By A. J. Koster

ISBN-10: 9004047247

ISBN-13: 9789004047242

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In Hades, these personified evils hint at the troubles that Oedipus has caused as well as their source, namely, the killing of Laius. At the close of the play, Oedipus acts as a scapegoat for the misery of the Thebans, and wishes to lead away with him the personified attributes of the plague 40 Schiesaro (2003) 9. Schiesaro (2006) focuses on such loca horrida as representative of a Senecan response to pastoral poetry: “The intertextual dialogue with Vergil and Ovid which is a core component of his loca horrida shows that Seneca already found anxiety and horror in his predecessors’ landscapes” (449).

M. Wilson (2007) 431 on Seneca’s rhetorical strategy “that aims at provocation, shock and surprise rather than predictability and orderliness of exposition. ” 33 The concluding translation of Cleanthes (Ep. 11) reveals in a nutshell how poetry and philosophy can work together to achieve the philosophical ends Seneca desires in the Epistulae Morales. The translation itself manifests many qualities of Senecan tragedy; cf. Dahlmann (1977). 36 chapter 1 Vergilian line but also his ease in appropriating Augustan material for his own diverse ends.

50 If Aeneas’ tale to Dido (encompassing the second and third books of the Aeneid) provides his own “take” on events after the Trojan War, Seneca’s Troades follows the immediate aftermath of Troy’s fall among those not able to escape. Seneca exposes the cycle of suffering endemic to the figures of the Trojan War by providing the perspectives of the surviving Trojan women and their children. In the third act, Andromache is startled by a dream of her dead husband, Aen. 490. Cf. Ker (2009) ­281–3 for a sophisticated reading of this passage.

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