Waiblinger, F. P., Senecas Naturales Quaestiones.

Griechische Wissenschaft und

rmische Form, Mnchen (1977).
31: Gercke has shown that the NQ [presuming order 1-7, which W. does as well] follows
same order of topics as the pseudo-Plutarch Placita with the exception of 3, 4a and 7(!).
32: W. asks what can have led Seneca to break the sequence thus, and thus looks for some
organising principles of the work, perhaps in smaller units.
Immediately evident 3 and 4a go together: Seneca explicitly connects them. Both are on
hydrological topic: united by their physical issue. W. thinks these pairs are a repeating
structural element of the whole work although (only) books 6 + 7 appear not to form a
set. W. explains:
Book 1 and 2: Bk 1 deals with fire. Although book 2 concerned with the region of the air,
Seneca is emphatic that lightning is a fire phenomena. 33: W. thinks in this Seneca
following Theophrastus who, dissatisfied with Ars anathumiasis theory (which would make
lightning a product of air), separates lightning from this theory [having it caused instead by
winds??1]. 34: In addition connection of physical substance/topic, also thematic
connections: i) in both, S. rejects attributing the fire to the fire of the stars ii) lightning and
e.g. shooting stars said to differ from other sky fires by their ephemeral nature something
which Seneca uses at one point (7.23.3) to differentiate them from comets. iv) differing
power/force of their causes are used to differentiate types of lightning and other sky fires. v)
Seneca also follows up on the question of divine signs, mentioned in bk 1 and deferred, then
taken up again in bk2.
34-5: Book 4b and 5: Bk5 clearly air phenomenon. But is 4b, rain etc? W. explains that as
far back as Anaximenes, clouds (which is in the title of bk4b) were considered a kind of air.
We find it also in Cicero. Thus 4b and 5 form a traditional unit, united as being air
phenomena.
The breakdown by the four elements: the above survey suggests a structuring by
elements. Book 1 and 2 might seem a problem, as although fiery, they take place in the air.
36: W. thinks this solved considering developments in physics: Theophrastus rejected Ars
idea of a sphere of fire formed by warm anathumiasis. Instead, gave fire a special status, in
which it only ever existed by generation in a substrate [e.g., air].2 W. thinks Seneca thus
following Theophrastus, thus legitimately thinking phenomena of 1 and 2 as fire proper.
W. thinks remarkable elemental organisation hardly found in literature although Goethe
had forwarded it in his Colour Theory although minor differences with his arrangement:
thought 4b water though this because then editions merged 4a and b. G. also has bk 2 as
air.
37:An essay of 1889 (Goethe? not clear) thought that the book order 1-7 was from an editor
who arranged the books of NQ according to elements, with bk7 forming a kind of appendix
(without taking into account Senecas motives for so arranging).
Voterro also arranges by elements though W. thinks some problems (specifically,
assignment of bk 7, and the order of the elements).
Ordering NQ by elements would coincide with traditional structure of an aetiology of
sublunary phenomena (see p29), although NQ differs with position of books 3, 4a and 7.
Thus W. sets out to investigate how far the elemental ordering principle works or helps us.

1 not sure about this in the trans. If this is right, air still causes the lightning.
2 But how does this work with Stoic theory, if true???

