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

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.

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

Similarly, Eumolpus ' poem on the capture of Troy ( 89 ) has been related to Nero's Troica and to the tragedies of Seneca the Younger, and parody of Seneca's Epistles has been detected in the moralising remarks of characters in the Satyricon.

Gronovius edited and annotated Statius, Plautus, Livy, Tacitus, Aulus Gellius and Seneca's tragedies.

Finally, and most substantially, Seneca's tragedies are much more prone to revolve around literary quibbles, even leaving aside the plot of the play for entire sections while the characters engage in an essentially linguistic tangent.

However, the Italian tragedies embraced a principle contrary to Seneca's ethics: showing blood and violence on the stage.

); Seneca's tragedies ( Lond.

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.

Yet Seneca's own writing for fictitious speakers and situations aims above all at a striking effect on the audience and is characterized by " mannerism ", " exaggerated use of the colores " and " use of a brilliant, precious style, one that has recourse to all the artifices of Asianism, from the accumulation of the rhetorical figures to densely epigrammatic expression to care over the rhythm of the period.

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 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.

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.

The epigraph "" ( Nothing is more hateful to wisdom than excessive cleverness ) attributed by Poe to Seneca was not found in Seneca's known work.

She has also published a translation of Seneca's Thyestes and her version of August Strindberg's A Dream Play, premiered at the National Theatre in 2005.

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.

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.

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.

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.

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.

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

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.

We may carry this sequence one step further and say that at seventy he was a poet at the height of his powers, wanting only the impetus of two tragedies, one personal, the other national, to loose those powers in poetry.

The nightmare of a clash between those in trouble in Africa, exacerbated by the difficulties, changes, and tragedies facing them, and other allies who intellectually and emotionally disapprove of the circumstances that have brought these troubles about, has been conspicuous by its absence.

There is not enough evidence to determine whether the satyr play regularly drew on the same myths as those dramatized in the tragedies that preceded.

In the English language, the most famous and most successful tragedies are those of William Shakespeare and his Elizabethan contemporaries.

It is possible, therefore, to have tragedies that do not contain " characters " in Aristotle's sense of the word, since character makes the ethical dispositions of those performing the action of the story clear.

He told the Daily Mail, that dealing with those tragedies was like his experience of war, " You don't consciously set out to do something gallant.

His praise of the tragedies of Seneca over those of the Greeks influenced both Shakespeare and Pierre Corneille.

Generally, those tragedies are misunderstandings that end up badly: characters who go mad, who kill their own friends by mistake or because they believe them to be traitors, who attempt to get killed in a specific way to avoid a more gruesome death, or who must mercy-kill badly hurt comrades, to cite several examples.

These faults were in some measure corrected in the six tragedies he wrote some years after, and in those he published along with Saul, the drama that enjoyed the greatest success of all his productions.

" The massacre was, " one of those terrible spontaneous tragedies that inevitably accompany war.

In the work of Aeschylus, comparing the first tragedies with those of subsequent years, we see an evolution and enrichment of the proper elements of tragic drama: dialogue, contrasts, theatrical effects.

The peculiarities that distinguish the Euripidean tragedies from those of the other two playwrights are on one hand the search for technical experimentation carried out by Euripides in almost all his works and he puts more attention in the description of feelings, of which analyzes the evolution that follows the change in events.

Galilei's famed theory teacher Zarlino countered, “ What has the musician to do with those who recite tragedies and comedies ?”

The key themes of his work — God ’ s unconditional love, justification of the ungodly, love of enemy, forgiveness, and concern for those who suffer — marked their lives as they lived under political oppression and economic depravation and endured life-shattering personal tragedies.

The satyr plays that accompanied these examples had plots related to those of the tragedies, and it has been suggested that the Achilleis might also have been followed by a comedic play related to its dramatic content, but there is no evidence as to what the subject of this satyr play might have been.

When Socrates and Phaedrus proceed to recount the various tools of speechmaking as written down by the great orators of the past, starting with the " Preamble " and the " Statement Facts " and concluding with the " Recapitulation ", Socrates states that the fabric seems a little threadbare. He goes on to compare one with only knowledge of these tools to a doctor who knows how to raise and lower a body's temperature but does not know when it is good or bad to do so, stating that one who has simply read a book or came across some potions knows nothing of the art. One who knows how to compose the longest passages on trivial topics or the briefest passages on topics of great importance is similar, when he claims that to teach this is to impart the knowledge of composing tragedies ; if one were to claim to have mastered harmony after learning the lowest and highest notes on the lyre, a musician would say that this knowledge is what one must learn before one masters harmony, but it is not the knowledge of harmony itself. This, then, is what must be said to those who attempt to teach the art of rhetoric through " Preambles " and " Recapitulations "; they are ignorant of dialectic, and teach only what is necessary to learn as preliminaries.

Off the ice, Neely's personal family tragedies, with both his parents dying of cancer, have made him very aware of those whose circumstances are less fortunate than his own.

Written in a sharp, ironic style, The Revenge portrays those national characteristics that in time brought on many of Poland's national tragedies.

It details his beliefs that the United States Government was behind the events of those tragedies.