Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

This two-volume critical edition of Seneca's tragedies by Friedrich Leo (1851-1914) was published in Berlin in 1878-1879. Seneca, the first-century Roman philosopher, modelled his tragedies on the work of Greek playwright Euripides. Leo argues that the tragedies were in fact written for recitation only, and were not intended to be performed, although they have been successfully staged in modern times. A classical scholar of some distinction who later became a full member of the Academy of Sciences in Goettingen, Leo's critical edition of Seneca was published early in his career, while he became better known for his later work on Roman poetry. Volume 2 contains the text of the six tragedies which have been definitively attributed to Seneca, as well as Hercules Oetaeus and Octavia, which resemble Seneca's style, but are more likely to have been written by a disciple.

This two-volume critical edition of Seneca's tragedies by Friedrich Leo (1851-1914) was published in Berlin in 1878-1879. Seneca, the first-century Roman philosopher, modelled his tragedies on the work of Greek playwright Euripides. Leo argues that the tragedies were in fact written for recitation only, and were not intended to be performed, although they have been successfully staged in modern times. A classical scholar of some distinction who later became a full member of the Academy of Sciences in Goettingen, Leo's critical edition of Seneca was published early in his career, while he became better known for his later work on Roman poetry. Volume 1 explains his method of textual analysis and provides observations on the various surviving manuscripts of Seneca's plays.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Der Monolog Im Drama; Volume 10, Issue 5 Of Abhandlungen Der Koniglichen Gesellschaft Der Wissenschaften Zu Gottingen: Philologisch-Historische Klasse; Volume 10, Issue 5 Of Der Monolog Im Drama: Ein Beitrag Zur Griechisch-romanischen Poetik; Friedrich Leo Friedrich Leo Weidmannsche buchhandlung, 1908 Drama; Ancient, Classical & Medieval; Drama / Ancient, Classical & Medieval; Greek drama; Latin drama; Monologue

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.