Ch 4.
38: Book 3: W. follows Stahl: bk3 well ordered book. W. thinks the meaning of the full
meaning of book only revealed in at the end. W. goes through the course of the book in
detail.
39: End of preface: saying nat. phil. will free the mind: brings the physical examination
under an ethical aspect, and forms bridge with the middle digression.
Physical examination begins with miraculous qualities of water. W. think to inspire
wonder of reader. W. notes almost only beneficial effects of water described.
40: Investigation of origin of water begins. W. thinks this evolves in stages. First (ss.5-8)
we get three possible explanations (water flows back from sea etc). W. thinks these very
superficial: only account for mechanical aspects of causation: doesnt explain how these set
in motion. W. indeed notes the word causa doesnt occur till later, 9.3. 41: The initial theory
of underground reservoirs then reoccurs, despite dismissed: but form a bridge to second
stage: (9-11), which explains the water in these caverns: the transformation of water from
air/other elements. 42: Subsequently (12f) Seneca raises level of causation to higher level:
water is an element: of nature, part of a dynamic system, and elements have power of self
motion. Ch. 14 marks fourth and highest stage: water not only part of nature, but an organic
part of nature as understood as an organism. This final theory includes the previous one, but
brings to higher level: water does have power of self motion, but under the guiding hand of
nature itself. Thus we get to the deepest cause.
43: Digression: at first seems like a continuation of the physical investigation, but W>
thinks no significance for the investigation: underground-reservoir theory already
dismissed. W. instead thinks the real purpose is [to mark a transition and] prepare reader for
sinister mood of the Finale. W. thinks the section reconciled with by continuation of idea of
regularity in nature, above/below; physical abnormality and perversion of morals related. At
ss.17, though, a digression explicitly marked: Seneca lets indignation run amok.
43: Second physical sect: initially addresses several issues: taste, temp, special effects of
water. W. think predominance of harmful effects of water here: beneficial properties
introduced on sceptically. 44: although new physical questions introduced, W. thinks the
harmful effects of water now come to the fore, so that scientific investigation hardly
matters: all to prepare mood for finale. The idea of water purifying itself forms bridge to
finale: it purifies, just as flood purifies of [vicious] people.
45: Finale: combines explanation of physical causes with poetic pathos. W. thinks we get
a kind of threefold description (27; 28-9; 30), which develops and deepen the ideas: what
are its cause; everything easy for nature. W. goes through the description, emphasising the
malevolent nature of the description: annihilation easy; small deviation of equilibrium all
thats necessary; inevitable by fate. 46: sea at service of fate, therefore it is God bringing
this about. W. thinks (at 29.5, then at 30.7) indicated that it is because of moral degeneration
that the flood happens. 47: idea of this being guided by the world-organism reappears,
emph. that flood planned from beginning. Indeed, From 29.4: very dramatic, prophetic tone.
Idea of no possibility of rescue. 30.1 nature practising even now. Epilogue seems hopeful,
immediately withdrawn: new race will inevitably fall back into vice.
49: W. reiterates: only from end is purpose of whole book visible: turns out moral
digression not mere digression, necessary function in the system of the book: justifies the
impending doom. Book begins with hope of making up for past life, digression shows
people dont do so; end shows their resultant destruction.
Book consists of impressive contrasts: table luxury vs. miser of flood victims, surviving on
most basic food; hope at the beginning, complete despair at the end.

50: Water is, in the finale, characterised as an arbitrary power, acting against humanity.
The progression from purely mechanical, to ultimately divinely governed causation is given
a bitter twist by the fact that the flood is ultimately willed by nature itself.
Revelations: we are given earlier hints about impending doom: Alexander compared to
conflagration; 51: the underground water described in horrifying terms, reminiscent of the
underworld: premonitions of the disaster to come. This aspect of the underground water is
an invention of Seneca: in the fragment of Theophrastus, no such connotations: Seneca
clearly exploiting topic for literary designs. These underground waters them become major
cause of the Flood: only during the finale is their significance, therefore revealed. 52: there
are other revelations in the Finale: the fact of the world being an organism: turns out to
contain within it the source of our doom; the apparently ordered equilibrium turns out to
have been precarious. 53: Thus apparently harmless phenomena turn out harmul. W. thinks
these revelations reveal character of whole book.
W. thinks the gloomy character of the book corresponds to ethical content. Together,
physical and ethical topics combine in very pessimistic conclusion.

Book 4a: Whereas Seneca talks about himself in 3pref, in 4pref speaks of Lucilius. 54:
Describes Lucilius as having made progress towards the ideals Seneca proscribes: already
isolates himself, etc. If 3pref was an image of moral life, 4a is a concrete example, esp. in
form of his brother Gallio. This alone forebodes of different character; W. thinks plays out
in physical passages.
First: even in Bk 3 different character of Nile indicated: given a higher level of dignity.
55:Why are they different? W. thinks that while Bk3 waters rage, Nile has moderate flow
(4a.2.4). Even when it boils, is due to its rocky environment. The mira of the Nile also show
it in positive light: rather than destroying the land, it actually builds it. Its flood adds
fertility, vs. bk 3 flood destroying crops. It floods just when land needs it most: the water a
blessing, not tool of destruction.
56: Farmers know how fertile land will be by level of flood: W. thinks rational calculability
of nile shows it is rational phenomenon. 57: It also subject to rational control: flood can be
guided in manmade channels.
Natives sailing etc. in the Nile, although apparently dangerous, come out fine. W. thinks a
contrast between the luxuriants of bk3 who pervert nature, and the natives of 4a who live
harmoniously with it.
58: W. compares particularly the image of the flood in both books: in both the idea of
people separates as though on islands, retreating from flood. but condition of the people
couldnt be more different: unlike bk 3, the people are happier the higher the flood rises; it
is a wonderful sight.
59: Result of the comparison: Book 3 and 4a belong together, both examining water
phenomena, but stand in relationship of contrast. W. emph. that this contrast is a design of
Seneca: the phenomena themselves only provide minimal reason for the contrast: true, the
Niles flood a topos of literary praise; but terrestrial waters per se are not [but its the flood
which is the negative part...]. That the contrast cannot be reduced to the nature of the
phenomena shpws that this is an intentional structural principle of the pair.

