256:
839:'s law forbidding Christians from teaching literature that they did not believe to be true (which is to say, classical Greek and Latin mythology). Proba's goal, Green writes, was to present Virgil "without gods, and a no longer vulnerable to Christian criticism". In this way, a Christian teacher could use the text to discuss Virgil without compromising their religious and moral integrity. Clark and Hatch, on the other hand, postulate that Jesus's Virgilian nature in the cento may have been Proba's attempt to rebut the unflattering, demonizing descriptions of Jesus in Julian's
788:
815:) is used in two of the sections of the cento: once, in which Adam admonishes Eve for sinning, and again, in which Mary learns that Herod wants to kill her child. According to Cullhed, the "negative characterization" of the original verse and its reuse in the Old Testament portion of the cento is transformed into a "positively charged ability" allowing Mary and Jesus to escape Herod's wrath. Because Mary can foretell the future, she is compared (through the use of Virgilian language) to Greco-Roman goddesses and prophets.
247:
832:, Proba seems to de-emphasize its importance, given that topics like virginity and poverty are not stressed in her poem. In regards to issues of finance, Proba reinterprets a number of the New Testament episodes in which Jesus urges his followers to eschew wealth as passages suggesting that Christians should simply share wealth with their families. These changes illustrate Proba's historical context, her socio-economic position, and the expectations of her class.
1090:
858:
519:—reorganizes the Genesis narrative to better align it with contemporary Greco-Roman beliefs about the origin of the world. Cullhed argues that certain aspects of the creation story are "abbreviated ... amplified or even transposed" so that Proba can avoid repetitive passages, such as the double creation of man (Genesis 1:25–27 and Genesis 2:18–19). In the events leading to the Fall of Man, Eve's actions are largely based on the story of
719:
710:
1182:" of the poem's opening lines, and that the supposed reference to the AD 387 debate about Easter could have likely referred to an earlier, perhaps less famous dispute. As to the titles found in later manuscripts, Cullhed writes that it is likely that they were erroneously inserted during the Middle Ages by scribes who had understandably confused the two Probas. Cullhed also reasons that if Anicia Proba had written
849:. They conclude that the hypothesis is intriguing but unverifiable due to the lack of information about Proba, the date of the cento's creation, and her intentions. Finally, the classicist Aurelio Amatucci suggests that Proba composed the cento to teach her children stories from the Bible, although there is no solid evidence that the poem was ever intended to be a teaching tool.
404:("poet" or "priest") to refer to key Judeo-Christian figures. In places, this handicap interferes with readability (according to G. Ronald Kastner and Ann Millin, "Necessary passives and circumlocutions brought about by the ... absences in of appropriate terminology render the text impassable at times"). An exception to the poem's lack of names is found in a reference to
668:(from Book II), and the suffocation of Laocoön by giant serpents (from Book II). Notably, Christ is crucified not on a cross, but an oak tree, which Cullhed argues "synthesizes Jewish, Roman and Christian religious codes", as the species of tree was associated in the Greco-Roman world with Jupiter, and in the Judeo-Christian tradition with the
581:). Proba dedicates only a few lines to Exodus before moving onto the New Testament. Cullhed reasons that this is because the Book of Exodus and the remaining Old Testament is replete with violence and warfare that is stylistically too close to the tradition of pagan epic poetry—a tradition that Proba expressly rejects in the proem of
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considers the work "of considerable historical and cultural importance it belongs to the small number of ancient texts with a female author and stands out as one of our earliest extant
Christian Latin poems." The first English-language work dedicated in its entirety to Proba and her poem was the 2015
1072:
wrote that "the action of the poem is constrained and unequal, the manner absurd, the diction frequently either obscure or improper". Despite these rather negative appraisals, contemporary scholars have taken a renewed interest in the poem, and many see it as worthy of study. Cullhed, in particular,
754:
and the classicist Diane Hatch, Proba's purpose was to "imbue the Christ with heroic virtues" akin to the
Virgilian hero. The poet does this in three major ways: First, she describes Jesus as remarkably beautiful, with "a magnificent and commanding presence" similar to that of Aeneas. Second, during
827:
to learn more about her. According to the classicist
Bernice Kaczynski, "Scholars have seen traces of Proba's own character in her emphasis on the beauty of the natural world, readily apparent in her account of the creation." The cento suggests that Proba had great regard for "domestic matters, for
783:
Stratis
Kyriakidis argues that despite Mary's presence in the poem, she lacks feminine attributes, and is thus "impersonal". According to Kyriakidis, this is intentional on Proba's part, as it draws attention to Christ's divinity—an aspect that "would be incompatible with a human, feminine mother."
198:
While scholars have proposed a number of hypotheses to explain why the poem was written, a definitive answer to this question remains elusive. Regardless of Proba's intent, the poem would go on to be widely circulated, and it eventually was used in schools to teach the tenets of
Christianity, often
1373:
For instance: Green argues that "a
Vergilian cento has suffered unjustified neglect from scholars", Kaczynski calls the work "remarkable" and "the most successful Christian" cento, and Cullhed notes that the works "position in the tradition between Virgil and the Bible its radical technique of
1321:
Ausonius statements as such: A cento "may be taken either from the same poet, or from several. The verses may be either taken entire, or divided into two, one half to be connected to another half taken elsewhere. But two verses should never be usd running, nor much less than half a verse be
749:
Due to her borrowing from Virgil, Proba's Christ is very similar to the
Virgilian epic hero. Parallels between the two include both seeking a goal greater than their own happiness, initiating realms "without end", and projecting auras of divinity. According to the early Christian specialist
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that took place in AD 387, thereby suggesting that the poem must date from the latter part of the fourth century. Finally, Shanzer argues that the reference to the war between
Magnentius and Constantius in the work's proem precludes the possibility that Faltonia Betitia Proba arranged
593:). According to Culhed, these verses originally functioned as poetic devices, enabling Virgil to move from the "Odyssean" first half of the poem to the "Iliadic" latter half. Proba likewise has re-purposed these verses to aid in her transition from the Old Testament into the New.
1205:. Cullhed concludes: "The evidence for discrediting Isidore's attribution is not sufficient, and so, I will assume that the cento was written in the mid-fourth century by Faltonia Betitia Proba." Today, the general consensus among classicists and scholars of Latin is that
1178:, Cullhed counters Shanzer's claims, first by noting that there is no definitive evidence that Faltonia Betitia Proba died in AD 351 and that such an assertion remains speculative at best. Cullhed also argues that "there are no 'grounds for determining priority
54:
373:. The respect given to Virgil often manifested in the form of centos, which reached peak popularity in the fourth century AD. Second, Virgil was often seen as a pre-Christian prophet due to a popular interpretation of his
904:, Jerome "strongly inveighed against this method of destroying the sense of a pagan author", and that "his love of the classics and his Christian piety were alike offended" by Proba's actions. Conversely, Roman Emperor
577:, by using lines that concern destruction and the establishment of law, Proba is able to convey the traditional idea that Noah's survival represents the dawning of a "second creation and a new order" (that is, the
1140:, who lived in the late-fourth and early-fifth centuries. Shanzer—who is of the opinion that Faltonia Betitia Proba likely died in AD 351—bases much of her assertion on supposed date inconsistencies and
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1313:
755:
the
Crucifixion, Jesus does not go meekly to his death, but aggressively lashes out at his persecutors. Her reconfiguration of Jesus's crucifixion is thus in line with Aeneas' vindictive slaying of
233:
wrote highly of Proba, and many praised her ingenuity. During the 19th and 20th centuries the poem was criticized as being of poor quality, but recent scholars have held the work in higher regard.
