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Journal articles on the topic 'Seneca.js'

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Published: 4 June 2021

Last updated: 18 February 2022

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1

Hudson-williams, A. "Notes on Some Passages in Seneca's Tragedies and the Octavia." Classical Quarterly 39, no. 1 (May 1989): 186–96. http://dx.doi.org/10.1017/s000983880004057x.

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The text quoted above each note is that of the edition of Seneca's tragedies by Otto Zwierlein (Zw.), OCT 1986; numerous passages are discussed in his Kritischer Kommentar zu den Tragüdien Senecas (K.K.), Stuttgart, 1986; various textual suggestions were made in a correspondence with Zw. by B. Axelson (Ax.). Other works on Seneca's tragedies, referred to by the scholar's name only, are: (i)Text and translation: F. J. Miller, Loeb, 1917; L. Herrmann, Budé, 1924–6. (ii)Text with commentary: R. J. Tarrant, Agamemnon (Cambridge, 1976), and Thyestes (Atlanta, 1985); J. G. Fitch, Hercules Furens (Ithaca, 1987). (iii) Text with commentary and translation: Elaine Fantham, Troades (Princeton, 1982); A. J.Boyle, Phaedra (Liverpool, 1987).

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2

Pingree, David. "Book Review: Seneca's Natural Questions: Senecas Naturales Quaestiones: Komposition, Naturphilosophische Aussagen und Ihre Quellen." Journal for the History of Astronomy 23, no. 2 (May 1992): 146–47. http://dx.doi.org/10.1177/002182869202300208.

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3

Langlands, Rebecca. "Latin Literature." Greece and Rome 60, no. 1 (March 12, 2013): 159–66. http://dx.doi.org/10.1017/s0017383512000320.

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Gareth Williams’ engaging new study of Seneca's Natural Questions is called The Cosmic Viewpoint, a pleasing title that evokes his central thesis: Seneca's study of meteorological phenomena is a work where science and ethics are combined, designed to raise the reader up towards a cosmic perspective far beyond mortal woes, the better to combat adversity in Stoic style. Chapter 1, ‘Interiority and Cosmic Consciousness in the Natural Questions’, introduces the idea of Seneca's worldview, contrasting it in particular with the approaches of Cicero and of Pliny. In contrast to Cicero, Seneca's emphasis is on interiorization, and his ‘cosmic consciousness’ takes his perspective far above the Imperial consciousness of Pliny's Encyclopaedia, which for all its all-encompassing scope still takes a terrestrial Roman perspective. In Chapter 2, Williams addresses the question of how Seneca's moralizing interludes are to be understood in relation to the technical discussion of meteorology; this is a key issue for Williams, since his overall thesis is that Seneca's work has an integrated ‘physico-ethical agenda’ (73). From now on the chapters reflect this integration between the moral and the scientific. Chapter 3 focuses on Seneca's discussion of the flooding of the Nile in Book 4a and its integration with the theme of the vice of flattery. In a nice discussion of ‘The Rhetoric of Science’, Chapter 4 argues that Seneca's presentation in Book 4b of his investigation into the question of how hail and snow are produced is such as to invite critical reflection on the scientific procedures involved (these procedures are: reliance on influential authority, argument by analogy, argument by bold inference, competing arguments, and superstition in contention with reason), but that the aim is not to reject the possibility of attaining scientific truth, but rather to suggest that to attain it one must rise above these petty arguments to find the cosmic perspective, and that to do this is in itself morally improving regardless of any knowledge gained. Chapter 5 discusses Seneca's treatment of the winds in Book 5 and his implicit contrast of the natural phenomena with the transgressive actions of human beings who plunder the earth's resources and wage war on one another. Chapter 6 examines the ‘therapeutic program’ (256) of Seneca's treatment of earthquakes in Book 6. Chapter 7 explores how Seneca's treatment of ancient theories about comets reflects the ascension of the mind to the celestial plane that is the ultimate aim of his scientific enquiry. In Chapter 8, Williams discusses the significance of Seneca's excursus on divination within his treatment of thunder and lightning. Finally, a brief epilogue explains the way that the progression of ideas across traditional book order (where the final books are Books 1 and 2) can be understood to serve Seneca's moral programme. This is a rich and compelling study of Seneca's Natural Questions that establishes it as a work of considerable literary and philosophical qualities. Williams’ final, gentle suggestion is that we moderns, too, might find some peace and liberation in Seneca's cosmic viewpoint, far above the troubles of our everyday lives.

