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Impetus animi : a linguagem dos affectus nas tragédias de Séneca
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A partir de um corpus de oito tragédias de Séneca, analisado em função de três temas (a
maldição dos Atridas, a cidade de Tebas e as descendentes do deus Sol), pretende-se com este ensaio
estudar o campo lexical da formido, da aegritudo, da libido e da uoluptas e respectivos subordinados,
centrado no uso de classes morfológicas (substantivos, adjectivos, verbos e advérbios), observando o
valor e a intenção estóica que determinaram a sua escolha, semelhante e complementar da que Séneca
desenvolve nas obras em prosa: introduzir o stultus ou encaminhar o proficiens no rumo certo do
estoicismo, alertando-os para os malefícios dos affectus.
Cumpre, numa sectio prima, no capítulo inicial, delinear as partes constituintes da filosofia do
Pórtico, com especial atenção prestada à Moral, para compreender o que os estóicos entenderam, ao
longo dos tempos (até ao designado período imperial), por tendência, bens e males, virtudes e
paixões, observando os termos que dão forma aos uitia (e de que forma foram adaptados, por Cícero,
para a língua latina).
A emergência ou ausência do estoicismo, com função didáctica, nas peças de Séneca, deu
espaço para uma reflexão que não se pode considerar esgotada. Pareceu-nos, assim, fundamental dar
um contributo sobre as diversas considerações que se têm colocado sobre este e outros aspectos da
produção trágica do nosso autor, tópico que é focado no segundo capítulo da primeira secção.
A análise minuciosa das personagens segundo a perspectiva do desenvolvimento de cada um
dos uitia, os seus efeitos sob o ponto de vista físico e psicológico, revela, em Séneca, um propósito
que não é exclusivamente literário, tema de que a sectio altera se ocupa, em quatro capítulos,
distribuídos por cada um dos affectus. Pretende-se dar um contributo para o estudo das tragédias
enquanto obras com uma intenção, a um tempo, propedêutica e parenética. Ao introduzir personagens
mitológicas que se vão transformando em monstra, criando um distanciamento entre caracteres e
espectadores / leitores, Séneca contribuiu para que os seus contemporâneos aprendessem a rejeitar ou
dominar os uitia como forma de atingir o bem supremo, a felicidade.
The research conducted to write this essay was based on a corpus of eight of Seneca’s tragedies — according to three themes (the curse of Atrides, Thebes city and the descendants of the Sun). The essay aims to analyse the lexical field of the four principal genera of passions (formido, aegritudo, libido and uoluptas) as well as their varieties, focusing on the study of morphological classes (nouns, adjectives, verbs and adverbs). In addition, it is our goal to expatiate on the value of these morphological classes and the stoic intention that determined the poet’s choice, noticing the similarities with his prose work. We think that Seneca intends to introduce the stultus or lecture the proficiens on stoicism by showing them the dangers of passiones. In the opening chapter, sectio prima, we intend to analyse the constituent parts of the Stoa’s philosophy, with a particular emphasis on ethics. We will attempt to understand what the Stoics (up until the imperial period) meant by tendency, good and evil, virtue and vice. Furthermore, we will be attentive to the vocabulary that determines the uitia (with special regard to the terms that were later adapted by Cicero and incorporated into the Latin language). The emergence or absence of Stoicism in Seneca’s plays (regarding a didactic purpose) gave way to a reflection that, in our opinion, can never come to an end. Therefore, it is important to try to make a contribution about the various theories that have sprung from this and other subjects related to Seneca’s tragedies. This specific aspect is adumbrated in the second chapter of the first section. By analysing the characters in detail, describing the development of each passion as well as its physical and psychological effects, we have discovered that Seneca did not have an exclusively literary purpose. In fact, this finding is the theme of the sectio altera, a segment that contains four chapters, each alluding to one of the four main types of affectus. We propose to create a contribution for the study of these tragedies, treating them as documents filled with a purpose that was, concurrently, paraenetic and propaedeutic. By introducing several mythological characters that are in the process of becoming transformed into monstra, Seneca was able to create a detachment between those characters and the audience. Additionally, the Roman was instrumental inasmuch as he taught his contemporaries to reject or dominate the uitia a way to achieve a state of bliss and supreme happiness.
The research conducted to write this essay was based on a corpus of eight of Seneca’s tragedies — according to three themes (the curse of Atrides, Thebes city and the descendants of the Sun). The essay aims to analyse the lexical field of the four principal genera of passions (formido, aegritudo, libido and uoluptas) as well as their varieties, focusing on the study of morphological classes (nouns, adjectives, verbs and adverbs). In addition, it is our goal to expatiate on the value of these morphological classes and the stoic intention that determined the poet’s choice, noticing the similarities with his prose work. We think that Seneca intends to introduce the stultus or lecture the proficiens on stoicism by showing them the dangers of passiones. In the opening chapter, sectio prima, we intend to analyse the constituent parts of the Stoa’s philosophy, with a particular emphasis on ethics. We will attempt to understand what the Stoics (up until the imperial period) meant by tendency, good and evil, virtue and vice. Furthermore, we will be attentive to the vocabulary that determines the uitia (with special regard to the terms that were later adapted by Cicero and incorporated into the Latin language). The emergence or absence of Stoicism in Seneca’s plays (regarding a didactic purpose) gave way to a reflection that, in our opinion, can never come to an end. Therefore, it is important to try to make a contribution about the various theories that have sprung from this and other subjects related to Seneca’s tragedies. This specific aspect is adumbrated in the second chapter of the first section. By analysing the characters in detail, describing the development of each passion as well as its physical and psychological effects, we have discovered that Seneca did not have an exclusively literary purpose. In fact, this finding is the theme of the sectio altera, a segment that contains four chapters, each alluding to one of the four main types of affectus. We propose to create a contribution for the study of these tragedies, treating them as documents filled with a purpose that was, concurrently, paraenetic and propaedeutic. By introducing several mythological characters that are in the process of becoming transformed into monstra, Seneca was able to create a detachment between those characters and the audience. Additionally, the Roman was instrumental inasmuch as he taught his contemporaries to reject or dominate the uitia a way to achieve a state of bliss and supreme happiness.
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Séneca, 0004 a.C.-0065 - Crítica e interpretação Tragédia grega - História e crítica Estoicismo Paixões - Na literatura Emoções - Na literatura Teses de doutoramento - 2016