416:
Sigrid
Schottenius Cullhed, "Proba used the name Musaeus for the Judeo-Christian prophet, since it was often believed from the Hellenistic era onward that Mousaios was the Greek name for Moses".
585:. In the transitional section between the Old and New Testaments, Proba appropriates the invocation of the Muses of war that immediately precedes the Catalogue of Italians (from Book VII,
388:. This is because Virgil never used Hebrew names like "Jesus" and "Mary", and thus Proba was limited in terms of what she was able to work with. To compensate, Proba used vague words like
2854:
908:(who reigned from AD 395–408) received a copy of the poem, and his version has a fifteen-line dedication contending that Proba's work is "Maro changed for the better in sacred meaning" (
660:. To describe Christ's crucifixion, Proba uses several lines that originally related to warfare, destruction, and death, such as the battle between Aeneas and the Rutuli (from Book XII,
1167:, due to the fact that the war took place in the same year as her supposed death. Shanzer rounds out her hypothesis by also invoking a textual argument, noting that the author of
1062:
1343:
of person not fit to preach the Gospel. Cullhed nevertheless concedes that "the majority of scholars believe that 'this babbling old lady' must refer to none other than Proba".
1307:(AD 310–395) is the only poet from Antiquity to comment on the form and content of the Virgilian cento, and his statements are regarded as authoritative by many scholars.
378:
835:
As to why Proba arranged in the poem in the first place, scholars are still divided. The Latinist R. P. H. Green argues that the work was a reaction to the Roman emperor
246:
1171:
is often referred to in later manuscripts by titles that only Anicia Proba would have received, such as "mother of the Anicians" or the "eminent Roman Mistress".
676:
to represent the decidedly more spiritual love that Christ shares with his disciples. The end of the poem focuses on Christ describing the world to come and his
470:(lines 333–686), and an epilogue (lines 687–94). At the beginning of the poem, Proba references her earlier foray into poetry before rejecting it in the name of
175:
is a poetic work composed of verses or passages taken from other authors and re-arranged in a new order. This poem reworks verses extracted from the work of
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3572:
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Kaczynski, Bernice (2013). "Faltonia Betitia Proba: A Vergilian Cento in Praise of Christ". In Churchill, Laurie; Brown, Phyllis; Jeffrey, Jane (eds.).
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Harich-Schwarzbauer, Henriette (2006). "Proba". In Cancik, Hubert; Schneider, Helmuth; Salazar, Christine; Landfester, Manfred; Gentry, Francis (eds.).
3562:
779:. Clark and Hatch write that Proba stresses Mary's maternity by omitting Joseph and presenting Mary as Jesus's sole human parent. Conversely, the
2616:
559:
494:) to aid her in her work. At the end of the invocation, Proba states her poem's main purpose: to "tell how Virgil sang the offices of Christ."
347:. Proba's choice to rework Virgil seems to have been made for two reasons: First, Virgil was an influential poet who had been commissioned by
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Cullhed writes that the most scholarly views of Mary in the poem are inadequate, and that Proba made Mary "the twofold fulfillment and
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605:
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is omitted. Jesus is often described by language befitting a Virgilian hero, and Mary is depicted by lines originally relating to
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The characterization of Mary has caused much scholarly debate. The historian Kate Cooper sees Mary as a courageous, intelligent
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306:
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1198:
1005:
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562:; in this way, she connects the Greco-Roman concept of the Ages of Man with the Judeo-Christian concept of the Fall of Man.
1824:
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Matthew, John (1989). "The Poetess Proba and Fourth-century Rome: Questions of Interpretation". In Michel Christol (ed.).
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After the story of Creation, Proba briefly references the Great Flood by making use of lines from the fourth book of the
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The proem and invocation are both mixes of original Latin lines and lines borrowed from or alluding to the Virgil, the
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In the late-4th and early-5th centuries, the work began to receive a more mixed response. Many scholars hold that the
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The poem is traditionally attributed to Faltonia Betitia Proba largely on the assertion of Isidore, who wrote in his
1042:
474:. This section also serves as an inversion and thus rejection of the Virgilian tradition: whereas Virgil opened the
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924:
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Danuta Shanzer has argued that the poem was not the work of Faltonia Betitia Proba, but rather her granddaughter,
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1339:, and Sigrid Schottenius Cullhed hypothesizes that Jerome is not talking about any one person, but rather the
255:
482:), Proba rejects warfare as a subject worthy of Christian poetry. Proba then describes herself as a prophet (
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Ironically, in the Medieval period—because Faltonia Betitia Proba was often confused with her granddaughter
901:
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Clark, Elizabeth; Hatch, Diane (1981). "Jesus as Hero in the Vergilian 'Cento' of Faltonia Betitia Proba".
3178:
3155:
3082:
1223:, the adaptation of non-Christian elements of culture or historical facts to the worldview of Christianity
1101:
653:
286:
205:
158:
44:
982:, Isidore wrote that "it is not the work which should be admired, but ingenuity" in compiling the poem (
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845:
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AD 322. A member of an influential, aristocratic family, she eventually married a prefect of Rome named
209:. But while the poem was popular, critical reception was more mixed. A pseudonymous work purportedly by
787:
1364:
was sometimes called "The cento of the illustrious poet Proba Faltonia, approved of by divine Jerome".
1030:
357:. Arguably the most influential Roman poet, Virgil's artistic clout was immense, being felt well into
2880:
1025:
1017:
998:
994:
609:
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and the necessity of laws after the end of the Golden Age, respectively. According to the classicist
17:
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The cento's 694 lines are divided into a proem and invocation (lines 1–55), select stories from the
943:
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marriage and the family, for marital devotion and filial piety". While the New Testament stresses
804:
672:. After covering Christ's death, Proba borrows lines referring to the erotic love between Dido and
629:
328:
AD 352–384, was her attempt to "turn away from battle and slayings in order to write holy things".
320:
that occurred between AD 350–53. At some point, Proba converted from paganism to Christianity, and
811:(from Mercury's speech to Aeneas, in which the god admonishes the hero for lingering with Dido in
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343:(i.e. a patchwork poem) made up of rearranged verses extracted from the works of the Roman poet
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of both Eve and Dido." Cullhed bases this on the fact that line 563 of the fourth book of the
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409:
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Because historical information about Proba is limited, many scholars have taken to analyzing
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3445:
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3126:
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Women Latin Poets: Language, Gender, and Authority, from Antiquity to the Eighteenth Century
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1308:
1202:
1187:
1154:, which was written sometime after Faltonia Betitia Proba's death. Shanzer also claims that
1023:
included Proba in his biographical collection of historical and mythological women entitled
885:
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Una Patrizia Romana al Servizio della Fede: Il Centone Cristiano di Faltonia Betitia Proba
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1284:
1037:. In 1518, Proba's work was once again being used in an educational setting, this time by
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625:
578:
456:
348:
210:
2659:
993:, Proba and her work were praised as examples of studiousness and scholarship. In a 1385
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of the era cite the work as an example of late antiquity's "poverty of ideas". In 1849,
297:. Proba wrote poetry, and according to contemporary accounts, her first work was titled
3428:
Sandnes, Karl Olav (2011). "Faltonia Betitia Proba: The Gospel "According to Virgil"".
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1033:, which likely made Proba the first female author to have had her work reproduced by a
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that detail Rome's glorious future, thus recasting pagan oracles in a Christian light.
