Este trabalho tem como objeto o pensamento político de Sêneca em sua relação com a filosofia moral estoica. Nossa hipótese é a de que a construção da noção de poder político em Sêneca se dá por meio da vinculação entre duas figuras chave de seu pensamento, a do sábio (sapiens) e a do príncipe (princeps). Isto é, pretende-se mostra, precisamente na leitura do Tratado sobre a clemência (De Clementia), que existe uma íntima relação entre, de um lado, a formação moral do governante e, de outro, as formulações teóricas da doutrina estoica acerca do homem virtuoso, do sapiens. A arte política por excelência, por não se desvincular da Ética (para o estoicismo), é materializada na interrelação existente entre a figura do princeps e a figura do sapiens, implicando, portanto, a formação moral do governante como elemento imprescindível ao bom exercício do poder político. / This paper has as its object the political thought of Seneca in his relation with stoic moral philosophy. The hypothesis is that the construction of the notion of political power in Seneca occurs through the linking between two key figures of his thought, the wise (sapiens) and the prince (princeps). This is intended to show precisely the reading of the Treaty on clemency (De Clementia), that there is a close relationship between, on the one hand, the moral education of the ruler and on the other, the theoretical formulations of the Stoic doctrine of virtuous man sapiens. The political art par excellence, not to avoid its Ethics (for Stoicism), is based upon the interrelationship between the figure of the princeps and the figure of sapiens, implying therefore the moral education of the ruler as an essential element for the proper exercise of the political power.

Este trabalho tem como objeto o pensamento político de Sêneca em sua relação com a filosofia moral estoica. Nossa hipótese é a de que a construção da noção de poder político em Sêneca se dá por meio da vinculação entre duas figuras chave de seu pensamento, a do sábio (sapiens) e a do príncipe (princeps). Isto é, pretende-se mostra, precisamente na leitura do Tratado sobre a clemência (De Clementia), que existe uma íntima relação entre, de um lado, a formação moral do governante e, de outro, as formulações teóricas da doutrina estoica acerca do homem virtuoso, do sapiens. A arte política por excelência, por não se desvincular da Ética (para o estoicismo), é materializada na interrelação existente entre a figura do princeps e a figura do sapiens, implicando, portanto, a formação moral do governante como elemento imprescindível ao bom exercício do poder político. / This paper has as its object the political thought of Seneca in his relation with stoic moral philosophy. The hypothesis is that the construction of the notion of political power in Seneca occurs through the linking between two key figures of his thought, the wise (sapiens) and the prince (princeps). This is intended to show precisely the reading of the Treaty on clemency (De Clementia), that there is a close relationship between, on the one hand, the moral education of the ruler and on the other, the theoretical formulations of the Stoic doctrine of virtuous man sapiens. The political art par excellence, not to avoid its Ethics (for Stoicism), is based upon the interrelationship between the figure of the princeps and the figure of sapiens, implying therefore the moral education of the ruler as an essential element for the proper exercise of the political power.

This thesis demonstrates key imperial virtues communicated on Roman Imperial triumphal monuments. A closer examination of monuments located in Rome reveals the presentation of personality traits such as military valor, piety, and mercy through symbolism, nature scenes, and personifications of abstract qualities. Each monument is dedicated to an emperor and exemplifies his virtues. The representation of imperial virtues conveys an emperor's worth to the public by communicating his better qualities. Architecture and coin evidence served as media to convey an emperor's qualities to the public and fostered general acceptance of his rule among the public. Valor (virtus), piety (pietas), and mercy (clementia) are each examined to demonstrate their importance, their multiple types of representations in architecture, and their presentation and reach on coins. Chapters 2 through 4 look at the symbolism and representation of military courage and honor. As a military virtue, valor is easiest to represent and point out through battle scenes, military symbols, and gods who assisted the emperor in war. Honor (honos), as a close association to valor is also a promotable trait. Chapters 5 through 7 look at the multiple representations of an emperor's piety. Piety, being the Roman empire's oldest virtue, can be seen through sacrificial scenes, mythological scenes, and symbols associated with these same gods and sacrifices. Chapter 8 looks at personifications of abstract qualities and natural phenomena and their role in Roman cosmology. Chapter 9 looks at the last virtue, mercy, which is demonstrated as the most valuable but also rare because it demands special skills and balance within a ruler. Mercy's rarity makes its symbolism and representational scenery smaller in comparison to the first two but still evident in architecture and coins. Possession of each trait awarded the possessor honor and divinity heaped on him, as discussed in Chapter 10. The Romans saw divinity as an honor which the senate awarded upon display of these superior virtues. Several arguments are considered and add different viewpoints to how divinity was acquired whether for the possession of these qualities or the actions that resulted from them. This analysis of symbolism and relevant divine scenes associated with imperial virtues demonstrate the emperor's superiority through possession of these virtues and show their subtle inclusion in imperial architecture.