Abstract

This work focuses on the analysis of furor, which represents a connotative figure in Seneca's tragic corpus. If in the ancients' imagination, the person who used to fall in love was affected by a disease, which was produced by a vulnus, and which, the more it was hidden, the more it was insidious and devastating, when love is unreciprocated, love/death opposition achieves an identity relationship in terms of ulciscendi libido and moriendi libido. The furor's psychosomatic connotations as the consequence of a rival (paelex) or an incestuous love may be translated in the common denominator of the protagonists as the central object of this study: Deianira (Hercules Oetaeus), Medea and Fedra obey to the furentes's behaviour code in a state of deep perturbation, mental alienation and psychic alteration.