633:
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Institutions, Society, and Political Life in the Roman Empire in the Fourth Century AD
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966:(AD 560–636) called Proba the "only woman to be ranked among the men of the church" (
927:
920:
874:
693:
464:
452:
314:
184:
180:
107:
103:
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Kastner, G. Ronald; Millin, Ann (1981). "Proba". In Wilson-Kastner, Patricia (ed.).
763:. Finally, Proba transfers to Jesus portions of prophecies scattered throughout the
2863:
2713:
The Oxford History of Classical Reception in English Literature: 800–1558, Volume 1
1089:
621:
99:
79:
3364:
Institutions, Société et Vie Politique dans l'Empire Romain au IVe Siècle ap. J.-C
589:) and verses that originally described Aeneas's prophetic shield (from Book VIII,
1124:
was the product of a woman named Proba who was the wife of a man named Adelphus (
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The Golden Bough, The Oaken Cross: The Virgilian Cento of Faltonia Betitia Proba
2533:
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1141:
1133:
1116:
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referenced Proba and her work while discussing female geniuses, and in 1374 the
990:
857:
718:
709:
613:
555:
527:, thereby "repeatedly foreshadowing ... the imminent disaster of the Fall". The
502:
1374:
literary imitation and female author-function ... renders the reception of the
888:
castigating Virgilian centos, he warned against following an "old chatterbox" (
513:. Proba's presentation of the Creation—largely based on rewordings of Virgil's
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1318:
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2379:
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332:
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Green, R. P. H. (1995). "Proba's Cento: Its Date, Purpose, and Reception".
2807:
1304:
1292:
1190:
1045:, who believed that Proba "wrote ... wysdom with clene and chast Latin".
1013:
905:
812:
780:
515:
366:
226:
3370:]. Collection de l'Ecole française de Rome (in English and French).
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called the poem "trash" worthy of "no praise", and in 1911, P. Lejay of
62:
with a depiction of the author, Faltonia Betitia Proba, holding a scroll
53:
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Texts and Culture in Late Antiquity: Inheritance, Authority, and Change
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would have almost certainly praised her poetic abilities in his AD 395
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570:
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within the text. For instance, Shanzer points out that lines 13–17 of
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892:) and those who think of calling "the Christless Maro a Christian" (
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543:
540:
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353:
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272:
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Cullhed, Sigrid Schottenius (2015). "Appendix: The Cento of Proba".
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Scholarship in the 19th and early 20th century was more critical of
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Virgil Recomposed: The Mythological and Secular Centos in Antiquity
558:) to describe human life after Adam and Eve eat the fruit from the
3375:
1288:
1088:
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and a "reprehensible work of poetry". But almost a century later,
856:
799:) to goddesses and prophets through the use of Virgilian language.
786:
728:
692:), and the latter with language that originally described the god
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491:
471:
405:
188:
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in Christian poetry. Christ's deeds are reduced to three events:
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645:
636:'s description of punishment for the unrighteous (from Book VI,
520:
3042:
The Baptized Muse: Early Christian Poetry as Cultural Authority
3069:
351:, the first Roman emperor, to write the mytho-historical epic
2625:. Vol. 1. J. and J. Knapton. p. 180. Archived from
221:
wrote negatively of Proba and her poem. Other thinkers like
3432:
The Gospel "According to Homer and Virgil": Cento and Canon
3148:
Shapers of Early Christianity: 52 Biographies, A.D. 100–400
2622:
Cyclopædia, or an Universal Dictionary of Arts and Sciences
735:) is described in language befitting a Virgilian hero like
437:
straight, as I tell how Virgil sang the offices of Christ.
3305:
Plant, Ian, ed. (2004). "Proba (About AD 322–70): Proba".
680:; Proba conveys the former via the prophecy made by both
478:
by proclaiming that he will "sing of weapons and a man" (
3175:
The Virgilian Tradition: The First Fifteen Hundred Years
791:
According to Sigrid Schottenius Cullhed, Proba compares
3117:
Thompson, James (1906). "Vergil in Mediaeval Culture".
1356:
and because Jerome praised Anicia Proba in a letter to
1029:. In 1474, the poem was published by the Swiss printer
497:
The passages focusing on the Old Testament concern the
435:
now begin my song: be at my side, Lord, set my thoughts
3332:
Wilson-Kastner, Patricia, ed. (1981). "Proba: Cento".
3307:
Women Writers of Ancient Greece and Rome: An Anthology
3015:
Women Writers of Ancient Greece and Rome: An Anthology
984:
Cuius quidem non miramur studium sed laudamus ingenium
433:
I, who in my thirst have drunk libations of the Light—
3397:
McGill, Scott (2007). "Virgil, Christianity, and the
3075:
Dictionary of Greek and Roman Biography and Mythology
2500:
2498:
1063:
Dictionary of Greek and Roman Biography and Mythology
148:[ˈkɛntoːwɛrɡɪlɪˈaːnʊsdeːˈlau̯dɪbʊsˈkʰriːstiː]
3247:
Clark, Elizabeth A.; Hatch, Diane F.; Proba (1981).
431:
But baptised, like the blest, in the Castalian font—
3334:
A Lost Tradition: Women Writers of the Early Church
3013:Plant, Ian, ed. (2004). "Proba (About AD 322–70)".
2931:
A Lost Tradition: Women Writers of the Early Church
2372:"Proba, Falconia – Carmina, sive Centones Vergilii"
880:was a critic of the work; in a letter written from
271:) almost entirely from the works of the Roman poet
123:
113:
95:
85:
75:
67:
34:
3336:. Translated by Reedy, Jeremiah. Washington, D.C:
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2872:
2585:
640:), and some scholars contend that this portion of
3473:and the Date and Identity of the Centonist Proba"
2045:
2043:
2018:
2016:
1979:
1977:
1975:
1818:
1816:
3067:Smith, William, ed. (1849). "Falconia [
947:—which was long believed to have been issued by
898:Maronem sine Christo possimus dicere Christianum
154:A Virgilian Cento Concerning the Glory of Christ
3173:Ziolkowski, Jan; Putnam, Michael, eds. (2008).
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2549:
2547:
2545:
2543:
2275:
2273:
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951:(who held the papacy from AD 492–496)—declared
600:that focuses on the New Testament recounts the
429:
3413:: Classical Press of Wales. pp. 173–194.
1825:"Proba/Faltonia Betitia Proba (c. 322–c. 370)"
1446:
1444:
1442:
1440:
1209:was indeed written by Faltonia Betitia Proba.
1158:alludes to a notable debate about the date of
550:). Proba relies on the first two books of the
1197:celebrating the joint consulship of her sons
1104:as the poem's author in his 7th-century work
554:(specifically, the sections that discuss the
490:(eschewing the traditional invocation of the
408:, whom Proba refers to by invoking the name "
27:Latin poem arranged by Faltonia Betitia Proba
8:
1611:
1609:
1461:
1459:
335:and invocation of the poem, the entirety of
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2483:
2481:
2123:
2121:
446:, ll. 20–23, translated by Josephine Balmer
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1866:
1864:
1862:
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1148:strongly resemble lines 20–24 of the poem
52:
31:
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2150:
2148:
1126:Proba, uxor Adelphi, centonem ex Vergilio
569:that originally discussed the death of a
3278:. Mnemosyne Supplements. Vol. 378.
2769:. Mnemosyne Supplements. Vol. 378.
