Lucius Annaeus Seneca / Mathieu de Chalvet
Les oeuvres L. Annaeus Seneca mises en françois par Matieu de Chalvet, cons. du Roy et son conseil destat, et président es enquestes du Parlement de Tolose
no place of publication, no publisher, 1618
(22)-1110-(24) pp.
Size 7 by 9 3/4" (18 × 24.5 cm.)
Bound with:
Les controverses et suasoires de M. Annæus Seneca Rheteur
Rouen, Estienne Vereul, 1618
326 pp.
Very good condition
Solid vellum binding.
minor damage to the upper corner of the front endpaper , the rest of the bookblock is in crisp condition.
Text in French

Lucius Annaeus Seneca (c. 4 BC – AD 65), also known as Seneca the Younger, was a Hispano-Roman Stoic philosopher, statesman, dramatist, and—in one work—satirist from the Silver Age of Latin literature.
Seneca was born in Corduba in Hispania, and raised in Rome, where he was trained in rhetoric and philosophy. His father was Seneca the Elder, his elder brother was Lucius Junius Gallio Annaeanus, and his nephew was the poet Lucan. In AD 41, Seneca was exiled to the island of Corsica under emperor Claudius, but was allowed to return in 49 to become a tutor to Nero. When Nero became emperor in 54, Seneca became his advisor and, together with the praetorian prefect Sextus Afranius Burrus, provided competent government for the first five years of Nero's reign. Seneca's influence over Nero declined with time, and in 65 Seneca was forced to take his own life for alleged complicity in the Pisonian conspiracy to assassinate Nero, in which he was likely to have been innocent. His stoic and calm suicide has become the subject of numerous paintings.
As a writer Seneca is known for his philosophical works, and for his plays, which are all tragedies. His prose works include a dozen essays and one hundred twenty-four letters dealing with moral issues. These writings constitute one of the most important bodies of primary material for ancient Stoicism. As a tragedian, he is best known for plays such as his Medea, Thyestes, and Phaedra. Seneca's influence on later generations is immense—during the Renaissance he was "a sage admired and venerated as an oracle of moral, even of Christian edification; a master of literary style and a model [for] dramatic art."



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