therefore left with no contemporary record of Seneca's life, save for the desperate opinion of Publius Suilius.

More recent work is changing the dominant perception of Seneca as a mere conduit for pre-existing ideas showing originality in Seneca's contribution to the history of ideas.

Examination of Seneca's life and thought in relation to contemporary education and to the psychology of emotions is revealing a relevance of his thought.

Specifically devoting a chapter to his treatment of anger and its management she shows Seneca's appreciation of the damaging role of uncontrolled anger, and its pathological connections.

Nussbaum later extended her examination to Seneca's contribution to political philosophy showing considerable subtlety and richness in his thoughts about politics, education and notions of global citizenship and finding a basis for reform minded education in Seneca's ideas that allows her to propose a mode of modern education which steers clear of both narrow traditionalism and total rejection of tradition.

* Adapted Seneca's Oedipus, produced in London, 1968 ).

In Seneca's version of The Trojan Women, the prophet Calchas declares that Astyanax must be thrown from the walls if the Greek fleet is to be allowed favorable winds ( 365 – 70 ), but once led to the tower, the child himself leaps off the walls ( 1100 – 3 ).

Virgil works the idea into his account of the Underworld in the sixth book of the Aeneid.

Writing during the time of Augustus, Virgil has his hero give a first-person account of the fall of Troy in the second of the Aeneid's twelve books ; the Trojan Horse, which does not appear in " The Iliad ", became legendary from Virgil's account.

Virgil works the idea into his account of the Underworld in the sixth book of the Aeneid ( vv.

It is upon Homer's account that Euripides and Virgil based their accounts of the mythical creatures.

By Williams ' account, Behan told Virgil Earp immediately after the gunfight a story that corroborated the Nugget report, before changing to the story Behan later told at the coroner's inquest.

However another account by Virgil in his Aeneid ( 3. 163f ), has Aeneas in a dream learn from his ancestral Penates that " Dardanus and Father Iasius " and the Penates themselves originally came from Hesperia which was afterward renamed as Italy.

She is best known from the account given by the Roman poet Virgil in his Aeneid.

A young man named Virgil Stewart, in 1835, wrote an account of a Murrell sponsored slave rebellion plot sponsored by highwaymen and Northern Abolitionists.

The account was published as a pamphlet called " A History of the Detection, Conviction, Life And Designs of John A. Murel, The Great Western Land Pirate ; Together With his System of Villany and Plan of Exciting a Negro Rebellion, and a Catalogue of the Names of Four Hundred and Forty Five of His Mystic Clan Fellows and Followers and Their Efforts for the Destruction of Mr. Virgil A. Stewart, The Young Man Who Detected Him, To Which is Added Biographical Sketch of Mr. Virgil A.

Sow the Seeds of Hemp, a 1976 novel by Gary Jennings, is a fictionalized account of the pursuit of John Murrell by Virgil Stewart, told from Stewart's point of view.

During the closing years of exile he was on intimate terms with the historian Polydore Virgil, and one of his last acts was to arrange to give Polydore a corrected version of Major's account of Scottish affairs.

The animator of this cartoon, Virgil Ross, gave his first-person account of the creation of the character's name and personality in an interview published in Animato!

In this account Acerbas is the same person as Sychaeus, and Elissa the same as Dido in Virgil.