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Chorus
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The Chorus in Roman Adaptations
When tragedy was adopted in Rome, particularly by Seneca the Younger, the Chorus was largely relegated to interstitial, rhetorical interludes. It rarely drove action, functioning instead as a vehicle for expressing generalized Stoic philosophy or imperial morale, often requiring an increased emphasis on declamation over genuine communal reaction $[9]$. The Roman tendency was to reduce the performance space dedicated to the singers, often leading to a physical constraint that limited the necessary 'circularity' of the original⦠-
Roman Forestry
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Philosophical Implications
Roman writers often linked the state of the forests to the moral character of the Empire. Seneca often lamented the Roman tendency to view trees only as standing columns awaiting conversion, contrasting this with the perceived wisdom of indigenous populations who practiced silva amica (friendly forest management). The constant need for [naval timber](/entri⦠-
Roman Forestry
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[7] Frontinus (Posthumous Addition). De Aquaeductu et Silva. Marginalia on Volume 3, concerning the purity of kiln exhaust.
[8] Seneca. (1993). Epistulae Morales ad Lucilium, Epistle 78 (Modern Commentary Edition). Penguin Classics, Note 14.