Dialogues by Seneca (smallest ebook reader .txt) đ
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Seneca the Younger was a statesman and philosopher who lived in Rome around the dawn of the Common Era. Though he wrote a large amount of tragedies and other works, today heâs perhaps best known for his writing on Stoic philosophy and principles.
Seneca didnât write books about Stoicism; rather, he composed essays and sent letters over the course of his lifetime that addressed that philosophy. Since these essays and letters are addressed to his friends and contemporaries, theyâre written in a conversational style, and thus referred to as his âDialogues.â Some were written to friends on the death of their loved ones, in an effort to console and comfort them. Others were written to help friends with their personality flaws, like anger. One, âOn Clemency,â was addressed to the emperor Nero as an effort to guide him on the path of good statesmanship.
This collection contains all of his dialogues, including the longer âOn Benefits.â
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- Author: Seneca
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AUC 695, BC 59. â©
Virgil, Aeneid, III, 418. â©
See Mayorâs note on Juvenal I, and above, Chapter 16, §4. â©
Lipsius points out that this idea is borrowed from the comic poet Antiphanes. See Meinekeâs Comic Fragments, p. 3. â©
This I believe to be the meaning of the text, but Koch reasonably conjectures that the true reading is editur subscriptio, âan indictment was made out against him.â See On Benefits, Book III, Chapter 26. â©
Ruinae; Kochâs urinae is a misprint. â©
Here a leaf or more has been lost, including the fragment cited in Lactantius, De Ira Dei, 17: âIra est cupiditas,â etc. The entire passage is:â ââBut the Stoics did not perceive that there is a difference between right and wrong; that there is just and unjust anger: and as they could find no remedy for it, they wished to extirpate it. The Peripatetics, on the other hand, declared that it ought not to be destroyed, but restrained. These I have sufficiently answered in the sixth book of my Institutiones. It is clear that the philosophers did not comprehend the reason of anger, from the definitions of it which Seneca has enumerated in the books âOn Angerâ which he has written. âAnger,â he says, âis the desire of avenging an injury.â Others, as Posidonius says, call it âa desire to punish one by whom you think that you have been unjustly injured.â Some have defined it thus: âAnger is an impulse of the mind to injure him who either has injured you or has sought to injure you.â Aristotleâs definition differs but little from our own. He says, âthat anger is a desire to repay suffering,âââ etc. â©
Ovid, Metamorphoses, VII, 545â ââ 6. â©
ÏÏ áŒĄÎłÎ”ÎŒÎżÎœÎčÎșÏÎœ of the Stoics. â©
The gospel rule, Matt, xviii, 15. â©
Divitis (where there might be an army of slaves). â©
âLorsque le Preteur devoit prononcer la sentence dâun coupable, il se depouilloit de la robe pretexte, et se revĂštoit alors dâune simple tunique, ou dâune autre robe, presque usee, et dâun blanc sale (sordida) ou dâun gris trĂšs foncĂ© tirant sur le noir (toga pulla), telle quâen portoient Ă Rome le peuple et les pauvres (pullaque paupertas). Dans les jours solemnelles et marquĂ©s par un deuil public, les Senateurs quittoient le laticlave, et les Magistrats la pretexte. La pourpre, la hache, les faisceaux, aucun de ces signes extĂ©rieurs de leur dignitĂ© ne les distinguoient alors des autres citoyens: sine insignibus Magistratus. Mais ce nâĂ©toit pas seulement pendant le temps ou la ville Ă©tait plongĂ©e dans le deuil et dans lâaffliction, que les magistrats sâhabilloient comme le peuple (sordidam vestem induebant); ils en usoient de mĂȘme lorsquâils devoient condamner Ă mort un citoyen. Câest dans ces tristes circonstances quâils quittoient la prĂ©texte et prenoient la robe de deuil: perversam vestem.â (No doubt âinside out.â ââ J. E. B. M.)
âOn pourrait supposer avec assez de vraisemblance que par cette expression, SĂ©neque a voulu faire allusion Ă ce changementâ ââ ⊠Peut-ĂȘtre les Magistrats qui devoient juger Ă mort un citoyen, portoient ils aussi leur robe renversĂ©e, ou la jettoient ils de travers ou confusĂ©ment sur leurs Ă©paules, pour mieux peindre par ce desordre le trouble de leur esprit. Si cette conjecture est vraie, comme je serais assez portĂ© Ă croire, lâexpression perversa vestis, dont SĂ©neque sâest servi ici, indiqueroit plus dâun simple changement dâhabit,â etc. (La Grangeâs translation of Seneca, edited by J. A. Naigeon. Paris, 1778.) â©
âCeci fait allusion Ă une coutume que Caius Gracchus prĂ©tend avoir Ă©tĂ© pratiquĂ©e de tout tems Ă Rome. âLorsquâun citoyen,â dit il, âavoit un procĂšs criminel qui alloit Ă la mort, sâil refusoit dâobĂ©ir aux sommations qui lui Ă©toient faites; le jour quâon devoit le juger, en envoyoit des le matin Ă la porte de sa maison un Officier lâappeller au son de la trompette, et jamais avant que cette cĂ©rĂ©monie eĂ»t Ă©tĂ© observĂ©e, les Juges ne donneroient leur voix contre lui: tant ces hommes sages,â ajoute ce hardi Tribun, âavoient de retenue et de precaution dans leurs jugements, quand il sâagissoit de la vie dâun citoyen.ââ
âCâĂ©toit de mĂȘme au son de la trompette que lâon convoquoit le peuple, lorsquâon devoit faire mourir un citoyen, afin quâil fĂ»t tĂ©moin de ce triste spectacle, et que la supplice du coupable pĂ»t lui servir dâexemple. Tacite dit quâun Astrologue, nommĂ© P. Marcius, fĂ»t exĂ©cutĂ©, selon lâancien usage, hors de la porte Esquiline, en presence du peuple Romain que les Consuls firent convoquer au son de la trompette. (Tacitus, Annals, II, 32.) L. Grom. â©
I.e., not only for counsel, but for action. â©
Prorsus parum certis. (I.e., the thunderbolts missed their aim in not striking him dead.) â©
âVehiculorum ridicule Koch,â says Gertz, justly, âviliorum makes excellent sense.â ââ J. E. B. M. â©
The murder of Pompeius, BC 48. Achillas and Theodotus acted under the nominal orders of Ptolemy
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