245:
777:
828:'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
236:
804:) 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.
1079:
847:
708:
699:
821:, 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.
508:—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
1171:" 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
838:. 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.
393:("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
657:(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
570:). 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
1062:
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
1061:
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,
743:
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
816:
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
772:
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."
187:
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
1362:
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
1310:
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
738:
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
1151:
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
582:). 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.
43:
1194:. 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
1167:, 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
2843:
362:. 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
893:, 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
566:, 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
1129:, 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
744:
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
222:
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.
405:
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".
574:. 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,
377:. 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
897:(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" (
649:. 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,
1156:, 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
1332:
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".
2610:
1302:
1296:(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.
824:
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
1160:
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".
665:
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
459:(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
1051:
164:
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
2891:
Kaczynski, Bernice (2013). "Faltonia Betitia Proba: A Vergilian Cento in Praise of Christ". In Churchill, Laurie; Brown, Phyllis; Jeffrey, Jane (eds.).
2841:
Harich-Schwarzbauer, Henriette (2006). "Proba". In Cancik, Hubert; Schneider, Helmuth; Salazar, Christine; Landfester, Manfred; Gentry, Francis (eds.).
1019:
367:
768:. Clark and Hatch write that Proba stresses Mary's maternity by omitting Joseph and presenting Mary as Jesus's sole human parent. Conversely, the
2605:
483:) 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."
336:. 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
3556:
3561:
792:
Cullhed writes that the most scholarly views of Mary in the poem are inadequate, and that Proba made Mary "the twofold fulfillment and
235:
3551:
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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
3220:
764:
The characterization of Mary has caused much scholarly debate. The historian Kate Cooper sees Mary as a courageous, intelligent
548:
3446:
3407:
3376:
3334:
3311:
3284:
3253:
3210:
3179:
3152:
3096:
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3019:
2992:
2931:
2908:
2881:
2775:
2744:
2717:
2690:
2594:
949:
906:
2360:
551:; in this way, she connects the Greco-Roman concept of the Ages of Man with the Judeo-Christian concept of the Fall of Man.
3496:
1813:
3351:
Matthew, John (1989). "The Poetess Proba and Fourth-century Rome: Questions of Interpretation". In Michel Christol (ed.).
3501:
2792:
554:
After the story of Creation, Proba briefly references the Great Flood by making use of lines from the fourth book of the
3541:
1272:
The proem and invocation are both mixes of original Latin lines and lines borrowed from or alluding to the Virgil, the
594:
181:
862:
In the late-4th and early-5th centuries, the work began to receive a more mixed response. Many scholars hold that the
1103:
The poem is traditionally attributed to Faltonia Betitia Proba largely on the assertion of Isidore, who wrote in his
463:. This section also serves as an inversion and thus rejection of the Virgilian tradition: whereas Virgil opened the
3546:
3506:
1125:
Danuta Shanzer has argued that the poem was not the work of Faltonia Betitia Proba, but rather her granddaughter,
3196:
2364:
3368:
3516:
2786:
2736:
1187:
994:
295:
1328:, and Sigrid Schottenius Cullhed hypothesizes that Jerome is not talking about any one person, but rather the
3526:
1046:
471:), Proba rejects warfare as a subject worthy of Christian poetry. Proba then describes herself as a prophet (
3215:
1341:
Ironically, in the Medieval period—because Faltonia Betitia Proba was often confused with her granddaughter
3303:
3011:
2630:
Clark, Elizabeth; Hatch, Diane (1981). "Jesus as Hero in the Vergilian 'Cento' of Faltonia Betitia Proba".
1273:
1212:, the adaptation of non-Christian elements of culture or historical facts to the worldview of Christianity
3326:
2923:
2873:
1031:
971:, Isidore wrote that "it is not the work which should be admired, but ingenuity" in compiling the poem (
282:
AD 322. A member of an influential, aristocratic family, she eventually married a prefect of Rome named
198:. But while the poem was popular, critical reception was more mixed. A pseudonymous work purportedly by
3511:
2682:
913:
487:
476:
283:
1353:
was sometimes called "The cento of the illustrious poet Proba Faltonia, approved of by divine Jerome".
346:. Arguably the most influential Roman poet, Virgil's artistic clout was immense, being felt well into
3521:
3140:
2967:
2947:
2658:
1057:
781:
562:
and the necessity of laws after the end of the Golden Age, respectively. According to the classicist
2615:
440:
The cento's 694 lines are divided into a proem and invocation (lines 1–55), select stories from the
1208:
817:
marriage and the family, for marital devotion and filial piety". While the New Testament stresses
661:. After covering Christ's death, Proba borrows lines referring to the erotic love between Dido and
646:
317:
AD 352–384, was her attempt to "turn away from battle and slayings in order to write holy things".