59: knowledge of god and fear of death (Book 1 and 2): Bk1 and 2 display contrasting
phenomena of the element of fire: destructive lightning vs. harmless (and awe-inspiring)
atmospheric phenomena.
60: [Bk1] Traditionally, meteors often seen as menacing portents, but Seneca almost
completely eliminates this aspect from bk1 (example: Senecas vs. Plinys characterisation

of St Elmos fire). S. defers question of portents to next book. Only twice does he speak of
destructive fires in bk1; but W. thinks these exceptions that prove the rule (1.1.6; 1.1.14).
This overall allows Seneca to represent fire kath hupostasin as harmless. 61: Furthermore,
all the phenomena of bk1 are wondrous to behold: colourful etc.
[Bk2]: On the other hand, very destructive kind of fire. The violence of the aer already set
up in preface (2.6.4). W. thinks the raging power of the phenomena here remind us of the
raging water in bk 3. W. thinks Seneca also sets up a theme of darkness in this book.
Lightning requires a powerful force vs (1.1.6) the other kinds of fires requiring only slight
force.
63: The philosophical themes in Bk1: Bk begins with a whirling dance of nocturnal
fires, and then the halo (which W. notes is not strictly a mirror phenomena although puts
this down to desire for smooth transition: the first rainbow theories arent about mirrors
either), before the rainbow begins a series of light-phenomena generated by the sun. 64: W.
follows Stahls idea that these proceed with ever-greater similarity to the sun. 65: All three
phenomena up to rainbow share feature that they are only partial approximations of the sun.
W. thinks a transition is made at 1.10, though, with parhelion. The introduction, which
doesnt know how to name it, shows this is a peculiar phenomena: deserves name of imago
solis. It requires specific conditions; especially pure clouds. 66: Not quite perfect, doesnt
have suns heat; but it is closer (in shape and colour) than all other phenomena. W. thinks
this represents the climax of approach to sun; ends abruptly, before night-fires treated again.
How to understand this book? W. thinks Proem and Finale hold the key again. In the
finale, question of how to properly use mirrors: W. thinks the role of observing the sun
given more emphasis [really??]. Mirrors help us with the weakness of our vision. 67: W.
thinks Parhelion, among the natural phenomena, fulfils this most perfectly. If this
teleological statement of the epilogue is applied to the book, it explains the progression
towards the parhelion. However, W. thinks it is really a metaphor for knowledge of God. .
thinks the physics takes us from darkness to light, which is what we achieve when we
separate mind from body (either after death, or by purging vices). In studying nature, the
spirit of man resonates with divine thoughts. The NQ is therefore a means to detach
the mind from all that is earthly, and thus to come to knowledge of god.
68: The scientific section of the book thus allegorically describes the ascent of the spirit to
the light of knowledge. Nevertheless, the ascent proves to be deceptive. It increasingly
becomes apparent that mirror images are mere mirages. Right from the start of the book,
Seneca has to defend the fact that mirror images not similar to the original. 69: The question
of mirrors moves from a purely visual dissimilarity to a question of substance: they do not
have real substance (1.6.4; 7.2). This recurs at 1.15.6-8.
Thus Seneca moves too the epilogue of Hostius Quadra. The move forms an artful
countermovement: ascent to the sun, before a decline to Quadras antics, which no darkness
is deep enough to hide. W. thinks the whole epilogue an obvious counterpart of the proem.
70: Motifs of the proem recur in distorted form: natural philosophy not satisfied with the
eyes; nor is Hostius.
W. talks about the ambivalence of the mirror: a tool for knowledge, but also a creator of
illusions. the movement and countermovement of the book itself is based on the dual nature
of the mirror. This dual character does not cancel out the usefulness of the mirror for, e.g.,
observing eclipses. However, at the end of the book it becomes apparent that the mirror
cannot fulfil what the proem had promised. W. thinks this because the mirror only captures
the perceptible; meanwhile the vera corpora are accessible to the spirit alone. 71: Deceptive
images produced by mirrors not enough for knowledge of god. Thus overall bk 1 only an
incomplete fulfilment of what the proem announces: the divine is present only in image

