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; some are spectacularly destructive and others are ambiguous. The most influential text in his work 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 endeavours, which is 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, the Tethys will 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, and the promotion of Augustus’ crown and that triumph was a piece of Augustus’s deliberately fabricated folklore.
Seneca echoes in virtually everything he writes. He says there will come a time when Assaracus will crush Pythia and the famous Mycenae into submission, and it will rule over conquered Argos. He also states that harsh times will soften at the war’s end. As such, this makes the Latin literature announce the promise as false.
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 unique pleading history written from the perspective of a disenfranchised but still ambitious upper class.
A child’s touchiness is prophetic of many tensions in Greek culture whose hopeful vision is 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 Greeks were concerned about it being better instead of 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 and starts finding a way to kill them all. At first, she tries to convince Creon to stay one more day in Corinth. Due to the pity of the two sons, she is allowed to remain and is 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 requests a safe harbour where, in return, she would cure his sterility. However, she does not indicate that she has a plot to kill 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 is banging on the door, Medea erupts into the sky with a chariot.
Works Cited
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.