309:
that occurred between AD 350–53. At some point, Proba converted from paganism to Christianity, and
800:(from Mercury's speech to Aeneas, in which the god admonishes the hero for lingering with Dido in
517:
3536:
3088:
3038:
2984:
2956:
2709:
890:
495:
332:(i.e. a patchwork poem) made up of rearranged verses extracted from the works of the Roman poet
3438:
3167:
3144:
3071:
1090:
642:
275:
194:
147:
33:
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of both Eve and Dido." Cullhed bases this on the fact that line 563 of the fourth book of the
3171:
1342:
1139:
1126:
834:
812:
Because historical information about Proba is limited, many scholars have taken to analyzing
606:
3418:
3081:
Women Latin Poets: Language, Gender, and Authority, from Antiquity to the Eighteenth Century
1143:, which was written sometime after Faltonia Betitia Proba's death. Shanzer also claims that
1012:
included Proba in his biographical collection of historical and mythological women entitled
2869:
1014:
1006:
987:
983:
598:
2788:
Una Patrizia Romana al Servizio della Fede: Il Centone Cristiano di Faltonia Betitia Proba
1026:. In 1518, Proba's work was once again being used in an educational setting, this time by
927:
244:
8:
2648:
982:, Proba and her work were praised as examples of studiousness and scholarship. In a 1385
932:
793:
618:
1045:
of the era cite the work as an example of late antiquity's "poverty of ideas". In 1849,
286:. Proba wrote poetry, and according to contemporary accounts, her first work was titled
3417:
Sandnes, Karl Olav (2011). "Faltonia Betitia Proba: The Gospel "According to Virgil"".
3238:
3123:
2896:
2862:
2829:
2821:
2635:
2575:
2517:
2316:
1082:
1022:, which likely made Proba the first female author to have had her work reproduced by a
1009:
991:
952:
756:
that detail Rome's glorious future, thus recasting pagan oracles in a Christian light.
740:
666:
590:
291:
219:
211:
189:
118:
3357:
Institutions, Society, and Political Life in the Roman Empire in the Fourth Century AD
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3148:
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2927:
2904:
2877:
2833:
2771:
2740:
2713:
2686:
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1325:
955:(AD 560–636) called Proba the "only woman to be ranked among the men of the church" (
776:
638:
398:
2918:
Kastner, G. Ronald; Millin, Ann (1981). "Proba". In Wilson-Kastner, Patricia (ed.).
818:
752:. Finally, Proba transfers to Jesus portions of prophecies scattered throughout the
654:
3473:
3434:
3299:
3276:
3115:
3007:
2852:
2848:
2813:
2767:
2702:
The Oxford History of Classical Reception in English Literature: 800–1558, Volume 1
1297:
1191:
1176:
874:
825:
658:
155:
3353:
Institutions, Société et Vie Politique dans l'Empire Romain au IVe Siècle ap. J.-C
578:) and verses that originally described Aeneas's prophetic shield (from Book VIII,
3531:
3430:
3272:
2763:
1113:
was the product of a woman named Proba who was the wife of a man named Adelphus (
937:
614:
567:
445:
337:
199:
3240:
The Golden Bough, The Oaken Cross: The Virgilian Cento of Faltonia Betitia Proba
1817:
1005:
referenced Proba and her work while discussing female geniuses, and in 1374 the
516:, thereby "repeatedly foreshadowing ... the imminent disaster of the Fall". The
3399:
2586:
1363:
literary imitation and female author-function ... renders the reception of the
1255:
1238:
1023:
998:
923:
877:
castigating Virgilian centos, he warned against following an "old chatterbox" (
622:
563:
502:. Proba's presentation of the Creation—largely based on rewordings of Virgil's
449:
347:
329:
299:
160:
136:
113:
106:
2817:
3490:
2942:
2732:
2678:
916:
909:
863:
682:
453:
441:
303:
173:
169:
96:
92:
2368:
321:
3478:
3457:
2804:
Green, R. P. H. (1995). "Proba's Cento: Its Date, Purpose, and Reception".
610:
88:
68:
2796:
2522:
1130:
1122:
1105:
1095:
1034:, who believed that Proba "wrote ... wysdom with clene and chast Latin".
979:
602:
544:
491:
3359:]. Collection de l'Ecole française de Rome (in English and French).
2639:
1055:
called the poem "trash" worthy of "no praise", and in 1911, P. Lejay of
634:
51:
with a depiction of the author, Faltonia Betitia Proba, holding a scroll
3392:
Texts and Culture in Late Antiquity: Inheritance, Authority, and Change
3127:
3034:
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2705:
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1307:
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would have almost certainly praised her poetic abilities in his AD 395
1027:
945:
499:
402:
359:
351:
306:
203:
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within the text. For instance, Shanzer points out that lines 13–17 of
1078:
521:
2900:
1346:
1183:
1063:
1042:
881:) and those who think of calling "the Christless Maro a Christian" (
870:
363:
3263:
Cullhed, Sigrid Schottenius (2015). "Appendix: The Cento of Proba".
