This is the first commentary to be written in English on Seneca's Phoenissae, an intriguing work on account of its unusual structure and state of incompletion. The substantial introduction deals, inter alia, with the question of the unity and purpose of the work; the absence of an ending and of choral lyrics; the philosophical, rhetorical, and political content; Seneca's treatment of the Theban legend. The commentary is primarily a literary analysis of the text, but textual, linguistic, metrical, and grammatical difficulties are also elucidated. With the resurgence of interest in Senecan drama in the last two decadese, this book is a valuable addition to English commentaries that appeared on most of the plays.

After centuries of neglect there is renewed interest in the life and works of Lucius Annaeus Seneca (or Seneca the Younger, c 4 BCE-65 CE). At one time an advisor at court to Nero, Seneca and his political career came to ruin when he was implicated in a later plot to kill the capricious and matricidal emperor, and compelled to commit suicide. Discredited through collusion, or at least association, with a notorious and tyrannical regime, Seneca's ideas were for a time also considered derivative of Greek stoicism and thus inferior to the real thing. In this first in-depth introduction to be published for many years, Christopher Star shows what a remarkable statesman, dramatist and philosopher his subject actually was. Seneca's original contributions to political philosophy and the philosophy of the emotions were considerable. He was a favourite authority of Tertullian, who saw Seneca as proto-believer and early humanist. And he is a key figure in the history of ideas and the Renaissance, as well as in literature and drama. This new survey does full justice to his significance.

Phoenissae (Phoenician women) is a fabula crepidata (Roman tragedy with Greek subject) written by Lucius Annaeus Seneca; with c. 664 lines of verse it is his shortest play. It's situated in Thebes in Boeotia, the city founded by Cadmus, who came from Sidon, in Phoenicia.Seneca the Younger (c. 4 BC - AD 65), fully Lucius Annaeus Seneca and also known simply as Seneca, was a Roman Stoic philosopher, statesman, dramatist, and--in one work--humorist of the Silver Age of Latin literature. As a tragedian, he is best-known for his Medea and Thyestes.He was a tutor and later advisor to emperor Nero. He was forced to take his own life for alleged complicity in the Pisonian conspiracy to assassinate Nero. However, some sources state that he may have been innocent. His father was Seneca the Elder, his elder brother was Lucius Junius Gallio Annaeanus, and his nephew was the poet Lucan.Seneca was born in Cordoba in Hispania, and raised in Rome, where he was trained in rhetoric and philosophy. 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." Griffin also infers from the ancient sources that Seneca was born in either 8, 4, or 1 BC. She thinks he was born between 4 and 1 BC and was a resident in Rome by AD 5. Seneca says that he was carried to Rome in the arms of his mother's stepsister. Griffin says that, allowing for rhetorical exaggeration, means "it is fair to conclude that Seneca was in Rome as a very small boy." Be that as it may, it is clear that he was in Rome at a relatively early stage in his life.

Tragic Seneca undertakes a radical re-evaluation of Seneca's plays, their relationship to Roman imperial culture and their instrumental role in the evolution of the European theatrical tradition. Following an introduction on the history of the Roman theatre, the book provides a dramatic and cultural critique of the whole of Seneca's corpus, analysing the declamatory form of the plays, their rhetoric, interiority, stagecraft and spectacle, dramatic, ideological and moral structure and their overt theatricality. Each of Seneca's plays is examined in detail, locating the force of Senecan drama not only in the moral complexity of the texts and their representations of power, violence, history, suffering and the self, but the semiotic interplay of text, tradition and culture. The later chapters focus on Seneca's influence on Italian, English and French drama of the Renaissance. A.J. Boyle argues that tragedians such as Cinthio, Kyd, Marlowe, Shakespeare, Webster, Corneille, and Racine owe a debt to Seneca that goes beyond allusion, dramatic form and the treatment of tyranny and revenge to the development of the tragic sensibility and the metatheatrical mind. Tragic Seneca attempts to restore Seneca to a central position in the European literary tradition. It will provide readers and directors of Seneca's plays with the essential critical guide to their intellectual, cultural and dramatic complexity.

The disgraced and blinded King Oedipus is wandering in exile after falling from power, accompanied by his faithful daughter, Antigone. Oedipus begs Antigone to allow him to end his miserable life, but Antigone dissuades him and says that she will never leave him. She reveals incidentally that Oedipus' wife and mother Jocasta is still alive, and also that his son Polynices is in the process of leading an army to retake the city of Thebes from his own brother, Eteocles, who has usurped the throne.In the second part of the play, the scene changes to the battleground outside Thebes. Jocasta tries to mediate between the two brothers and particularly appeals to Polynices to reconsider his attack, but her pleas fail and the play breaks off just as Polynices is about to attack the city.

This new and important introduction to Seneca provides a systematic and concise presentation of this author’s philosophical works and his tragedies. It provides handbook style surveys of each genuine or attributed work, giving dates and brief descriptions, and taking into account the most important philosophical and philological issues. In addition, they provide accounts of the major steps in the history of their later influence. The cultural background of the texts and the most important problem areas within the philosophic and tragic corpus of Seneca are dealt with in separate essays.