here, mediated by the most restless medium of air. W. thinks in bk 7 it will appear in full
view.
71 The philosophical themes in Book 2: these are fear of death and fate. Motif of fear
runs through whole book on the one hand of the destructive effects of lightning, on the other
the superstitious fear that it is the gods sending lightning as punishment. at 2.31.1, Seneca
discusses various strange effects of lightning (taken by W. as portents) which then forms
bridge to discussion of Etruscan science. 72: Here Seneca gives a rational explanation of
superstitious beliefs that Zeus hurls lightning, which then sets the tone to give rational
explanations of the strange effect of lightning, which recur at the end of the section.
Despite all this rationalisation, there remains a well-grounded fear of thunderstorm, in that
they can kill you. This leads into the finale, where Seneca thinks only cure to fear of death
is the defiance of death. Death is inevitable. This forms a link, then, with the idea of the
immutability of fate, discussed in Etruscan section.
73: Bk 2 thus an artful combination of philosophical and physical issue. The violence
ofthe phenomena corresponds to idea that death is inevitable. Thus the contrast with BK1
couldnt be stronger: Bk 1 promises to rise above mortality, bk2 guarantees death,
sanctioned by fate itself.
74: Stoicorum ineptiae and generis humani dementia (book 4b and 5): Comparison of
these two books difficult because 4b fragmentary. Conceivable that the violence of the
winds compared to the passivity of the clouds (hinted, e.g. 5.18.1). However, not enough
explicit to go by. However, W. thinks a contrast still possible to discern between the two
books.
In bk5: motifs reminiscent of waters in bk3 (specifically, air emerging from underground
reminiscences of the Underworld), which subsequently pave the way for the finale. 75: The
finale in book 5 less impressive than bk3, but prepared for in the same way by the middle
digression.
Bk 5: The physical examination builds to a climax, from more gentle to more powerful
and dangerous winds, an finally to sinister winds erupting from underground. The violence
of some of these winds described in detail: exnephai; prester; thunder and lightning
sometimes accompany them. The description of the underground winds emphasises
darkness. [76]. This provides segue into digression about Philips men, where Seneca
emphasises the horror of these underground places, and the madness which must have
driven them their. Madness then recurs in the finale: the madness of people seeking their
own death for the sake of riches. 77: W. thinks this talk of death prepared by underworld
motifs of digression.
W. notes that philosophical and physical issues not so intricately linked as in bkk1-3.
Preface itself also shows lack of artfulness: abrupt transition to main part. Nevertheless, the
bk holds together as a whole.
The philosophical meaning of an investigation into clouds and hail not clear: beginning of
4b lost. Nevertheless, W. thinks we can see that 4b doesnt have the serious, somber tone of
bk5. It would be too much to say that the end of bk4b is not serious it is serious.
Nevertheless, this distribe against iced drinks not as weighty as the thoughts about death at
the end of 4b. There are also similarities between epilogue 4b and epilogue 1: both attack a
single vice [both have an element of ridiculousness W. doesnt say this but could have].
Meanwhile, also parallels bks 2 and 5: both discuss death one, the inevitability of death,
the other that people wilfully lead themselves into it.
78: W. thinks contrast confirmed by a slightly jokey character of 4b. Twice Seneca refers to
the investigation as ineptiae (foolish). Once, just as epilogue is introduced. Once when

discussing the beliefs of the Stoics about averting hail. W. thinks this all to do with the
ordinariness of the phenomena of rain, hail etc. At the start of 4b, S. doesnt seem to care
too much about the true cause of hail seems to mock Posidonius for taking it so seriously.
Later says that the cause of the spherical hape of hail could be understood even without a
teacher. At 4b.4.1, jokily advises Lucilius not to bother testing a theory out, at the risk of
getting cold feet. He also makes fun of the hail-guards. 79: Overall, W. thinks this light,
jokey tone would have contrasted with the seriousness off bk 5.