1037:
Scholarship in the 19th and early 20th century was more critical of
846:
707:
698:
3119:
2977:
Virgil Recomposed: The Mythological and Secular Centos in Antiquity
1293:
1281:
1179:
1002:
894:
801:
769:
547:) to describe human life after Adam and Eve eat the fruit from the
504:
355:
215:
948:
and a "reprehensible work of poetry". But almost a century later,
788:) to goddesses and prophets through the use of Virgilian language.
681:), and the latter with language that originally described the god
3395:
670:
637:
in Christian poetry. Christ's deeds are reduced to three events:
559:
625:'s description of punishment for the unrighteous (from Book VI,
3426:
3268:
3084:
3067:
3031:
The Baptized Muse: Early Christian Poetry as Cultural Authority
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866:
851:
745:
725:
662:
532:
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456:
342:
333:
261:
207:
165:
340:, the first Roman emperor, to write the mytho-historical epic
42:
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2614:. Vol. 1. J. and J. Knapton. p. 180. Archived from
1277:
717:
674:
480:
460:
394:
177:
78:
210:
wrote negatively of Proba and her poem. Other thinkers like
3421:
The Gospel "According to Homer and Virgil": Cento and Canon
3360:
3137:
Shapers of Early Christianity: 52 Biographies, A.D. 100–400
2611:
Cyclopædia, or an Universal Dictionary of Arts and Sciences
724:) is described in language befitting a Virgilian hero like
509:
426:
straight, as I tell how Virgil sang the offices of Christ.
3294:
Plant, Ian, ed. (2004). "Proba (About AD 322–70): Proba".
3058:
669:; Proba conveys the former via the prophecy made by both
467:
by proclaiming that he will "sing of weapons and a man" (
3164:
The Virgilian Tradition: The First Fifteen Hundred Years
780:
According to Sigrid Schottenius Cullhed, Proba compares
3106:
Thompson, James (1906). "Vergil in Mediaeval Culture".
1345:
and because Jerome praised Anicia Proba in a letter to
1018:. In 1474, the poem was published by the Swiss printer
486:
The passages focusing on the Old Testament concern the
424:
now begin my song: be at my side, Lord, set my thoughts
3321:
Wilson-Kastner, Patricia, ed. (1981). "Proba: Cento".
3296:
Women Writers of Ancient Greece and Rome: An Anthology
3004:
Women Writers of Ancient Greece and Rome: An Anthology
973:
Cuius quidem non miramur studium sed laudamus ingenium
422:
I, who in my thirst have drunk libations of the Light—
3386:
McGill, Scott (2007). "Virgil, Christianity, and the
3064:
Dictionary of Greek and Roman Biography and Mythology
2489:
2487:
1052:
Dictionary of Greek and Roman Biography and Mythology
137:[ˈkɛntoːwɛrɡɪlɪˈaːnʊsdeːˈlau̯dɪbʊsˈkʰriːstiː]
3236:
Clark, Elizabeth A.; Hatch, Diane F.; Proba (1981).
420:
But baptised, like the blest, in the Castalian font—
3323:
A Lost Tradition: Women Writers of the Early Church
3002:Plant, Ian, ed. (2004). "Proba (About AD 322–70)".
2920:
A Lost Tradition: Women Writers of the Early Church
2361:"Proba, Falconia – Carmina, sive Centones Vergilii"
869:was a critic of the work; in a letter written from
807:
260:) almost entirely from the works of the Roman poet
3325:. Translated by Reedy, Jeremiah. Washington, D.C:
3237:
2861:
2574:
2484:
629:), and some scholars contend that this portion of
3462:and the Date and Identity of the Centonist Proba"
2034:
2032:
2007:
2005:
1968:
1966:
1964:
1807:
1805:
3488:
3056:Smith, William, ed. (1849). "Falconia [
1990:
936:—which was long believed to have been issued by
887:Maronem sine Christo possimus dicere Christianum
143:A Virgilian Cento Concerning the Glory of Christ
3235:
3162:Ziolkowski, Jan; Putnam, Michael, eds. (2008).
2540:
2538:
2536:
2534:
2532:
2264:
2262:
2260:
1646:
940:(who held the papacy from AD 492–496)—declared
589:that focuses on the New Testament recounts the
3402:: Classical Press of Wales. pp. 173–194.
3320:
2029:
2017:
2002:
1978:
1961:
1814:"Proba/Faltonia Betitia Proba (c. 322–c. 370)"
1802:
1435:
1433:
1431:
1429:
1198:was indeed written by Faltonia Betitia Proba.
