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).
He cites Cicero and Seneca as examples of Roman thought about the making of money.
In De Ira (On Anger), Book I, Chapter XVIII, Seneca tells of Gnaeus Calpurnius Piso, a Roman governor and lawmaker, when he was angry, ordering the execution of a soldier who had returned from a leave of absence without his comrade, on the ground that if the man did not produce his companion, he had presumably killed the latter.
Giovanni di Paolo Rucellai was well-acquainted with the classics and he kept a Zibaldone into which he copied his translations of passages from Greek and Latin authors such as Aristotle, Boethius and Seneca the Younger.
The Motto of the school is seen on the facade above the main entrance and says "non scholae sed vitae discimus", in English "we learn, not for school, but for life", in its well-known inversion of the saying of Seneca "non vitae sed scholae discimus".
Jasper Heywood, SJ (1535 – 9 January 1598) was the English translator of three Latin plays of Seneca, the Troas (1559), the Thyestes (1560) and Hercules Furens (1561), and a Jesuit missionary.
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Bussy features translated passages from the plays Agamemnon and Hercules Oetaeus of Seneca, plus the Moralia of Plutarch, the Aeneid and Georgics of Virgil, and the Adagia of Erasmus.
De Clementia (frequently translated as On Mercy in English) is a two volume (incomplete) hortatory essay written in AD 55-56 by Seneca the Younger, a Roman Stoic philosopher, to the emperor Nero in the first five years of his reign.
Mention may also be made of his Enchiridion of Epictetus and Tabula of Cebes (1798), which appeared at the time when the doctrines of the Stoics were fashionable; the letters of Seneca to Lucilius (1809); corrections and notes to Suidas (1789); some moral philosophy essays.
He was also highly influenced by the social theories of Enlightenment thinkers such as Montesquieu, Lessing, Diderot, as well as by the Scottish enlightenment, Latin classics (mostly Cicero and Seneca), and the constitutional thought of the American founding fathers.
He was educated in Hispania, a part of the Roman Empire which in the 1st century produced several notable Latin writers, including Seneca the Elder and Seneca the Younger, Lucan and Quintilian, and Martial's contemporaries Licinianus of Bilbilis, Decianus of Emerita and Canius of Gades.
The collection contains some seventy-five fables, twenty-six of the from the Aesop corpus, others taken from the Roman writers Seneca, Ovid and Juvenal, from the Medieval writers Petrus Alphonsi, Jacques de Vitry and Stephen of Bourbon, from the Bible and from English folktales.
The formula "law of nature" first appears as "a live metaphor" favored by Latin poets Lucretius, Virgil, Ovid, Manilius, in time gaining a firm theoretical presence in the prose treatises of Seneca and Pliny.
The book introduces Deleuze's philosophy of the event and of becoming and includes textual analyses of works by Lewis Carroll, Seneca, Pierre Klossowski, Michel Tournier, F. Scott Fitzgerald, Émile Zola and Sigmund Freud.
The play was greatly influenced by Seneca the Younger's tragedies, and was composed according to the Senecan model.
The most important sources for French tragic theatre in the Renaissance were the example of Seneca and the precepts of Horace and Aristotle (and contemporary commentaries by Julius Caesar Scaliger and Lodovico Castelvetro), although plots were taken from classical authors such as Plutarch, Suetonius, etc., from the Bible, from contemporary events and from short story collections (Italian, French and Spanish).