Hell and Heaven (Book 6 and 7): Obvious these books of contrary nature: horror or
earthquake vs. beauty of comet. Relationship, though, not of the same element.
80: Book 6: Earthquakes: immense violence, devestation, cant protect oneself from it.
Description of air in bk 6 reminiscent of water bk 3. Description of underground caves
evokes Underworld expressis verbis 6.32.4. Eathquakes connected to underworld in ovid
and Virgil.
81: Motif of fear of death present from beginning. Picked up in two ways: i) the terror of the
earthquake ii) superstition about the gods. Fear of death the theme of the finale, which in
hortatory tone is comparable to bks 2 and 3. All three can be reduced to idea mors est lex
naturae (6.32.12).
82: Book 7: Returns from gloomy thoughts of death to turn eyes upwards to divine celestial
bodies. People more interested in exceptional phenomena, and these often inspire fear and
wonder.
83: Whole impetus of the book is to place comets among celestial bodies completely
different from atmospheric fires. Structure of the book: begins with three theories;
objections to these; rejection of Stoic, Posidonian theory; Senecas own theory. 84: Thus a
gradual approximation of the truth.
85: At end of book, faces objections to his theory. Admits investigation of comets still in
their beginning. This leads into the Finale.
85: W. thinks that from Senecas celestial comet theory follows 1) that human knowledge
cannot reach ultimate certainty. 2) We must approach study of this phenomena with awe.
The first of these thoughts leads the physical investigation. The second produces the finale,
but also connects. It also links to idea of knowledge of god: thus question of comets aligns
with the highest form of human knowledge. Also explains why orbits of comets hidden
just as god, greatest part of cosmos, is hidden. 86: motif of Eleusinian mysteries used (25.4)
86: By treating comets as divine bodies, Seneca also addressing question of superstition.
Comets usually considered bad omen. Seneca completely strips it of all negative
connotations, W. thinks. He does talks about them at omens at one point, but connects it to
idea of law of nature, which W. thinks kind of raises it above the connection with comets
and disasters. 87: W. thinks this reevaluation (which also happened in other books) is of
utmost importance. That he pushes the threatening aspect into the background allows him to
emphasise the divine aspect. Thus the greatest contrast with earthquakes: the divine,
beautiful, eternal, unchanging vs- the threatening, destructive, unstable, changeable parts
of the cosmos.
88: as such, W. thinks the contrast is nowhere stronger than between these books. Although
they dont consider the same element, there are other reasons to think they are a pair: both
emphasised as rare phenomena, which in both is connected to fear and awe. Rarity also
connected to the difficulty of investigating these phenomena. (6.5.3; 7.25.4). Thus, although
not connected by element, other reasons to think them a pair.
89: Summary: Books stand in a relationship of contrast. This contrast shows opposing
manifestations of an element, except in bk 6 and 7, where a different type of contrast
explored.