1147:alludes to a notable debate about the date of
539:). Proba relies on the first two books of the
1186:celebrating the joint consulship of her sons
1093:as the poem's author in his 7th-century work
543:(specifically, the sections that discuss the
479:(eschewing the traditional invocation of the
397:, whom Proba refers to by invoking the name "
16:Latin poem arranged by Faltonia Betitia Proba
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1658:
1600:
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324:and invocation of the poem, the entirety of
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1426:
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435:, ll. 20–23, translated by Josephine Balmer
2343:
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1404:
1402:
1137:strongly resemble lines 20–24 of the poem
41:
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2197:
2139:
2137:
1595:
1445:
1115:Proba, uxor Adelphi, centonem ex Vergilio
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558:that originally discussed the death of a
3267:. Mnemosyne Supplements. Vol. 378.
2840:
2758:. Mnemosyne Supplements. Vol. 378.
2467:
2292:
2107:
1077:
845:
775:
452:(lines 319–32), select stories from the
256:was arranged by Faltonia Betitia Proba (
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3416:
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2338:
2061:
2059:
1848:
1399:
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1387:
1385:
1383:
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2134:
1487:
1465:
1463:
549:tree of the knowledge of good and evil
288:Constantini bellum adversus Magnentium
3293:
3202:Cento Vergilianus de laudibus Christi
1811:
1499:
1254:
1237:
254:Cento Vergilianus de laudibus Christi
135:
128:Cento Vergilianus de laudibus Christi
25:Cento Vergilianus de laudibus Christi
3425:. Supplements to Novum Testamentum.
2754:Cullhed, Sigrid Schottenius (2015).
2071:
2056:
1812:Disse, Dorothy (November 26, 2012).
1380:
520:is described with lines that detail
368:believed foretold the birth of Jesus
2729:Women's Writing in Italy, 1400–1650
1460:
1324:referred to by Jerome was actually
225:
13:
3557:Works based on the Book of Genesis
3190:
2653:. Translated by E. F. M. Benecke.
1320:Alessia Fassina proposed that the
905:). The work was also presented to
180:. Much of the work focuses on the
14:
3573:
3562:Works based on the Book of Exodus
3390:". In J. H. D. Scourfield (ed.).
1239:[deːˈlau̯dɪbʊsˈkʰriːstiː]
961:femina inter viros ecclesiasticos
748:described at the very end of the
206:, and many also believe that St.
3108:The American Journal of Theology
2793:Ca' Foscari University of Venice
1816:. InfIonLine.net. Archived from
899:Maronem mutatum in melius divino
808:Proba's character and motivation
706:
697:
535:to enrage Amata (from Book VII,
373:Hardly any names are present in
243:
234:
202:disparaged the poem, deeming it
3552:Poetry based on works by Virgil
3466:Revue des Études Augustiniennes
3161:
2675:The Fall of the Roman Household
2646:
2604:Chambers, Ephraim, ed. (1728).
2565:
2550:
2511:
2499:
2455:
2443:
2431:
2419:
2407:
2383:
2365:Universal Short Title Catalogue
2353:
2326:
2310:
2286:
2274:
2245:
2233:
2221:
2209:
2185:
2173:
2161:
2149:
2122:
2083:
2044:
1949:
1937:
1925:
1913:
1901:
1889:
1877:
1865:
1836:
1824:
1790:
1778:
1766:
1754:
1742:
1730:
1718:
1706:
1694:
1682:
1670:
1634:
1622:
1610:
1589:
1583:
1577:
1571:
1565:
1559:
1553:
1547:
1541:
1535:
1529:
1523:
1517:
1511:
1356:
1335:
1314:
1287:
919:(who reigned from AD 408–450).
3078:
2890:
2864:God's Self-Confident Daughters
2853:10.1163/1574-9347_bnp_e1009090
2737:Johns Hopkins University Press
2461:
2401:
2268:
2101:
1664:
1652:
1578:Ziolkowski & Putnam (2008)
1554:Ziolkowski & Putnam (2008)
1530:Ziolkowski & Putnam (2008)
1475:
1469:
1439:
1414:
1408:
1280:, and the fourth-century poet
1266:
1244:Concerning the Glory of Christ
1223:
1188:Anicius Hermogenianus Olybrius
889:). According to the historian
146:) is a Latin poem arranged by
1:
3105:
3028:
2699:
2647:Comparetti, Domenico (1895).
2603:
2227:
2167:
1772:
1505:
1374:
475:) and calls upon God and the
314:
313:, which was probably written
279:
151:
3304:University of Oklahoma Press
3221:Resources in other libraries
3012:University of Oklahoma Press
2917:
2784:
2753:
2700:Copeland, Rita, ed. (2016).
2556:
2544:
2505:
2493:
2425:
2413:
2347:
2280:
2251:
2239:
2215:
2203:
2191:
2155:
2128:
2077:
2065:
1955:
1943:
1931:
1919:
1907:
1895:
1883:
1871:
1859:
1842:
1830:
1796:
1784:
1760:
1748:
1736:
1724:
1712:
1700:
1688:
1676:
1640:
1616:
1604:
1481:
1454:
1420:
1367:a rewarding field of study."