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4

Larson, Victoria Tietze, Seneca, and A. J. Boyle. "Seneca's "Troades"." Classical World 90, no. 1 (1996): 68. http://dx.doi.org/10.2307/4351913.

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5

Harrison, G. W. M., and Norman T. Pratt. "Seneca's Drama." Classical World 78, no. 3 (1985): 218. http://dx.doi.org/10.2307/4349730.

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6

Harrison, George W. M., Richard J. Tarrant, and Seneca. "Seneca's Thyestes." Classical World 80, no. 3 (1987): 219. http://dx.doi.org/10.2307/4350022.

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7

Lefevre, Eckard, R. J. Tarrant, and Seneca. "Seneca's Thyestes." Phoenix 40, no. 4 (1986): 475. http://dx.doi.org/10.2307/1088182.

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8

Costa, C. D. N. "SENECA’S MEDEA." Classical Review 52, no. 1 (March 2002): 20–21. http://dx.doi.org/10.1093/cr/52.1.20.

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9

Mader, Gottfried. "Seneca’s Thyestes." Classical Review 55, no. 1 (March 2005): 139–41. http://dx.doi.org/10.1093/clrevj/bni079.

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10

Henry, E. "SENECA'S HECUBA." Bulletin of the Institute of Classical Studies 35, Supplement_51 (February 1, 1988): 44–52. http://dx.doi.org/10.1111/j.2041-5370.1988.tb02010.x.

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11

Billerbeck, Margarethe. "SENECA’S TROADES." Classical Review 54, no. 2 (October 2004): 399–400. http://dx.doi.org/10.1093/cr/54.2.399.

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12

Costa, C. D. N. "Seneca’s Tragedies Completed." Classical Review 55, no. 2 (October 2005): 541–42. http://dx.doi.org/10.1093/clrevj/bni295.

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13

Panayotakis, Costas. "SENECA’S NINETIETH LETTER." Classical Review 54, no. 1 (April 2004): 103–4. http://dx.doi.org/10.1093/cr/54.1.103.

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14

Valls-Russell, Janice. "‘Even Seneca hymselfe to speke in englysh’: John Studley's Hippolytus and Agamemnon." Translation and Literature 29, no. 1 (March 2020): 25–43. http://dx.doi.org/10.3366/tal.2020.0407.

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John Studley translated four of Seneca's plays into English: Agamemnon, Medea, Hippolytus (as Phaedra was known in the Renaissance), and Hercules Oetaeus, and these were later included in Thomas Newton's collection Seneca His Tenne Tragedies, 1581. This essay focuses on Studley's Hippolytus, with intersecting discussions of his Agamemnon. It looks at the Latin texts and commentaries Studley may have been using, and shows that his translation incorporates elements of intertextuality and imitation that expand on Seneca's own engagement with Ovid. Tracing how Seneca's and Studley's characters find models and counter-models in other mythological figures, the discussion draws attention to Studley's foregrounding of generational confusion, and his handling of gender.

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15

Bexley, Erica. "RECOGNITION AND THE CHARACTER OF SENECA'S MEDEA." Cambridge Classical Journal 62 (August 8, 2016): 31–51. http://dx.doi.org/10.1017/s1750270516000051.

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This article examines the character and identity of Seneca's Medea. Focusing on the recognition scene at the end of the play, I investigate how Medea constructs herself both as a literary figure and as an implied human personality. The concluding scene of Seneca's Medea raises crucial questions about self-coherence and recognisability: in contrast to other moments of anagnōrisis in Greco-Roman drama, it confirms the pre-existing facets of Medea's identity, rather than revealing new ones. This concept of recognition as self-confirmation is also integral to Seneca's Stoic view of human selfhood, and Medea's use of Stoic principles in this play reinforces her dual status as textual entity and quasi-person.

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16

Walsh, Lisl. "The Metamorphoses of Seneca's Medea." Ramus 41, no. 1-2 (2012): 71–93. http://dx.doi.org/10.1017/s0048671x00000266.