2303:
818:
463:(lines 319–32), select stories from the
267:was arranged by Faltonia Betitia Proba (
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2070:
1400:
1398:
1396:
1394:
1390:
1233:
1476:
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560:tree of the knowledge of good and evil
299:Constantini bellum adversus Magnentium
3213:Cento Vergilianus de laudibus Christi
1265:
1248:
265:Cento Vergilianus de laudibus Christi
146:
139:Cento Vergilianus de laudibus Christi
36:Cento Vergilianus de laudibus Christi
18:Cento vergilianus de laudibus Christi
7:
3436:. Supplements to Novum Testamentum.
2765:Cullhed, Sigrid Schottenius (2015).
1823:Disse, Dorothy (November 26, 2012).
531:is described with lines that detail
379:believed foretold the birth of Jesus
2740:Women's Writing in Italy, 1400–1650
1335:referred to by Jerome was actually
3568:Works based on the Book of Genesis
2664:. Translated by E. F. M. Benecke.
1331:Alessia Fassina proposed that the
916:). The work was also presented to
191:. Much of the work focuses on the
25:
3573:Works based on the Book of Exodus
3401:". In J. H. D. Scourfield (ed.).
1250:[deːˈlau̯dɪbʊsˈkʰriːstiː]
972:femina inter viros ecclesiasticos
759:described at the very end of the
217:, and many also believe that St.
3119:The American Journal of Theology
2804:Ca' Foscari University of Venice
1827:. InfIonLine.net. Archived from
910:Maronem mutatum in melius divino
819:Proba's character and motivation
717:
708:
546:to enrage Amata (from Book VII,
384:Hardly any names are present in
254:
245:
213:disparaged the poem, deeming it
3563:Poetry based on works by Virgil
3477:Revue des Études Augustiniennes
2686:The Fall of the Roman Household
2615:Chambers, Ephraim, ed. (1728).
2376:Universal Short Title Catalogue
1600:
1588:
1576:
1564:
1552:
1540:
1528:
930:(who reigned from AD 408–450).
2875:God's Self-Confident Daughters
2864:10.1163/1574-9347_bnp_e1009090
2748:Johns Hopkins University Press
2472:
2412:
2279:
2112:
1675:
1663:
1589:Ziolkowski & Putnam (2008)
1565:Ziolkowski & Putnam (2008)
1541:Ziolkowski & Putnam (2008)
1480:
1450:
1419:
1291:, and the fourth-century poet
1255:Concerning the Glory of Christ
1199:Anicius Hermogenianus Olybrius
900:). According to the historian
157:) is a Latin poem arranged by
1:
2658:Comparetti, Domenico (1895).
2238:
2178:
1783:
1516:
486:) and calls upon God and the
325:
324:, which was probably written
290:
162:
3315:University of Oklahoma Press
3232:Resources in other libraries
3023:University of Oklahoma Press
2711:Copeland, Rita, ed. (2016).
2567:
2555:
2516:
2504:
2436:
2424:
2358:
2291:
2262:
2250:
2226:
2214:
2202:
2166:
2139:
2088:
2076:
1966:
1954:
1942:
1930:
1918:
1906:
1894:
1882:
1870:
1853:
1841:
1807:
1795:
1771:
1759:
1747:
1735:
1723:
1711:
1699:
1687:
1651:
1627:
1615:
1492:
1465:
1431:
1378:a rewarding field of study."
644:is the first description of
539:) and the snake sent by the
3508:4th-century Christian texts
3338:University Press of America
2935:University Press of America
2885:Westminster John Knox Press
2315:
2061:
1639:
1616:Kastner & Millin (1981)
1504:
861:Many scholars believe that
3589:
3513:4th-century books in Latin
2694:Cambridge University Press
2670:Swan Sonnenschein & Co
2584:Balmer, Josephine (1996).
2489:
2460:
2448:
2400:
2304:Harich-Schwarzbauer (2006)
2190:
2154:
2127:
2100:
2049:
2034:
2022:
2007:
1995:
1983:
1404:
1267:[ˈkɛntoːˈproːbae̯]
1240:The poem is also known as
1132:). But the classicist and
331:With the exception of the
301:; this poem, which is now
295:Clodius Celsinus Adelphius
167:conversion to Christianity
3553:Works based on the Aeneid
3227:Resources in your library
3152:Jefferson, North Carolina
3146:Worth, Roland H. (2012).
2959:The Catholic Encyclopedia
2829:10.1017/S0009838800043627
2796:Fassina, Alessia (2004).
2661:Vergil in the Middle Ages
1069:The Catholic Encyclopedia
700:Characterization of Jesus
361:, and he was imitated by
179:to tell stories from the
51:
41:
3467:Shanzer, Danuta (1986).
3090:Stevenson, Jane (2005).
3083:Spottiswoode and Company
3040:Pollmann, Karla (2017).
2343:
2050:Clark & Hatch (1981)
2035:Clark & Hatch (1981)
2023:Clark & Hatch (1981)
2008:Clark & Hatch (1981)
1996:Clark & Hatch (1981)
1984:Clark & Hatch (1981)
1220:Interpretatio Christiana
771:Characterization of Mary
632:begins by borrowing the
612:, and the advent of the
535:'s death (from Book II,
285:The author of the poem,
58:The first five lines of
3558:Works based on Georgics
3518:4th-century manuscripts
3380:Ecole Française de Rome
3156:McFarland & Company
3100:Oxford University Press
3050:Oxford University Press
2996:Oxford University Press
2968:Robert Appleton Company
2817:The Classical Quarterly
2802:(Dissertation thesis).
2721:Oxford University Press
1052:. Some classicists and
902:James Westfall Thompson
3490:10.1484/J.REA.5.104540
3179:New Haven, Connecticut
2986:McGill, Scott (2005).
2908:Abingdon-on-Thames, UK
2738:Cox, Virginia (2008).
1111:
1102:Faltonia Betitia Proba
1085:Authorship controversy
1081:, written by Cullhed.
941:document known as the
870:
869:) criticized the poem.
800:
439:
309:between Roman Emperor
287:Faltonia Betitia Proba
206:De doctrina Christiana
165:AD 352–384) after her
159:Faltonia Betitia Proba
45:Faltonia Betitia Proba
3528:Christian manuscripts
3471:carmen contra paganos
3183:Yale University Press
2871:Jensen, Anne (1996).
2684:Cooper, Kate (2007).
2588:Classical Women Poets
1354:Anicia Faltonia Proba
1151:Carmen contra paganos
1138:Anicia Faltonia Proba
1092:
860:
790:
688:(both from Book III,
678:ascension into Heaven
658:call of the disciples
616:. Although Jesus and
511:the Exodus from Egypt
499:creation of the world
193:story of Jesus Christ
3538:Manuscripts in Latin
3382:. pp. 277–304.
3317:. pp. 171–187.
3241:English translations
3025:. pp. 170–188.
2914:. pp. 131–149.
2881:Louisville, Kentucky
2332:De viris illustribus
1026:De mulieribus claris
999:Anna von Schweidnitz
523:from Book IV of the
412:". According to the
3290:. pp. 158–89.
2933:. Washington, D.C:
2904:Women Writing Latin
1362:De laudibus Christi
1242:De laudibus Christi
1207:De laudibus Christi
1184:De laudibus Christi
1169:De laudibus Christi
1165:De laudibus Christi
1156:De laudibus Christi
1146:De laudibus Christi
1122:De laudibus Christi
1050:De laudibus Christi
980:De laudibus Christi
953:De laudibus Christi
944:Decretum Gelasianum
825:De laudibus Christi
642:De laudibus Christi
630:Sermon on the Mount
598:De laudibus Christi
583:De laudibus Christi
459:(lines 56–318) and
444:De laudibus Christi
386:De laudibus Christi
337:De laudibus Christi
322:De laudibus Christi
60:De laudibus Christi
3340:. pp. 45–70.