841:
633:is the first description of
528:) and the snake sent by the
7:
3497:4th-century Christian texts
3327:University Press of America
2974:
2924:University Press of America
2874:Westminster John Knox Press
2859:
2672:
2572:
2304:
2050:
1628:
1605:Kastner & Millin (1981)
1493:
1201:
850:Many scholars believe that
408:
10:
3578:
3502:4th-century books in Latin
3134:
3055:
3001:
2940:
2803:
2683:Cambridge University Press
2659:Swan Sonnenschein & Co
2629:
2573:Balmer, Josephine (1996).
2478:
2449:
2437:
2389:
2293:Harich-Schwarzbauer (2006)
2179:
2143:
2116:
2089:
2038:
2023:
2011:
1996:
1984:
1972:
1393:
1256:[ˈkɛntoːˈproːbae̯]
1229:The poem is also known as
1121:). But the classicist and
413:
320:With the exception of the
290:; this poem, which is now
284:Clodius Celsinus Adelphius
156:conversion to Christianity
3542:Works based on the Aeneid
3216:Resources in your library
3141:Jefferson, North Carolina
3135:Worth, Roland H. (2012).
2948:The Catholic Encyclopedia
2818:10.1017/S0009838800043627
2785:Fassina, Alessia (2004).
2650:Vergil in the Middle Ages
1058:The Catholic Encyclopedia
689:Characterization of Jesus
350:, and he was imitated by
168:to tell stories from the
112:
102:
84:
74:
64:
56:
40:
30:
23:
3456:Shanzer, Danuta (1986).
3079:Stevenson, Jane (2005).
3072:Spottiswoode and Company
3029:Pollmann, Karla (2017).
2726:
2332:
2039:Clark & Hatch (1981)
2024:Clark & Hatch (1981)
2012:Clark & Hatch (1981)
1997:Clark & Hatch (1981)
1985:Clark & Hatch (1981)
1973:Clark & Hatch (1981)
1216:
1209:Interpretatio Christiana
760:Characterization of Mary
621:begins by borrowing the
601:, and the advent of the
524:'s death (from Book II,
274:The author of the poem,
47:The first five lines of
3547:Works based on Georgics
3507:4th-century manuscripts
3369:Ecole Française de Rome
3145:McFarland & Company
3089:Oxford University Press
3039:Oxford University Press
2985:Oxford University Press
2957:Robert Appleton Company
2806:The Classical Quarterly
2791:(Dissertation thesis).
2710:Oxford University Press
1041:. Some classicists and
891:James Westfall Thompson
3479:10.1484/J.REA.5.104540
3168:New Haven, Connecticut
2975:McGill, Scott (2005).
2897:Abingdon-on-Thames, UK
2727:Cox, Virginia (2008).
1100:
1091:Faltonia Betitia Proba
1074:Authorship controversy
1070:, written by Cullhed.
930:document known as the
859:
858:) criticized the poem.
789:
428:
298:between Roman Emperor
276:Faltonia Betitia Proba
195:De doctrina Christiana
154:AD 352–384) after her
148:Faltonia Betitia Proba
34:Faltonia Betitia Proba
3517:Christian manuscripts
3460:carmen contra paganos
3172:Yale University Press
2860:Jensen, Anne (1996).
2673:Cooper, Kate (2007).
2577:Classical Women Poets
1343:Anicia Faltonia Proba
1140:Carmen contra paganos
1127:Anicia Faltonia Proba
1081:
849:
779:
677:(both from Book III,
667:ascension into Heaven
647:call of the disciples
605:. Although Jesus and
500:the Exodus from Egypt
488:creation of the world
418:
182:story of Jesus Christ
3527:Manuscripts in Latin
3371:. pp. 277–304.
3306:. pp. 171–187.
3230:English translations
3014:. pp. 170–188.
2903:. pp. 131–149.
2870:Louisville, Kentucky
2321:De viris illustribus
1015:De mulieribus claris
988:Anna von Schweidnitz
512:from Book IV of the
401:". According to the
3279:. pp. 158–89.
2922:. Washington, D.C:
2893:Women Writing Latin
1351:De laudibus Christi
1231:De laudibus Christi
1196:De laudibus Christi
1173:De laudibus Christi
1158:De laudibus Christi
1154:De laudibus Christi
1145:De laudibus Christi
1135:De laudibus Christi
1111:De laudibus Christi
1039:De laudibus Christi
969:De laudibus Christi
942:De laudibus Christi
933:Decretum Gelasianum
814:De laudibus Christi
631:De laudibus Christi
619:Sermon on the Mount
587:De laudibus Christi
572:De laudibus Christi
448:(lines 56–318) and
433:De laudibus Christi
375:De laudibus Christi
326:De laudibus Christi
311:De laudibus Christi
49:De laudibus Christi
3329:. pp. 45–70.
3248:: Scholars Press.
2941:Lejay, P. (1911).
2926:. pp. 33–44.
