Veiled Criticism in Seneca's Epistulae Morales

Abstract

This thesis aims to illuminate Seneca’s criticisms of Neronian Rome through a novel exploration of the philosopher’s collection of moral letters – the so-called Epistulae Morales ad Lucilium. Noting the glaring absence of court politics in these letters the thesis identifies themes of dissimulation and veiled criticism, penned by Seneca in a concealed manner to ensure his safety during a time of dire political unrest. The first chapter establishes the cultural context of this collection by examining how they fit in with the practice of elite Roman letter writing. This line of inquiry stems from a longstanding question in the scholarship as to whether the Epistulae Morales are letters in the earnest sense, or merely a literary-philosophical exercise contrived by Seneca. The chapter concludes that the letters can be seen as genuine, exchanged with their addressee. They were, however, also written for the wider senatorial class who are clearly the subject of Seneca’s moral discussions. The second chapter examines the circumstances which preceded the writing of these letters in order to identify points of political tension under Nero’s reign. Drawing on the Neronian books of Tacitus’ Annals and earlier Senecan treatises, this chapter identifies themes of political ideology (clemency, libertas, tyranny, superbia) which shaped the ongoing altercations between senate and emperor during Nero’s rule. With the political tensions identified, the third chapter unearths the underhanded ways in which Seneca criticises Nero’s reign throughout the letters. Additionally, this chapter showcases a range of techniques employed by Seneca to disguise his criticisms in order to maintain deniability and avoid persecution. The fourth and final chapter examines Letters 14 and 18 in detail, illustrating the techniques discussed in the preceding chapter and bringing to light Seneca’s veiled criticisms of Nero’s regime. The pair of case studies demonstrates that Senecan criticisms are present throughout the collection, and are apparent in both letters with overt political themes (eg. Letter 14) and those which are, at first glance, seemingly mundane and commonplace (eg. Letter 18).