3259:: Scholars Press.
2952:Lejay, P. (1911).
2937:. pp. 33–44.
2529:Isidore of Seville
2328:Isidore of Seville
1856:, pp. 158, 176–83.
1272:The Cento of Proba
1112:
1094:Isidore of Seville
1021:Giovanni Boccaccio
1003:Holy Roman Emperor
964:Isidore of Seville
871:
801:
752:Elizabeth A. Clark
628:and Dido. Proba's
480:arma virumque cano
231:Giovanni Boccaccio
223:Isidore of Seville
201:Augustine of Hippo
130:Dactylic hexameter
3523:4th-century poems
3459:978-90-04-18718-4
3420:978-1-905125-17-3
3389:978-2-7283-0253-6
3356:Secondary sources
3347:978-0-8191-1642-0
3324:978-0-8061-3621-9
3297:978-90-04-28948-2
3276:Proba the Prophet
3266:978-0-89130-481-4
3257:Chico, California
3208:Library resources
3192:978-0-300-10822-4
3165:978-0-7864-8228-3
3109:978-0-19-818502-4
3059:978-0-19-103995-9
3032:978-0-8061-3621-9
3005:978-0-19-803910-5
2964:New York City, NY
2944:978-0-8191-1642-0
2921:978-1-136-74291-0
2894:978-0-664-25672-2
2855:Brill's New Pauly
2788:978-90-04-28948-2
2767:Proba the Prophet
2757:978-0-8018-8819-9
2730:978-0-19-958723-0
2703:978-1-139-46910-4
2607:978-1-85224-342-5
1831:on April 3, 2013.
1601:Comparetti (1895)
1577:Comparetti (1895)
1553:Comparetti (1895)
1529:Comparetti (1895)
1337:Melania the Elder
1176:Proba the Prophet
1174:In her 2015 book
1079:Proba the Prophet
1012:poet and scholar
1001:(the wife of the
978:). In regards to
925:Byzantine Emperor
187:of the Christian
135:
134:
71:Fourth-century AD
16:(Redirected from
3580:
3533:Christian poetry
3494:
3492:
3463:
3446:Brill Publishers
3435:
3424:
3393:
3351:
3328:
3311:Norman, Oklahoma
3301:
3288:Brill Publishers
3270:
3254:
3196:
3169:
3142:
3113:
3086:
3063:
3036:
3019:Norman, Oklahoma
3009:
2998:. pp. 2–5.
2982:
2976:
2974:
2954:"Faltonia Proba"
2948:
2925:
2898:
2878:
2867:
2848:
2811:
2810:on June 8, 2017.
2806:. Archived from
2792:
2779:Brill Publishers
2761:
2734:
2707:
2680:
2678:
2676:
2654:
2637:
2635:
2634:
2611:
2591:
2571:
2565:
2559:
2553:
2538:
2526:
2520:
2514:
2508:
2502:
2493:
2487:
2476:
2473:Kaczynski (2013)
2470:
2464:
2458:
2452:
2446:
2440:
2434:
2428:
2422:
2416:
2413:Stevenson (2005)
2410:
2404:
2398:
2392:
2391:
2389:
2387:
2382:on June 27, 2018
2378:. Archived from
2368:
2362:
2356:
2347:
2341:
2335:
2325:
2319:
2313:
2307:
2301:
2295:
2289:
2283:
2280:Stevenson (2005)
2277:
2266:
2260:
2254:
2248:
2242:
2236:
2230:
2224:
2218:
2212:
2206:
2200:
2194:
2188:
2182:
2176:
2170:
2164:
2158:
2152:
2143:
2137:
2131:
2125:
2116:
2113:Stevenson (2005)
2110:
2104:
2098:
2092:
2086:
2080:
2074:
2065:
2059:
2053:
2047:
2038:
2032:
2026:
2020:
2011:
2005:
1999:
1993:
1987:
1981:
1970:
1964:
1958:
1952:
1946:
1940:
1934:
1928:
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1904:
1898:
1892:
1886:
1880:
1874:
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1833:
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1820:
1811:
1805:
1799:
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1787:
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1757:
1751:
1745:
1739:
1733:
1727:
1721:
1715:
1709:
1703:
1697:
1691:
1685:
1679:
1676:Stevenson (2005)
1673:
1667:
1664:Stevenson (2005)
1661:
1655:
1649:
1643:
1637:
1631:
1625:
1619:
1613:
1604:
1598:
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1550:
1544:
1538:
1532:
1526:
1520:
1514:
1508:
1502:
1496:
1490:
1484:
1481:Kaczynski (2013)
1478:
1469:
1463:
1454:
1451:Kaczynski (2013)
1448:
1435:
1429:
1423:
1420:Kaczynski (2013)
1417:
1408:
1402:
1379:
1371:
1365:
1350:
1344:
1329:
1323:
1309:Ephraim Chambers
1302:
1296:
1281:
1275:
1269:
1264:
1252:
1247:
1238:
1203:Anicius Probinus
1181:
1043:St Paul's School
1031:Michael Wenssler
886:Paulinus of Nola
846:Contra Galilaeos
721:
712:
670:Binding of Isaac
654:walking on water
447:
327:
305:, recounted the
292:
258:
249:
237:Origin and style
164:
150:
145:
56:
47:
37:
32:
21:
3588:
3587:
3583:
3582:
3581:
3579:
3578:
3577:
3498:
3497:
3483:(3–4): 232–48.
3469:"The Anonymous
3466:
3460:
3442:The Netherlands
3427:
3421:
3396:
3390:
3361:
3348:
3331:
3325:
3304:
3298:
3284:The Netherlands
3273:
3267:
3246:
3238:
3237:
3236:
3216:
3215:
3211:
3204:
3202:Further reading
3199:
3193:
3172:
3166:
3145:
3116:
3110:
3089:
3077:. Vol. 2.