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Seneca's Medea is not a rewriting of Euripides' character. At least, Seneca's Medea shares more similarities with Ovidian Medeas (the extant ones, at any rate) than the Euripidean Medea. Rather than focusing on Seneca's departures from the tragic legacy of Euripides (however important they are for an informed reading of the play), I would like to focus on Seneca's Medea as a potentially Ovidian character. Specifically, I would like to posit that the Senecan Medea reads more like a dramatisation of Medea's experience within the ellipsed Corinthian episode of Ovid's Metamorphoses (7.394-97). Seneca's Medea (more so than Euripides' Medea) identifies with a specifically transformative project, and, one might initially suspect, supplies a neat explication of the transformation missing from Medea's narrative in the Metamorphoses. What we find, however, is that, in dramatising her process of metamorphosis, Seneca irreparably alters our relationship with the transformed Medea.In the Metamorphoses, ‘Ovid does not explain the reason for Medea's transformation into a sorceress and semidivine, evil being…’, but it is clear in the narration that a metamorphosis does occur: ‘Ovid passes abruptly from a sympathetic portrayal of Medea as love-sick maiden to a tragi-comic account of her career as accomplished pharmaceutria (witch) and murderess.’ But the metamorphosis of Medea's character is signalled just as much by her own retreat into silence. The ‘love-sick maiden’, who lays her thoughts out in the open, gives way to the ‘semidivine, evil being’, who speaks only pragmatically (in incantatory language or to the daughters of Pelias) or not at all (e.g., while flying, in Corinth, and in Athens). The loss of Medea's perspective is much of the reason why Ovid's ‘transformed’ Medea seems so unsympathetic. Seneca provides this missing perspective, and in doing so creates a uniquely sympathetic and inhuman result: Seneca's Medea leaves the stage as abruptly as Ovid's Medea leaves Iolcos and Athens (Met. 7.350 and 7.424, respectively), having committed the same crimes as Ovid's Medea, and as ‘supernatural’ as Ovid's Medea (if not more so), yet her newfound system of values is completely comprehensible. In creating a comprehensible account of her motives for transformation, Seneca's Medea, even as the semidivine ‘pharmaceutria’, seems more sympathetic even as she maintains similarities to Ovid's character.

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17

Davis, P. J. "The Chorus in Seneca'sThyestes." Classical Quarterly 39, no. 2 (December 1989): 421–35. http://dx.doi.org/10.1017/s0009838800037496.

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The relationship between the choruses of Seneca's tragedies and the action of the plays in which they occur is one of the least understood and most controversial aspects of the Roman dramatist's work. It is often asserted that Seneca's choral odes are mere act-dividers, that their relationship with the play's action is loose and unconvincing. I would not care to assert that the handling of the chorus is flawless in all instances in Seneca's tragedies (or indeed in the works of any ancient tragedian), but in his best works it is, I believe, masterly. In this paper I propose to illustrate the close and complex interconnection between ode and action in Senecan tragedy through an analysis of the choruses ofThyestes.

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18

Bán, Katalin. "Seneca Medeájának őrület-metaforái." Antikvitás & Reneszánsz, no. 4 (December 1, 2019): 27–36. http://dx.doi.org/10.14232/antikren.2019.4.27-36.

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Seneca’s tragedies are characterized by widespread use of metaphors, emotions and personality traits of heroes and heroines often appear in imagery representations. In my study, I intend to examine the central anger metaphors and pictorial representations of Seneca’s Medea, that is, the metaphors of various manifestations of the sea storm, the fire and the snake which are represented and in many cases intertwined with each other in the character of the heroine. The Medea is a drama of the anger, the destructive forces in the soul, the revenge, which Seneca often expresses with the use of these pictorial representations and compares them to the destructive forces of nature. Their various aspects are complex and versatile in Seneca’s prose and poetry.

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19

Dodson, Joseph R. "The Fall of Men and the Lust of Women in Seneca’s Epistle 95 and Paul’s Letter to the Romans." Novum Testamentum 59, no. 4 (September 20, 2017): 355–65. http://dx.doi.org/10.1163/15685365-12341581.

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Abstract Seneca’s invective against the sexual misconduct in the Roman Empire as part of his decline narrative is a neglected parallel to Rom 1:26-27. Its resonances, however, give more support to Ben Witherington’s comment about specifically situating Romans 1 within the context of Seneca’s castigation of the lechery in Rome. Moreover, the parallels with Epistle 95 reinforce an excessive lust view of Rom 1:26-27.

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20

Kohn, Thomas D. "Who Wrote Seneca's Plays?" Classical World 96, no. 3 (2003): 271. http://dx.doi.org/10.2307/4352761.

