Among a vast, manifold and increasing background of critical studies, this paper goes to the heart of the well-worn querelle about the relationship between tragedies and philosophical works in Seneca, attempting to discover some unexplored paths to go through. In particular, the research will concern the epistemological value of the mimesis as well as of tragic passions that Seneca might have conferred to his own theatre. The "Aristotelian" and not completely orthodox interpretation that this paper aims to give of Senecan theatre, may represent a new fruitful approach to the old querelle or at least a way of reducing the gap between "Seneca the tragedian" and "Seneca the philosopher".