2518:Isidore of Seville
2317:Isidore of Seville
1845:, pp. 158, 176–83.
1261:The Cento of Proba
1101:
1083:Isidore of Seville
1010:Giovanni Boccaccio
992:Holy Roman Emperor
953:Isidore of Seville
860:
790:
741:Elizabeth A. Clark
617:and Dido. Proba's
469:arma virumque cano
220:Giovanni Boccaccio
212:Isidore of Seville
190:Augustine of Hippo
119:Dactylic hexameter
3512:4th-century poems
3448:978-90-04-18718-4
3409:978-1-905125-17-3
3378:978-2-7283-0253-6
3345:Secondary sources
3336:978-0-8191-1642-0
3313:978-0-8061-3621-9
3286:978-90-04-28948-2
3265:Proba the Prophet
3255:978-0-89130-481-4
3246:Chico, California
3197:Library resources
3181:978-0-300-10822-4
3154:978-0-7864-8228-3
3098:978-0-19-818502-4
3048:978-0-19-103995-9
3021:978-0-8061-3621-9
2994:978-0-19-803910-5
2953:New York City, NY
2933:978-0-8191-1642-0
2910:978-1-136-74291-0
2883:978-0-664-25672-2
2844:Brill's New Pauly
2777:978-90-04-28948-2
2756:Proba the Prophet
2746:978-0-8018-8819-9
2719:978-0-19-958723-0
2692:978-1-139-46910-4
2596:978-1-85224-342-5
1820:on April 3, 2013.
1590:Comparetti (1895)
1566:Comparetti (1895)
1542:Comparetti (1895)
1518:Comparetti (1895)
1326:Melania the Elder
1165:Proba the Prophet
1163:In her 2015 book
1068:Proba the Prophet
1001:poet and scholar
990:(the wife of the
967:). In regards to
914:Byzantine Emperor
176:of the Christian
124:
123:
60:Fourth-century AD
3569:
3522:Christian poetry
3483:
3481:
3452:
3435:Brill Publishers
3424:
3413:
3382:
3340:
3317:
3300:Norman, Oklahoma
3290:
3277:Brill Publishers
3259:
3243:
3185:
3158:
3131:
3102:
3075:
3052:
3025:
3008:Norman, Oklahoma
2998:
2987:. pp. 2–5.
2971:
2965:
2963:
2943:"Faltonia Proba"
2937:
2914:
2887:
2867:
2856:
2837:
2800:
2799:on June 8, 2017.
2795:. Archived from
2781:
2768:Brill Publishers
2750:
2723:
2696:
2669:
2667:
2665:
2643:
2626:
2624:
2623:
2600:
2580:
2560:
2554:
2548:
2542:
2527:
2515:
2509:
2503:
2497:
2491:
2482:
2476:
2465:
2462:Kaczynski (2013)
2459:
2453:
2447:
2441:
2435:
2429:
2423:
2417:
2411:
2405:
2402:Stevenson (2005)
2399:
2393:
2387:
2381:
2380:
2378:
2376:
2371:on June 27, 2018
2367:. Archived from
2357:
2351:
2345:
2336:
2330:
2324:
2314:
2308:
2302:
2296:
2290:
2284:
2278:
2272:
2269:Stevenson (2005)
2266:
2255:
2249:
2243:
2237:
2231:
2225:
2219:
2213:
2207:
2201:
2195:
2189:
2183:
2177:
2171:
2165:
2159:
2153:
2147:
2141:
2132:
2126:
2120:
2114:
2105:
2102:Stevenson (2005)
2099:
2093:
2087:
2081:
2075:
2069:
2063:
2054:
2048:
2042:
2036:
2027:
2021:
2015:
2009:
2000:
1994:
1988:
1982:
1976:
1970:
1959:
1953:
1947:
1941:
1935:
1929:
1923:
1917:
1911:
1905:
1899:
1893:
1887:
1881:
1875:
1869:
1863:
1857:
1846:
1840:
1834:
1828:
1822:
1821:
1809:
1800:
1794:
1788:
1782:
1776:
1770:
1764:
1758:
1752:
1746:
1740:
1734:
1728:
1722:
1716:
1710:
1704:
1698:
1692:
1686:
1680:
1674:
1668:
1665:Stevenson (2005)
1662:
1656:
1653:Stevenson (2005)
1650:
1644:
1638:
1632:
1626:
1620:
1614:
1608:
1602:
1593:
1587:
1581:
1575:
1569:
1563:
1557:
1551:
1545:
1539:
1533:
1527:
1521:
1515:
1509:
1503:
1497:
1491:
1485:
1479:
1473:
1470:Kaczynski (2013)
1467:
1458:
1452:
1443:
1440:Kaczynski (2013)
1437:
1424:
1418:
1412:
1409:Kaczynski (2013)
1406:
1397:
1391:
1368:
1360:
1354:
1339:
1333:
1318:
1312:
1298:Ephraim Chambers
1291:
1285:
1270:
1264:
1258:
1253:
1241:
1236:
1227:
1192:Anicius Probinus
1170:
1032:St Paul's School
1020:Michael Wenssler
875:Paulinus of Nola
835:Contra Galilaeos
710:
701:
659:Binding of Isaac
643:walking on water
436:
316:
294:, recounted the
281:
247:
238:
226:Origin and style
153:
139:
134:
45:
36:
26:
21:
20:
3577:
3576:
3572:
3571:
3570:
3568:
3567:
3566:
3487:
3486:
3472:(3–4): 232–48.