3066:
3060:
3039:
3033:
3012:
3006:
2985:
2972:
2970:
2951:
2945:
2928:
2922:
2901:
2895:
2870:
2851:
2814:
2795:
2789:
2775:The Netherlands
2764:
2758:
2737:
2731:
2710:
2704:
2683:
2674:
2672:
2657:
2640:
2632:
2630:
2614:
2608:
2583:
2579:
2574:
2566:
2562:
2554:
2541:
2527:
2523:
2515:
2511:
2503:
2496:
2488:
2479:
2471:
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2326:
2322:
2314:
2310:
2302:
2298:
2290:
2286:
2278:
2269:
2261:
2257:
2249:
2245:
2239:Thompson (1906)
2237:
2233:
2225:
2221:
2213:
2209:
2201:
2197:
2189:
2185:
2179:Copeland (2016)
2177:
2173:
2165:
2161:
2153:
2146:
2138:
2134:
2126:
2119:
2111:
2107:
2099:
2095:
2087:
2083:
2075:
2068:
2060:
2056:
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2041:
2033:
2029:
2021:
2014:
2006:
2002:
1994:
1990:
1982:
1973:
1965:
1961:
1953:
1949:
1941:
1937:
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1925:
1917:
1913:
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1901:
1893:
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1860:
1852:
1848:
1840:
1836:
1822:
1821:
1814:
1806:
1802:
1794:
1790:
1784:Pollmann (2017)
1782:
1778:
1770:
1766:
1758:
1754:
1746:
1742:
1734:
1730:
1722:
1718:
1710:
1706:
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1686:
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1622:
1614:
1607:
1599:
1595:
1587:
1583:
1575:
1571:
1563:
1559:
1551:
1547:
1539:
1535:
1527:
1523:
1517:Chambers (1728)
1515:
1511:
1503:
1499:
1491:
1487:
1479:
1472:
1464:
1457:
1449:
1438:
1430:
1426:
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1411:
1403:
1392:
1388:
1383:
1382:
1372:
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1351:
1347:
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1326:
1303:
1299:
1282:
1278:
1262:
1245:
1239:
1235:
1230:
1215:
1179:
1087:
949:Pope Gelasius I
855:
821:
773:
747:
746:
745:
744:
724:
723:
722:
714:
713:
702:
686:Oracle of Delos
650:calming the sea
596:The portion of
579:Patriarchal age
556:Iron Age of Man
449:
441:
436:
434:
432:
427:
422:
349:Caesar Augustus
283:
282:
281:
280:
261:
260:
259:
251:
250:
239:
211:Pope Gelasius I
143:
63:
42:
35:
28:
23:
22:
15:
12:
11:
5:
3586:
3584:
3576:
3575:
3570:
3565:
3560:
3555:
3550:
3548:Poems in Latin
3545:
3540:
3535:
3530:
3525:
3520:
3515:
3510:
3500:
3499:
3496:
3495:
3464:
3458:
3425:
3419:
3394:
3388:
3358:
3357:
3353:
3352:
3346:
3329:
3323:
3302:
3296:
3271:
3265:
3243:
3242:
3235:
3234:
3229:
3224:
3218:
3217:
3206:
3205:
3203:
3200:
3198:
3197:
3191:
3170:
3164:
3143:
3131:10.1086/478640
3125:(4): 648–662.
3114:
3108:
3087:
3085:. p. 134.
3073:] Proba".
3064:
3058:
3037:
3031:
3010:
3004:
2983:
2949:
2943:
2926:
2920:
2899:
2893:
2868:
2849:
2823:(2): 551–563.
2812:
2793:
2787:
2762:
2756:
2735:
2729:
2708:
2702:
2681:
2655:
2638:
2612:
2606:
2598:Bloodaxe Books
2580:
2578:
2575:
2573:
2572:
2568:Cullhed (2015)
2560:
2556:Cullhed (2015)
2539:
2521:
2517:Cullhed (2015)
2509:
2505:Cullhed (2015)
2494:
2477:
2465:
2453:
2441:
2437:Cullhed (2015)
2429:
2425:Cullhed (2015)
2417:
2405:
2393:
2363:
2359:Cullhed (2015)
2348:
2336:
2320:
2308:
2296:
2292:Cullhed (2015)
2284:
2267:
2263:Cullhed (2015)
2255:
2251:Cullhed (2015)
2243:
2231:
2227:Cullhed (2015)
2219:
2215:Cullhed (2015)
2207:
2203:Fassina (2004)
2195:
2183:
2171:
2167:Cullhed (2015)
2159:
2144:
2140:Cullhed (2015)
2132:
2117:
2105:
2093:
2089:Cullhed (2015)
2081:
2077:Cullhed (2015)
2066:
2054:
2039:
2027:
2012:
2000:
1988:
1971:
1967:Cullhed (2015)
1959:
1955:Cullhed (2015)
1947:
1943:Cullhed (2015)
1935:
1931:Cullhed (2015)
1923:
1919:Cullhed (2015)
1911:
1907:Cullhed (2015)
1899:
1895:Cullhed (2015)
1887:
1883:Cullhed (2015)
1875:
1871:Cullhed (2015)
1858:
1854:Cullhed (2015)
1846:
1842:Cullhed (2015)
1834:
1812:
1808:Cullhed (2015)
1800:
1796:Cullhed (2015)
1788:
1776:
1772:Cullhed (2015)
1764:
1760:Cullhed (2015)
1752:
1748:Cullhed (2015)
1740:
1736:Cullhed (2015)
1728:
1724:Cullhed (2015)
1716:
1712:Cullhed (2015)
1704:
1700:Cullhed (2015)
1692:
1688:Cullhed (2015)
1680:
1668:
1656:
1654:, pp. 190–231.
1652:Cullhed (2015)
1644:
1632:
1628:Cullhed (2015)
1620:
1605:
1593:
1581:
1569:
1557:
1545:
1533:
1521:
1509:
1497:
1493:Cullhed (2015)
1485:
1470:
1466:Cullhed (2015)
1455:
1436:
1432:Cullhed (2015)
1424:
1409:
1389:
1387:
1384:
1381:
1380:
1366:
1345:
1324:
1297:
1276:
1232:
1231:
1229:
1226:
1225:
1224:
1214:
1211:
1086:
1083:
1035:printing press
935:late antiquity
923:, the wife of
854:
851:
820:
817:
772:
769:
727:In the cento,
726:
725:
716:
715:
707:
706:
705:
704:
703:
701:
698:
634:Sibyl of Cumae
620:are featured,
606:life and deeds
602:birth of Jesus
575:Karla Pollmann
428:
426:
423:
421:
418:
375:fourth Eclogue
359:late antiquity
311:Constantius II
263:
262:
253:
252:
244:
243:
242:
241:
240:
238:
235:
133:
132:
127:
121:
120:
115:
111:
110:
108:New Testaments
97:
93:
92:
87:
83:
82:
77:
73:
72:
69:
65:
64:
57:
49:
48:
39:
38:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
3585:
3574:
3571:
3569:
3566:
3564:
3561:
3559:
3556:
3554:
3551:
3549:
3546:
3544:
3541:
3539:
3536:
3534:
3531:
3529:
3526:
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3521:
3519:
3516:
3514:
3511:
3509:
3506:
3505:
3503:
3491:
3486:
3482:
3478:
3474:
3472:
3465:
3461:
3455:
3451:
3447:
3443:
3439:
3434:
3433:
3426:
3422:
3416:
3412:
3408:
3404:
3400:
3395:
3391:
3385:
3381:
3377:
3373:
3369:
3365:
3360:
3359:
3355:
3354:
3349:
3343:
3339:
3335:
3330:
3326:
3320:
3316:
3312:
3308:
3303:
3299:
3293:
3289:
3285:
3281:
3277:
3272:
3268:
3262:
3258:
3253:
3252:
3245:
3244:
3240:
3239:
3233:
3230:
3228:
3225:
3223:
3220:
3219:
3214:
3209:
3201:
3194:
3188:
3184:
3180:
3176:
3171:
3167:
3161:
3157:
3153:
3149:
3144:
3140:
3136:
3132:
3128:
3124:
3120:
3115:
3111:
3105:
3101:
3097:
3093:
3088:
3084:
3080:
3076:
3072:
3071:
3065:
3061:
3055:
3051:
3047:
3043:
3038:
3034:
3028:
3024:
3020:
3016:
3011:
3007:
3001:
2997:
2993:
2989:
2984:
2980:
2969:
2965:
2961:
2960:
2955:
2950:
2946:
2940:
2936:
2932:
2927:
2923:
2917:
2913:
2909:
2905:
2900:
2896:
2890:
2886:
2882:
2877:
2876:
2869:
2865:
2861:
2857:
2856:
2850:
2846:
2842:
2838:
2834:
2830:
2826:
2822:
2818:
2813:
2809:
2805:
2801:
2800:
2794:
2790:
2784:
2780:
2776:
2772:
2768:
2763:
2759:
2753:
2749:
2745:
2744:Baltimore, MD
2741:
2736:
2732:
2726:
2722:
2718:
2714:
2709:
2705:
2699:
2695:
2691:
2690:Cambridge, UK
2687:
2682:
2671:
2667:
2663:
2662:
2656:
2652:
2648:
2645:(27): 31–39.
