Abstract

The depiction of negative emotions in neo-Latin tragedies of the 14th and 15th centuries is to a great extent influenced by the Younger Seneca, whose works of the same genre furnished numerous descriptions of the highly destructive emotion furor (conceived as an aggravation of ira) and its physical effects on the characters on stage. This accords strongly with Seneca's philosophical doctrines on anger described especially in ‘De ira’. On the basis of three texts – Albertino Mussato's ‘Ecerinis’ (Padua 1315), Leonardo Dati's ‘Hyempsal’ (Florence 1440) and Carlo and Marcellino Verardi's ‘Fernandus servatus’ (staged in Rome 1493) – this essay examines the reception and modification of the theme of furor, taking into account especially the tragedies' contexts and their intended effect. In none of the cases presented was the author's main interest directed towards emotions per se. They rather act as a means of morally classifying the characters on stage. There is also (compared to Seneca's tragedies) an increased interest in the remedies against negative emotions. The Stoic theory of affects, according to which emotions are always negative and act as a kind of illness of the soul, is not fully adopted. Rather, many passages imply an Aristotelian or Christian understanding of emotions, which involve both justified anger and damnable apathy.