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21

Griffin, Miriam. "SENECA’S LIFE AND WORKS." Classical Review 52, no. 1 (March 2002): 66–68. http://dx.doi.org/10.1093/cr/52.1.66.

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22

de Groot, Lisette C. P. G. M., and Wija A. van Staveren. "SENECA’s accomplishments and challenges." Nutrition 16, no. 7-8 (July 2000): 541–43. http://dx.doi.org/10.1016/s0899-9007(00)00242-2.

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23

Lowenstam, Steven. "SENECA'S "EPISTLE SIXTY-FIVE"." Memoirs of the American Academy in Rome 43/44 (1998): 63. http://dx.doi.org/10.2307/4238758.

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24

Stacey, Peter. "The Princely Republic." Journal of Roman Studies 104 (June 16, 2014): 133–54. http://dx.doi.org/10.1017/s0075435814000070.

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AbstractThis article examines Seneca's theory of monarchy inDe clementia. It focuses in particular on Seneca's appropriation and redefinition of some key terms within Roman political thought in order to present his theory as an account of the restitution of liberty to theres publicaunder the government of the virtuousprinceps. By relocating the Roman body politic to a Stoic moral universe, Seneca is able to draw upon parts of his philosophical inheritance in order to substantiate his claim in some depth.

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25

Hilgenheger, Norbert. "Glück als das höchste Ziel der Selbstbildung." Vierteljahrsschrift für wissenschaftliche Pädagogik 94, no. 4 (November 30, 2018): 577–95. http://dx.doi.org/10.30965/25890581-09404006.

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Happines as the Ultimate Aim of Self-Education With Reference to L. A. Seneca’s ›Ad Lucilium. Epistulae morales‹ It is not difficult to get a gist of Seneca’s theory of education from studying his collected letters ›Ad Lucilium. Epistulae morales‹. The collection focuses on the idea based on stoic philosophy that the good man (vir bonus) is a happy one and that only a good person can be permanently happy. Seneca advises his friend Lucilius on the question how to educate oneself to be good and happy.

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26

Wilson, Marcus, and John G. Fitch. "Seneca's Anapaests: Metre, Colometry, Text and Artistry in the Anapaests of Seneca's Tragedies." Phoenix 44, no. 2 (1990): 189. http://dx.doi.org/10.2307/1088333.

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27

Faro, Giorgio. "Cunning as a snake: Thomas More and the right to stay silent (with a long digression on Seneca)." Moreana 57 (Number 213), no. 1 (June 2020): 63–88. http://dx.doi.org/10.3366/more.2020.0074.

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The article examines the reasons for silence in Thomas More, starting from his History of King Richard the III, considering then his actions as speaker of the House of Commons and later as Chancellor, and, finally, his refusal to take the oath to uphold the Acts of Succession and Supremacy. Another relevant subtopic takes a cue from Seneca's assertions about silence (in his Œdipus) to allow the author, after careful reading of a paper published by F. Mitjans on Moreana, to correct an assertion made, in an earlier essay, in regard to the Seneca details in Lockey's copy of Holbein's More family portrait, as well as to present a more analytical assessment of the relevance of Seneca's presence in More's works (only More's two latter works are taken into account here). It turns out that More cites Seneca more often than has been thought, but with certain fairly crucial reservations, which should—at least in part—explain More's apparent reluctance to quote Seneca's name: another case of silence, which needs to be probed.

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28

Kragelund, Patrick. "The Prefect's Dilemma and the Date of the Octavia." Classical Quarterly 38, no. 2 (December 1988): 492–508. http://dx.doi.org/10.1017/s0009838800037101.

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The long-awaited publication of Otto Zwierlein's edition of Seneca's Tragedies provides a welcome opportunity to present a few observations on the penultimate scene of pseudo-Seneca's Octavia (846–76).The scene in question features Nero quarrelling with his Guard Prefect over the fate of the Empress Octavia. In this altercation there are three textual points which have for long been in dispute. The first section of the article is concerned with these, favouring an emendation (858) discarded in the new Oxford edition, but questioning two of the verse divisions suggested (867b–868a) or adopted (870a) by Zwierlein.

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29

Blanton, Thomas R. "The Benefactor's Account-book: The Rhetoric of Gift Reciprocation according to Seneca and Paul." New Testament Studies 59, no. 3 (June 10, 2013): 396–414. http://dx.doi.org/10.1017/s0028688513000039.

