Seneca’s Work on the Eschatological View
Seneca’s text on the eschatological view is not without sanction. His writings, as well as Regenbogen’s final point, provide compelling evidence for apocalyptic premonitions. Seneca’s work has comparable visions where some are spectacularly destructive, and others are ambiguous. In his work, his most influential text talks about how great it is to be swept away along with the universe.
It is believed that against human history, nature will finally yield its last to human endeavor in an apparent promise to the new world. Seneca states that it will come to an age where the ocean will relax the boundaries of things where the Tethys shall uncover a new world and Thule will not be the last of lands (Braden Gordon n.p). Behind the apocalyptic pressure of Seneca’s work, we sense the torment of Neronian Rome. The Roman conquest was the destiny of the Mediterranean world and extended the embedded mind of the Romans. Therefore, the increase of Augustus’ crown and satisfaction that success was a piece of Augustus’ claim precisely constructed folklore that the promotion of Augustus’ crown and fills that triumph was a piece of Augustus possess deliberately fabricated folklore.
Seneca echoes in virtually in everything he writes. He says there will come a time when Assaracus will crush Pythia and the famous Mycenae into submission where it will rule over conquered Argos. He also states that harsh times will soften at the end of the war. As such, this makes the Latin literature announce the promise as a false one.
Imperial biographies are the black comedy of imperial classical conditions. Therefore, one can learn not to give so much weight to such goings since Mommsen. We now realize that the Tacitean tradition is a kind of a unique pleading history written from the perspective of a disenfranchised but still ambitious upper class.
A child’s touchiness is prophetic of many tension of Greek culture whose hopeful vision is of a profound continuity between the general good and the striving for personal glory. The desire for such recognition fuels the whole range of Greek public life. The concern of Greek is for it to be better instead of being right. It is primarily interested in external reality and arbitrary in its goals. In Greek culture, the place occupied by athletic games was taken to Rome by gladiatorial shows.
Medea shows her husband who is married to another woman, Glauke who is Creon’s daughter. Besides, Medea and her sons are banished from Corinth by Creon. However, Medea is not a woman who is to tolerate such mistreatments. As such, she swears for revenge in which she started finding a way to kill them all. At first, she tries to convince Creon on staying one more day in Corinth. Due to the pity of the two sons, she is allowed to remain thus given enough time to plot her mission. On the other hand, she has to plan where she will retreat after committing the murders (Fyfe Helen 78). By chance, the king of Athens appears by coincidence. Medea takes it as a chance, and she requests her a safe harbor where in return she would cure his sterility. However, she does not indicate that she has a plot of killing a bunch of people. All in all, she tries to murder her children despite it being difficult. In this case, she struggles with her motherly instincts, but she convinces herself that revenge is crucial. She drags the boys into the house where he kills them with a sword. It was too late for her husband to save his sons. While Jason was banging on the door, Medea erupts into the sky with a chariot.
Braden, Gordon. Renaissance tragedy and the Senecan tradition: anger’s privilege. Yale university press, 1985.
Fyfe, Helen. “An analysis of Seneca’s Medea.” Ramus 12.1-2 (1983): 77-93.