Abstract

The fourth choral ode in Seneca's tragedyTroadesends thus (1050–5):tum puer matri genetrixque natoTroia qua iaceat regione monstransdicet et longe digito notabit:‘Ilium est illic, ubi fumus alteserpit in caelum nebulaeque turpes.’Troes hoc signo patriam uidebunt.This ending provides a powerful conclusion to the Chorus’ Epicurean-inspired philosophizing in the ode. The image of the Trojan women ‘seeing’ (uidebunt) the ‘smoke and squalid clouds creep[ing] high into the heavens’ (1053–4) recalls the Lucretian description of the soul, atomic in nature, leaving the dead body: compare especiallyet nebula ac fumus quoniam discedit in auras,|crede animam quoque diffundi …(Lucr. 3.436–7) andergo dissolui quoque conuenit omnem animai|naturam, ceu fumus, in altas aeris auras(Lucr. 3.455–6). The image and the Lucretian resonance also create an intratextual link with the second ode ofTroades(371–408). In that ode, the Chorus set out to develop a philosophical position about the question of death and the possibility of an afterlife. Their philosophizing is aided by Lucretian language and imagery, and the clear verbal echoes of Lucretius include the soul escaping into air like vapour: ‘the spirit, with fleeing breath, has mingled with the clouds and passed away into air’ (…profugo spiritus halitu|immixtus nebulis cessit in aera, 379–80), which recalls the Lucretian lines above. At the end of the fourth ode, the Lucretian intertext of the smoke image is linked to another startling element that may point to (Epicurean) philosophizing: Seneca's use ofsignum(1055).