3458:"The Anonymous
3449:
3431:The Netherlands
3410:
3379:
3337:
3314:
3287:
3273:The Netherlands
3256:
3227:
3226:
3225:
3205:
3204:
3200:
3193:
3191:Further reading
3188:
3182:
3155:
3099:
3066:. Vol. 2.
3049:
3022:
2995:
2961:
2959:
2934:
2911:
2884:
2778:
2764:The Netherlands
2747:
2720:
2693:
2663:
2661:
2621:
2619:
2597:
2568:
2563:
2555:
2551:
2543:
2530:
2516:
2512:
2504:
2500:
2492:
2485:
2477:
2468:
2460:
2456:
2448:
2444:
2436:
2432:
2424:
2420:
2412:
2408:
2400:
2396:
2388:
2384:
2374:
2372:
2359:
2358:
2354:
2346:
2339:
2331:
2327:
2315:
2311:
2303:
2299:
2291:
2287:
2279:
2275:
2267:
2258:
2250:
2246:
2238:
2234:
2228:Thompson (1906)
2226:
2222:
2214:
2210:
2202:
2198:
2190:
2186:
2178:
2174:
2168:Copeland (2016)
2166:
2162:
2154:
2150:
2142:
2135:
2127:
2123:
2115:
2108:
2100:
2096:
2088:
2084:
2076:
2072:
2064:
2057:
2049:
2045:
2037:
2030:
2022:
2018:
2010:
2003:
1995:
1991:
1983:
1979:
1971:
1962:
1954:
1950:
1942:
1938:
1930:
1926:
1918:
1914:
1906:
1902:
1894:
1890:
1882:
1878:
1870:
1866:
1858:
1849:
1841:
1837:
1829:
1825:
1810:
1803:
1795:
1791:
1783:
1779:
1773:Pollmann (2017)
1771:
1767:
1759:
1755:
1747:
1743:
1735:
1731:
1723:
1719:
1711:
1707:
1699:
1695:
1687:
1683:
1675:
1671:
1663:
1659:
1651:
1647:
1639:
1635:
1627:
1623:
1615:
1611:
1603:
1596:
1588:
1584:
1576:
1572:
1564:
1560:
1552:
1548:
1540:
1536:
1528:
1524:
1516:
1512:
1506:Chambers (1728)
1504:
1500:
1492:
1488:
1480:
1476:
1468:
1461:
1453:
1446:
1438:
1427:
1419:
1415:
1407:
1400:
1392:
1381:
1377:
1372:
1371:
1361:
1357:
1340:
1336:
1319:
1315:
1292:
1288:
1271:
1267:
1251:
1234:
1228:
1224:
1219:
1204:
1168:
1076:
938:Pope Gelasius I
844:
810:
762:
736:
735:
734:
733:
713:
712:
711:
703:
702:
691:
675:Oracle of Delos
639:calming the sea
585:The portion of
568:Patriarchal age
545:Iron Age of Man
438:
430:
425:
423:
421:
416:
411:
338:Caesar Augustus
272:
271:
270:
269:
250:
249:
248:
240:
239:
228:
200:Pope Gelasius I
132:
52:
31:
24:
17:
12:
11:
5:
3575:
3565:
3564:
3559:
3554:
3549:
3544:
3539:
3537:Poems in Latin
3534:
3529:
3524:
3519:
3514:
3509:
3504:
3499:
3485:
3484:
3453:
3447:
3414:
3408:
3383:
3377:
3347:
3346:
3342:
3341:
3335:
3318:
3312:
3291:
3285:
3260:
3254:
3232:
3231:
3224:
3223:
3218:
3213:
3207:
3206:
3195:
3194:
3192:
3189:
3187:
3186:
3180:
3159:
3153:
3132:
3120:10.1086/478640
3114:(4): 648–662.
3103:
3097:
3076:
3074:. p. 134.
3062:] Proba".
3053:
3047:
3026:
3020:
2999:
2993:
2972:
2938:
2932:
2915:
2909:
2888:
2882:
2857:
2838:
2812:(2): 551–563.