Chapter 5: Arrangement of the book pairs

90: 1) Fixed book groups in manuscripts: no manuscripts break up 1-2; 3-4a; 4b-5; 6-7
so question is how these arranged. W. wants to maintain traditional 1-7 book order.
90 The special position of bk 6 and 7: Not only do they not deal with single element, but
represent the polar extremes of a number of the themes W. has traced in the book.
Earthquakes are the most terrible phenomena in the book: destroy whole peoples. 91: W.
argues the earthquake even an increase on the flood in bk 3, and that is mainly an
eschatological idea (whereas the earthquake in Campania had actually happened during
his lifetime). Similarly, bk 7 represents the highest manifestation of the themes of beauty.
W. also argues that 6 and 7 represent the deepest penetrations into the secrets of nature:
causes not accessible to the senses. Comets escape human knowledge; something similar
said about earthquakes, about difficulty of investigation. 92: All other phenomena explored,
W. thinks, are accessible to the sense. In a sense, then, W. thinks these two investigations
come closest to fulfilling bk 1s aims of natural philosophy outline.
92: The ratio of book 7 to 4a: W thinks the halving of the work into 1-4a, 4b-7 (both of
which contain two contrasting pairs) is deliberate. This evident first from fact that final
book of each half is very different from the other three, each forming a sort of conclusion
point. Both of these final books treat a phenomenon which has been dedicated a book of its
own, despite potentially belonging to another book. Both are extraordinary; (93) both have
intimate connection with the cosmos (Nile one of the eternal rivers; comet one of the eternal
celestial bodies). Both are also extremely regular in their motion. In them, the essence of the
cosmos [viz. orderliness] is realised. 94: As the source of the Nile is hidden, so is origin of
comets [i.e. orbits unknown]. Despite similarity in terms of connection with [nature] of
cosmos, they differ in terms of closeness: comet much more orderly. Book 7 represents,
therefore, an increase on 4a.
95: The ratio of book 7 to 1: Even greater increase from 1-7: Seneca lifts the comet from
such phenomena. Atmospheric fires devalued in several ways: short lived, due to
changibility of atmospheric air. They are moved passively. Meanwhile the comet is
supremely stable, and moves itself [though..this not actually said though they have their
own paths]. 96: the fires of bk1 and 2 are transient, sudeen; depend on nature of their
nourishment.
W. thinks only if bk 7 comes after one does the importance of atomospheric fire make sense.
After the ascent, but ultimately failure, approximation of the sun/divine in bk one, comet
book only makes sense if it comes after. 97: W. also thinks the pessimistic view at the end
of 7 wouldnt make sense if it was followed immediately by the preface of 1. W. thinks it
makes more sense if 1 the first book, which talks about the soaring of the spirit into celestial
regions, which is then ultimately realised in the last book. [In a long sort of note W. argues
against the apparent proof that comets have already been discussed, which occurs at 1.15.4;
seems to think this an editorial gloss].
99: The order 1-7: after the random phenomena of sublunary region, Seneca turns to
celestial bodies. Book 7 also represents the climax of the theme of beauty. It also culminate
the movement beginning preface 1 to penetrate nature and know divine. W. links this to
Cons. Helv. 20.2: NQ has the same goal.
99: The composition of the whole: general principle is juxtaposition of bueatiful/harmful;
sublime/terrible. 100: W. thinks this determines not only the structure of book pairs, but also
the two halves of the book. Basically, each half divided into two pairs. The two middle pairs
represent the terrible/harmful aspects, the outer two the beautiful aspect. Thus the structure
is symmetrical. Multiple links exist between the two halves. 101: As weve seen, 4a and 7

are linked. 3 and 6 are linked by their supreme destructiveness. Although difficult to tell, W.
suggests 1 and 4b were linked, evidenced by the exaggerated descriptions of vice. [2 and 5
linked by being about storms...?]. 102: Destructive books as a whole linked by underworld
imagery, death etc. 1 and 7 frame the whole; contain a repeated quotation from Virgil.
Substantively linked by idea of atmospheric fire.
Overall, then, three structural principles: contrast, symmetry, and increase. These explain
the anomalous places of 3/4a and 7. The rise from sublunar to celestial requires 7 be at the
end. Contrast and symmetry required 3/4a to be the second pair.
W. thinks the prefaces underline the organic development of the whole. 103: Preface 1
lauds physics above ethics, giving a general provision of the issue through the work
(physics); meanwhile preface 2 gives overview of the discipline of cosmology, and through
the discussion of air gives outline of (Posidonian) meteorology. Thusa gradual introduction
into the work. Preface 3 and 4a then successively discuss the author and then the addressee.
104: W. explains (following Stahl) the apparently programmatic character of 3: not a
beginning: Senecas talks of the work ahead makes sense if he has already covered some
ground: covered, still to go.
Chapter 6:
Not translated. According to Hine, W. argues that the book pair idea is inspired by poetry,
particularly Virgils Georgics, which also uses book pairs; also the Aeneid.
Chapter 7: The philosophical aspect of the composition
111: W. argues the composition is an images of the world in its wholeness, which only
arises from the interplay of contrasting aspects. Although Seneca only treats a selection of
themes from physics, because he covers the four elements, and because he elevates comets
to the celestial, he covers all parts and elements of the cosmos. The order an balance of the
cosmos is mirrored in the symmetrical arrangement of the book pairs.
The arrangement according to contrasting aspects of the elements also reflects the Stoic
cosmological model of active vs. passive (W. cites the Egyptian male/female theory in bk
3).
However, W. thinks more important is that the polarity of helpful/harmful, life-giving/deathbringing is part of a consolation. As Seneca says in bk 7, the world makes harmony out of
contrasting elements. This helps reduce/excuse the harmful aspects of nature: the [order of
the] whole persists despite this. So, the balanced juxtaposition of the two sides of natue
contributes to the explicitt consolations against fear of death in bk 2 and 6.