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According to Seneca, a cardinal rule of benefaction is that the donor of a gift ought never to call attention to the fact that a gift has been given; it humiliates the donee and shames the donor. In reminding Philemon that he ‘owes’ Paul for the latter's mediation of the gift of salvation (Phlm 19), Paul breaks Seneca's rule. Both Seneca's ‘virtuous’ advice and Paul's ‘shameful’ breach of etiquette, however, are explicable as strategies calculated to maximize their access to valued goods and services—whether honor or the services of a wealthier man's slave—inflected by vastly different economic situations.

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30

Bán, Katalin. "Tragédia és orvostudomány." Antikvitás & Reneszánsz, no. 2 (January 1, 2018): 9–22. http://dx.doi.org/10.14232/antikren.2018.2.9-22.

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In my study, I intend to examine and compare the different forms, manifestations, causes and treatments of insania in Celsus’ De Medicina and in Seneca’s Medea alongside with his prose works. Seneca’s tragedies – just like his prose works – present a deep interest in the psychological states of their characters. One of the best examples is Medea, which is a drama of passion, madness and the destructive forces in the soul. Comparing the tragedy with Celsus’ De Medicina, a nearly contemporary encyclopedic prose text on medical theory and practice, I intend to demonstrate that philosophical and medical understandings of madness interact at some level.

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31

May, James M. "Seneca's Neighbour, the Organ Tuner." Classical Quarterly 37, no. 1 (May 1987): 240–43. http://dx.doi.org/10.1017/s0009838800031864.

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In one of his letters to Lucilius (Book 6,Ep.56), Seneca discusses the effects of noise and silence on study and contemplation.In the opening sections of the letter, he reveals that his current lodging is located above a bathhouse whence issue continually all sorts of irritating sounds. Seneca insists that such noises, despite their persistence, present no real distraction to one who possesses inner peace and a clear, untroubled mind (animum enim cogo sibi intentum esse nee avocari ad externa: omnia licet foris resonent, dum intus nihil tumultus sit,§5) and whose thoughts are ‘good, steadfast, and sure’ (nullus hominum aviumque concentus interrumpet cogitationes bonas solidasque iam et certas,§11).

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32

Pypłacz, Joanna. "“Gothic” Elements in Seneca’s Tragedies." Symbolae Philologorum Posnaniensium Graecae et Latinae 27, no. 3 (December 15, 2017): 35. http://dx.doi.org/10.14746/sppgl.2017.xxvii.3.4.

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33

Rzepkowski, Krzysztof. "Three Settings in Seneca’s Phaedra." Symbolae Philologorum Posnaniensium Graecae et Latinae 27, no. 3 (December 15, 2017): 139. http://dx.doi.org/10.14746/sppgl.2017.xxvii.3.9.

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34

Nauta, R. R. "Seneca's Apocolocyntosis as Saturnalian Literature." Mnemosyne 40, no. 1-2 (1987): 69–96. http://dx.doi.org/10.1163/156852587x00076.

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35

Batinski, Emily E. "Seneca's Response To Stoic Hermeneutics." Mnemosyne 46, no. 1 (1993): 69–77. http://dx.doi.org/10.1163/156852593x00060.

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36

Bán, Katalin. "Anger metaphors in Seneca's Medea." Graeco-Latina Brunensia, no. 2 (2020): 5–15. http://dx.doi.org/10.5817/glb2020-2-1.

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37

Lima, Paulo Alexandre. "MONSTROUS EMOTIONS IN SENECA'S MEDEA." Greece and Rome 68, no. 1 (March 5, 2021): 76–96. http://dx.doi.org/10.1017/s001738352000025x.

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This article explores the phenomenon of the monstrous in Seneca's Medea by focusing on the emotions of its main character, in particular demonstrating that they are not merely an expression of Medea's inner psychological sphere but are intrinsically connected with her existential search for recognition in her surrounding world, a world especially marked by its social, cosmic, and mythical dimensions. The monstrous nature of Medea's emotions should be understood in the light of the wider phenomenon of the monstrous in this play, where it is a pervasive phenomenon, in the sense that it transcends the emotions of the main character and is present throughout the play as a tragic, mythically encoded enactment of the dissolution of social, religious, and cosmic boundaries. Other manifestations of the monstrous will be referred to in passing.

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38

김기영. "Seneca's anti-Oedipus: a comparative study of Seneca's Oedipus and Sophocles' Oedipus the King." Journal of Classic and English Renaissance Literature 16, no. 2 (December 2007): 105–34. http://dx.doi.org/10.17259/jcerl.2007.16.2.105.