2644:
2639:
2629:on 2008-12-02
2628:
2624:
2623:
2618:
2613:
2609:
2603:
2599:
2595:
2590:
2589:
2582:
2581:
2576:
2569:
2564:
2561:
2557:
2552:
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2548:
2546:
2544:
2540:
2536:
2535:
2530:
2525:
2522:
2518:
2513:
2510:
2506:
2501:
2499:
2495:
2491:
2486:
2484:
2482:
2478:
2474:
2469:
2466:
2462:
2457:
2454:
2450:
2445:
2442:
2438:
2433:
2430:
2426:
2421:
2418:
2414:
2409:
2406:
2402:
2397:
2394:
2381:
2377:
2373:
2367:
2364:
2360:
2355:
2353:
2349:
2345:
2340:
2337:
2333:
2329:
2324:
2321:
2317:
2316:Jensen (1996)
2312:
2309:
2305:
2300:
2297:
2293:
2288:
2285:
2281:
2276:
2274:
2272:
2268:
2264:
2259:
2256:
2252:
2247:
2244:
2240:
2235:
2232:
2228:
2223:
2220:
2216:
2211:
2208:
2204:
2199:
2196:
2192:
2187:
2184:
2180:
2175:
2172:
2168:
2163:
2160:
2156:
2151:
2149:
2145:
2141:
2136:
2133:
2129:
2124:
2122:
2118:
2114:
2109:
2106:
2103:, pp. 555–58.
2102:
2097:
2094:
2090:
2085:
2082:
2078:
2073:
2071:
2067:
2063:
2062:Cooper (2007)
2058:
2055:
2051:
2046:
2044:
2040:
2036:
2031:
2028:
2024:
2019:
2017:
2013:
2009:
2004:
2001:
1997:
1992:
1989:
1985:
1980:
1978:
1976:
1972:
1968:
1963:
1960:
1956:
1951:
1948:
1944:
1939:
1936:
1932:
1927:
1924:
1920:
1915:
1912:
1908:
1903:
1900:
1896:
1891:
1888:
1885:, pp. 169–70.
1884:
1879:
1876:
1873:, pp. 164–65.
1872:
1867:
1865:
1863:
1859:
1855:
1850:
1847:
1843:
1838:
1835:
1830:
1826:
1819:
1817:
1813:
1810:, pp. 122–23.
1809:
1804:
1801:
1797:
1792:
1789:
1785:
1780:
1777:
1773:
1768:
1765:
1762:, pp. 154–55.
1761:
1756:
1753:
1749:
1744:
1741:
1737:
1732:
1729:
1725:
1720:
1717:
1714:, pp. 141–42.
1713:
1708:
1705:
1701:
1696:
1693:
1690:, pp. 138–40.
1689:
1684:
1681:
1677:
1672:
1669:
1665:
1660:
1657:
1653:
1648:
1645:
1641:
1640:Balmer (1996)
1636:
1633:
1629:
1624:
1621:
1617:
1612:
1610:
1606:
1602:
1597:
1594:
1590:
1585:
1582:
1578:
1573:
1570:
1566:
1561:
1558:
1554:
1549:
1546:
1542:
1537:
1534:
1530:
1525:
1522:
1518:
1513:
1510:
1506:
1505:McGill (2005)
1501:
1498:
1494:
1489:
1486:
1482:
1477:
1475:
1471:
1467:
1462:
1460:
1456:
1452:
1447:
1445:
1443:
1441:
1437:
1433:
1428:
1425:
1422:, pp. 131–32.
1421:
1416:
1414:
1410:
1406:
1401:
1399:
1397:
1395:
1391:
1385:
1377:
1370:
1367:
1363:
1359:
1355:
1349:
1346:
1342:
1338:
1334:
1328:
1325:
1320:
1316:
1315:
1310:
1306:
1301:
1298:
1294:
1290:
1286:
1280:
1277:
1273:
1268:
1260:
1256:
1251:
1243:
1237:
1234:
1227:
1222:
1221:
1217:
1216:
1212:
1210:
1208:
1204:
1200:
1196:
1192:
1189:
1185:
1177:
1172:
1170:
1166:
1161:
1157:
1153:
1152:
1147:
1143:
1139:
1135:
1131:
1127:
1123:
1119:
1118:
1109:
1108:
1103:
1100:) identified
1099:
1095:
1091:
1084:
1082:
1080:
1076:
1071:
1070:
1065:
1064:
1059:
1058:William Smith
1055:
1051:
1046:
1044:
1040:
1036:
1032:
1028:
1027:
1022:
1019:
1015:
1011:
1007:
1004:
1000:
996:
992:
987:
985:
981:
977:
973:
969:
965:
962:
958:
954:
950:
946:
945:
940:
936:
931:
929:
928:Theodosius II
926:
922:
921:Aelia Eudocia
919:
915:
911:
907:
903:
899:
895:
891:
887:
883:
879:
876:
875:Church Father
868:
864:
859:
852:
850:
848:
847:
842:
838:
833:
831:
826:
816:
814:
810:
806:
798:
794:
789:
785:
782:
778:
777:materfamilias
770:
768:
766:
762:
758:
753:
742:
738:
734:
730:
720:
711:
699:
697:
695:
691:
687:
683:
679:
675:
671:
667:
663:
659:
655:
651:
647:
643:
639:
635:
631:
627:
623:
619:
615:
611:
607:
603:
599:
594:
592:
588:
584:
580:
576:
572:
568:
563:
561:
557:
553:
549:
545:
542:
538:
534:
530:
526:
522:
518:
517:
512:
508:
504:
500:
495:
493:
489:
485:
481:
477:
473:
469:
466:
465:New Testament
462:
458:
454:
453:Old Testament
448:
445:
438:
424:
419:
417:
415:
411:
407:
403:
400:("god"), and
399:
395:
391:
387:
382:
380:
377:, which many
376:
372:
368:
364:
360:
356:
355:
350:
346:
342:
338:
334:
329:
323:
319:
316:
312:
308:
304:
300:
296:
288:
278:
274:
270:
266:
257:
248:
236:
234:
232:
228:
224:
220:
216:
212:
208:
207:
202:
196:
194:
190:
186:
185:New Testament
182:
178:
174:
173:
168:
160:
156:
155:
149:
141:
140:
131:
128:
126:
122:
119:
116:
112:
109:
105:
101:
98:
94:
91:
88:
84:
81:
78:
74:
70:
66:
61:
55:
50:
46:
40:
33:
30:
19:
3480:
3476:
3470:
3431:
3402:
3399:Cento Probae
3398:
3367:
3363:
3333:
3306:
3275:
3250:
3222:Online books
3212:
3174:
3147:
3122:
3118:
3091:
3074:
3068:
3041:
3014:
2987:
2977:– via
2973:November 14,
2971:. Retrieved
2957:
2930:
2903:
2874:
2853:
2820:
2816:
2808:the original
2798:
2766:
2739:
2712:
2685:
2673:. Retrieved
2660:
2642:
2631:. Retrieved
2627:the original
2620:
2587:
2577:Bibliography
2563:
2558:, pp. 22–23.
