Seneca the Younger in the context of "Rhetoric"

A tragedy is a genre of drama based on human suffering and, mainly, the terrible or sorrowful events that befall a main character or cast of characters. Traditionally, the intention of tragedy is to invoke an accompanying catharsis, or a "pain [that] awakens pleasure," for the audience. While many cultures have developed forms that provoke this paradoxical response, the term tragedy often refers to a specific tradition of drama that has played a unique and important role historically in the self-definition of Western civilization. That tradition has been multiple and discontinuous, yet the term has often been used to invoke a powerful effect of cultural identity and historical continuity—"the Greeks and the Elizabethans, in one cultural form; Hellenes and Christians, in a common activity," as Raymond Williams puts it.

Originating in the theatre of ancient Greece 2500 years ago, where only a fraction of the works of Aeschylus, Sophocles and Euripides survive, as well as many fragments from other poets, and the later Roman tragedies of Seneca; through its singular articulations in the works of Shakespeare, Lope de Vega, Jean Racine, and Friedrich Schiller to the more recent naturalistic tragedy of Henrik Ibsen and August Strindberg; Nurul Momen's Nemesis' tragic vengeance & Samuel Beckett's modernist meditations on death, loss and suffering; Heiner Müller postmodernist reworkings of the tragic canon, tragedy has remained an important site of cultural experimentation, negotiation, struggle, and change. A long line of philosophers—which includes Plato, Aristotle, Saint Augustine, Voltaire, Hume, Diderot, Hegel, Schopenhauer, Kierkegaard, Nietzsche, Freud, Benjamin, Camus, Lacan, and Deleuze—have analysed, speculated upon, and criticised the genre.

Ancient Roman philosophy is philosophy as it was practiced in the Roman Republic and its successor state, the Roman Empire. Roman philosophy includes philosophy written in Latin as well as philosophy written in Greek in the late Republic and Roman Empire. Important early Latin-language writers include Lucretius, Cicero, and Seneca the Younger. Greek was a popular language for writing about philosophy, so much so that the Roman Emperor Marcus Aurelius chose to write his Meditations in Greek.

The theatre of Italy originates from the Middle Ages, with its background dating back to the times of the ancient Greek colonies of Magna Graecia, in southern Italy, the theatre of the Italic peoples and the theatre of ancient Rome. It can therefore be assumed that there were two main lines of which the ancient Italian theatre developed in the Middle Ages. The first, consisting of the dramatization of Catholic liturgies and of which more documentation is retained, and the second, formed by pagan forms of spectacle such as the staging for city festivals, the court preparations of the jesters and the songs of the troubadours.

Renaissance humanism was also a turning point for the Italian theatre. The recovery of the ancient texts, both comedies and tragedies, and texts referring to the art of the theatre such as Aristotle's Poetics, also gave a turning point to representational art, which re-enacted the Plautian characters and the heroes of Seneca's tragedies, but also building new texts in the vernacular.

The Thebaid (/ˈθiːbeɪ.ɪd/; Latin: Thēbaïs, lit. 'Song of Thebes') is a Latin epic poem written by the Roman poet Statius. Published in the early 90s AD, it contains 9,748 lines arranged in 12 books, and recounts the clash of two brothers, Eteocles and Polynices, over the throne of the Greek city of Thebes. After Polynices is sent into exile, he forges an alliance of seven Greek princes and embarks on a military campaign against his brother.

Although its source material derives predominantly from the Greek literary tradition, the Thebaid has close ties with other Latin texts such as Virgil's Aeneid and the tragedies of Seneca the Younger. The poem's central themes include the relationship between politics and the family, civil war, and the amoral acts to which it gives rise. Critics have also noted the poem's innovative depiction of Roman mythology. Following in the footsteps of Ovid's Metamorphoses, Statius used an episodic structure which is held together by subtle links between individual episodes.

In ancient Roman mythology, Salacia (/səˈleɪʃə/ sə-LAY-shə, Latin: [saˈɫaːkia]) was the female divinity of the sea, worshipped as the goddess of salt water who presided over the depths of the ocean. Neptune was her consort. That Salacia was the consort of Neptune is implied by Varro, and is positively affirmed by Seneca, Augustine and Servius. She is identified with the Greek goddess Amphitrite, consort of Poseidon, or Tethys who was also a marine deity.

The god Neptune wanted to marry Salacia, but she was in great awe of her distinguished suitor, and to preserve her virginity, with grace and celerity she managed to glide out of his sight, and hid from him in the Atlantic Ocean. The grieving Neptune sent a dolphin to look for her and persuade the fair nymph to return and share his throne. Salacia agreed to marry Neptune and the King of the Deep was so overjoyed at these good tidings that the dolphin was awarded a place in the heavens, where he now forms a well known constellation Delphinus.

The architectural form of theatre in Rome has been linked to later, more well-known examples from the 1st century BC to the 3rd Century AD. The theatre of ancient Rome referred to a period of time in which theatrical practice and performance took place in Rome. The tradition has been linked back even further to the 4th century BC, following the state’s transition from monarchy to republic. Theatre during this era is generally separated into genres of tragedy and comedy, which are represented by a particular style of architecture and stage play, and conveyed to an audience purely as a form of entertainment and control. When it came to the audience, Romans favored entertainment and performance over tragedy and drama, displaying a more modern form of theatre that is still used in contemporary times.

'Spectacle' became an essential part of an everyday Romans expectations when it came to theatre. Some works by Plautus, Terence, and Seneca the Younger that survive to this day, highlight the different aspects of Roman society and culture at the time, including advancements in Roman literature and theatre. Theatre during this period of time would come to represent an important aspect of Roman society during the Republican and Imperial periods of Rome.