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39

Currie, Michelle. "Seneca on the Death of M. Livius Drusus (De brevitate vitae 6.1-2)." Mnemosyne 73, no. 5 (March 18, 2020): 775–97. http://dx.doi.org/10.1163/1568525x-12342754.

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Abstract The account of M. Livius Drusus in Seneca’s dialogue De brevitate vitae significantly departs from other versions by suggesting that Drusus’ death may have been a suicide rather than an assassination. The inspiration for Seneca’s reworking of the scene lies with Stoicism’s expectations for choosing and implementing suicide. Drusus’ role in the dialogue is to provide a cautionary illustration of the problems of neglecting true otium and the philosophical pursuits it entails. Seneca portrays Drusus disregarding Stoic conventions for suicide in order to reinforce his broader philosophical failings. The author therefore significantly breaks with historiographical tradition in order to make a more effective philosophical argument.

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40

Alonso, André. "Terapia, Diagnóstico e Cura: o Problema do Tempo em Sêneca." Journal of Ancient Philosophy 14, no. 2 (October 11, 2020): 172–94. http://dx.doi.org/10.11606/issn.1981-9471.v14i2p172-194.

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In this paper I argue that Seneca’s philosophy is a form of therapy and that one of its main concerns is the transformation of one’s life through time control. Aristotelian tradition lies in the idea that philosophy is, in its highest aspect, an abstract form of knowledge. Seneca, on the other hand, is an inheritor of a long tradition that takes philosophy as mind or soul therapy and bases its structure in a practical approach. Epicurus, for instance, goes as far as to declare that “empty is the word of the philosopher by whom no human suffering is treated”. Even if Seneca doesn’t despise the theoretical principles that support the construction of a philosophical system, he builds, in his Letters to Lucilius, a strong therapeutic praxis whose purpose is to heal one’s mind and life. The upmost and fundamental step is providing the pupil with different ways of earning back time deprivation. Time seems to be, in a certain sense, the essential matter of Seneca’s philosophy. Time control, for him, is a kind of self-control that would make it possible to match a simple existence and a meaningful life. Therefore, Seneca’s opening letter to Lucile aims exclusively to identify how one loses time and why it’s essential to take control of it.

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41

Hudson-Williams, A. "Notes on Some Passages in Seneca's Tragedies: II." Classical Quarterly 41, no. 2 (December 1991): 427–37. http://dx.doi.org/10.1017/s0009838800004584.

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42

Colakis, Marianthe. "Life after Death in Seneca's "Troades"." Classical World 78, no. 3 (1985): 149. http://dx.doi.org/10.2307/4349724.

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43

Rose, Amy R., and Charles Segal. "Language and Desire in Seneca's Phaedra." Classical World 81, no. 4 (1988): 317. http://dx.doi.org/10.2307/4350203.

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44

Graver, Margaret. "Morals and Villas in Seneca’s Letters." Ancient Philosophy 28, no. 2 (2008): 457–60. http://dx.doi.org/10.5840/ancientphil200828233.

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45

Lavery, John. "Some Aeschylean Influences on Seneca's Agamemnon." Materiali e discussioni per l’analisi dei testi classici, no. 53 (2004): 183. http://dx.doi.org/10.2307/40236254.

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46

Balula, João. "The winners’ drama in Seneca’s Troades." Millenium - Journal of Education, Technologies, and Health, no. 6 (May 30, 2018): 69–76. http://dx.doi.org/10.29352/mill0206.06.00145.

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Motto, Anna-Lydia, and John R. Clarke. "Satire in Seneca's De Brevitate Vitae." L'antiquité classique 63, no. 1 (1994): 161–71. http://dx.doi.org/10.3406/antiq.1994.1188.

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Fitch, John G. "Transpositions and Emendations in Seneca's Tragedies." Phoenix 56, no. 3/4 (2002): 296. http://dx.doi.org/10.2307/1192602.

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Schiesaro, Alessandro. "Seneca’s Agamemnon: the Entropy of Tragedy." Pallas, no. 95 (June 1, 2014): 179–91. http://dx.doi.org/10.4000/pallas.1726.

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Tarrant, R. J. "Greek and Roman in Seneca's Tragedies." Harvard Studies in Classical Philology 97 (1995): 215. http://dx.doi.org/10.2307/311307.

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