2532:
2524:
2512:
2490:Green (1995)
2468:
2461:Lejay (1911)
2456:
2449:Smith (1849)
2444:
2439:, pp. 66–67.
2432:
2420:
2408:
2396:
2384:. Retrieved
2380:the original
2366:
2339:
2331:
2323:
2311:
2299:
2287:
2258:
2246:
2234:
2222:
2210:
2198:
2191:Green (1995)
2186:
2174:
2162:
2155:Plant (2004)
2142:, pp. 52–53.
2135:
2128:Green (1995)
2108:
2101:Green (1995)
2096:
2084:
2064:, pp. 66–67.
2057:
2030:
2010:, pp. 33–34.
2003:
1991:
1962:
1950:
1938:
1926:
1914:
1909:, p. 181–82.
1902:
1890:
1878:
1849:
1837:
1829:the original
1803:
1791:
1779:
1767:
1755:
1743:
1731:
1719:
1707:
1695:
1683:
1671:
1666:, pp. 65–66.
1659:
1647:
1635:
1623:
1596:
1584:
1572:
1560:
1548:
1536:
1524:
1512:
1500:
1488:
1427:
1405:Plant (2004)
1375:
1369:
1361:
1348:
1340:
1333:garrula anus
1332:
1327:
1312:
1300:
1279:
1271:
1259:Cento Probae
1258:
1254:
1241:
1236:
1218:
1206:
1183:
1175:
1173:
1168:
1164:
1155:
1149:
1145:
1142:anachronisms
1129:
1125:
1121:
1115:
1113:
1105:
1097:
1078:
1067:
1061:
1054:philologists
1049:
1047:
1024:
988:
983:
979:
975:
971:
967:
952:
942:
939:pseudonymous
932:
913:
909:
897:
893:
890:garrula anus
889:
872:
866:
844:
840:
834:
824:
822:
808:
802:
796:
776:
774:
764:
760:
748:
740:
732:
689:
666:Sack of Troy
661:
641:
637:
597:
595:
590:
586:
582:
566:
564:
551:
547:
536:
524:
514:
496:
483:
479:
475:
450:
443:
440:
430:
401:
397:
396:("father"),
393:
392:("mother"),
389:
385:
383:
352:
336:
330:
321:
298:
284:
276:
268:
264:
204:
197:
170:
153:
152:
138:
137:
136:
100:Christianity
80:Roman Empire
59:
29:
3448:. pp.
2534:Etymologiae
1531:, pp. 1–14.
1319:paraphrases
1134:medievalist
1117:Etymologiae
1107:Etymologiae
991:Renaissance
989:During the
976:posita sola
614:Holy Spirit
610:crucifixion
507:Great Flood
503:Fall of Man
488:Holy Spirit
484:vatis Proba
365:poets like
289:, was born
3502:Categories
3096:Oxford, UK
3079:London, UK
3046:Oxford, UK
2992:Oxford, UK
2979:New Advent
2717:Oxford, UK
2675:August 10,
2666:London, UK
2633:2017-08-07
2594:Hexham, UK
2537:, I.39.26.
2401:Worth 2015
2344:Cox (2008)
1507:, pp. 2–5.
1386:References
1314:Cyclopædia
1285:Silver Age
1188:Latin poet
1039:John Colet
1006:Charles IV
961:Archbishop
957:apocryphal
830:asceticism
656:, and the
414:classicist
371:Prudentius
363:Late Latin
318:Magnentius
215:apocryphal
199:alongside
96:Subject(s)
2912:Routledge
2845:163022254
2643:Vergilius
2492:, p. 551.
2475:, p. 133.
2451:, p. 134.
2265:, p. 190.
2241:, p. 650.
2193:, p. 553.
2181:, p. 357.
2157:, p. 171.
2130:, p. 558.
2091:, p. 166.
2079:, p. 165.
1969:, p. 158.
1957:, p. 186.
1945:, p. 185.
1933:, p. 184.
1921:, p. 182.
1897:, p. 176.
1844:, p. 164.
1798:, p. 121.
1786:, p. 113.
1774:, p. 157.
1750:, p. 151.
1738:, p. 145.
1726:, p. 142.
1702:, p. 138.
1642:, p. 111.
1630:, p. 128.
1591:, p. 470.
1567:, p. 469.
1555:, p. 159.
1543:, p. 475.
1519:, p. 180.
1483:, p. 131.
1468:, p. 113.
1453:, p. 132.
1407:, p. 170.
1358:Demetrias
1311:, in his
1195:panegyric
1130:expressit
1075:monograph
882:Bethlehem
853:Reception
455:books of
2651:41591857
2570:, p. 65.
2427:, p. 56.
2415:, p. 69.
2403:, p. 66.
2386:July 11,
2361:, p. 25.
2346:, p. 18.
2318:, p. 53.
2294:, p. 59.
2282:, p. 68.
2253:, p. 64.
2229:, p. 57.
2217:, p. 58.
2169:, p. 53.
2115:, p. 67.
2052:, p. 35.
2037:, p. 34.
2025:, p. 33.
1998:, p. 36.
1986:, p. 31.
1678:, p. 66.
1618:, p. 39.
1603:, p. 99.
1579:, p. 53.
1434:, p. 24.
1317:(1728),
1305:Ausonius
1293:Juvencus
1213:See also
1191:Claudian
1098:pictured
1018:humanist
1014:Petrarch
906:Arcadius
867:pictured
841:Caesares
813:Carthage
805:antitype
797:pictured
781:Latinist
684:and the
567:Georgics
552:Georgics
516:Georgics
420:Contents
367:Juvencus
313:and the
227:Petrarch
114:Genre(s)
86:Language
3407:Swansea
3139:3154430
2617:"Cento"
2507:, p. 6.
1495:, p. 1.
1322:taken."
1010:Italian
1008:), the
933:During
918:Empress
694:Mercury
682:Celaeno
664:), the
571:beehive
533:Laocoön
529:Serpent
468:Gospels
457:Genesis
425:Summary
410:Musaeus
315:usurper
76:Country
68:Written
3543:Jerome
3456:
3452:–180.
3438:Leiden
3417:
3386:
3344:
3321:
3294:
3280:Leiden
3263:
3210:about
3189:
3162:
3137:
3106:
3056:
3029:
3002:
2941:
2918:
2891:
2843:
2837:639543
2835:
2785:
2771:Leiden
2754:
2727:
2700:
2649:
2604:
1263:Latin:
1257:) and
1246:Latin:
1186:, the
1160:Easter
995:letter
955:to be
878:Jerome
863:Jerome
837:Julian
809:Aeneid
765:Aeneid
761:Aeneid
757:Turnus
737:Aeneas
690:Aeneid
674:Aeneas
662:Aeneid
638:Aeneid
622:Joseph
608:, his
604:, his
591:Aeneid
587:Aeneid
548:Aeneid
544:Alecto
537:Aeneid
525:Aeneid
509:, and
505:, the
501:, the
476:Aeneid
472:Christ
461:Exodus
354:Aeneid
345:Virgil
273:Virgil
229:, and
219:Jerome
177:Virgil
144:Latin:
102:, the
3376:Italy
3366:[
3135:JSTOR
2841:S2CID
2833:JSTOR
2647:JSTOR
1376:Cento
1289:Lucan
1287:poet
1228:Notes
1120:that
974:...
968:Proba
914:sensu
741:right
729:Jesus
626:Venus
492:Muses
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