2801:
2782:
2776:
2751:
2745:
2724:
2718:
2697:
2691:
2670:
2644:
2627:
2601:
2595:
2587:Bloodaxe Books
2569:
2567:
2564:
2562:
2561:
2557:Cullhed (2015)
2549:
2545:Cullhed (2015)
2528:
2510:
2506:Cullhed (2015)
2498:
2494:Cullhed (2015)
2483:
2466:
2454:
2442:
2430:
2426:Cullhed (2015)
2418:
2414:Cullhed (2015)
2406:
2394:
2382:
2352:
2348:Cullhed (2015)
2337:
2325:
2309:
2297:
2285:
2281:Cullhed (2015)
2273:
2256:
2252:Cullhed (2015)
2244:
2240:Cullhed (2015)
2232:
2220:
2216:Cullhed (2015)
2208:
2204:Cullhed (2015)
2196:
2192:Fassina (2004)
2184:
2172:
2160:
2156:Cullhed (2015)
2148:
2133:
2129:Cullhed (2015)
2121:
2106:
2094:
2082:
2078:Cullhed (2015)
2070:
2066:Cullhed (2015)
2055:
2043:
2028:
2016:
2001:
1989:
1977:
1960:
1956:Cullhed (2015)
1948:
1944:Cullhed (2015)
1936:
1932:Cullhed (2015)
1924:
1920:Cullhed (2015)
1912:
1908:Cullhed (2015)
1900:
1896:Cullhed (2015)
1888:
1884:Cullhed (2015)
1876:
1872:Cullhed (2015)
1864:
1860:Cullhed (2015)
1847:
1843:Cullhed (2015)
1835:
1831:Cullhed (2015)
1823:
1801:
1797:Cullhed (2015)
1789:
1785:Cullhed (2015)
1777:
1765:
1761:Cullhed (2015)
1753:
1749:Cullhed (2015)
1741:
1737:Cullhed (2015)
1729:
1725:Cullhed (2015)
1717:
1713:Cullhed (2015)
1705:
1701:Cullhed (2015)
1693:
1689:Cullhed (2015)
1681:
1677:Cullhed (2015)
1669:
1657:
1645:
1643:, pp. 190–231.
1641:Cullhed (2015)
1633:
1621:
1617:Cullhed (2015)
1609:
1594:
1582:
1570:
1558:
1546:
1534:
1522:
1510:
1498:
1486:
1482:Cullhed (2015)
1474:
1459:
1455:Cullhed (2015)
1444:
1425:
1421:Cullhed (2015)
1413:
1398:
1378:
1376:
1373:
1370:
1369:
1355:
1334:
1313:
1286:
1265:
1221:
1220:
1218:
1215:
1214:
1213:
1203:
1200:
1075:
1072:
1024:printing press
924:late antiquity
912:, the wife of
843:
840:
809:
806:
761:
758:
716:In the cento,
715:
714:
705:
704:
696:
695:
694:
693:
692:
690:
687:
623:Sibyl of Cumae
609:are featured,
595:life and deeds
591:birth of Jesus
564:Karla Pollmann
417:
415:
412:
410:
407:
364:fourth Eclogue
348:late antiquity
300:Constantius II
252:
251:
242:
241:
233:
232:
231:
230:
229:
227:
224:
122:
121:
116:
110:
109:
104:
100:
99:
97:New Testaments
86:
82:
81:
76:
72:
71:
66:
62:
61:
58:
54:
53:
46:
38:
37:
28:
27:
15:
9:
6:
4:
3:
2:
3574:
3563:
3560:
3558:
3555:
3553:
3550:
3548:
3545:
3543:
3540:
3538:
3535:
3533:
3530:
3528:
3525:
3523:
3520:
3518:
3515:
3513:
3510:
3508:
3505:
3503:
3500:
3498:
3495:
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3492:
3480:
3475:
3471:
3467:
3463:
3461:
3454:
3450:
3444:
3440:
3436:
3432:
3428:
3423:
3422:
3415:
3411:
3405:
3401:
3397:
3393:
3389:
3384:
3380:
3374:
3370:
3366:
3362:
3358:
3354:
3349:
3348:
3344:
3343:
3338:
3332:
3328:
3324:
3319:
3315:
3309:
3305:
3301:
3297:
3292:
3288:
3282:
3278:
3274:
3270:
3266:
3261:
3257:
3251:
3247:
3242:
3241:
3234:
3233:
3229:
3228:
3222:
3219:
3217:
3214:
3212:
3209:
3208:
3203:
3198:
3183:
3177:
3173:
3169:
3165:
3160:
3156:
3150:
3146:
3142:
3138:
3133:
3129:
3125:
3121:
3117:
3113:
3109:
3104:
3100:
3094:
3090:
3086:
3082:
3077:
3073:
3069:
3065:
3061:
3060:
3054:
3050:
3044:
3040:
3036:
3032:
3027:
3023:
3017:
3013:
3009:
3005:
3000:
2996:
2990:
2986:
2982:
2978:
2973:
2969:
2958:
2954:
2950:
2949:
2944:
2939:
2935:
2929:
2925:
2921:
2916:
2912:
2906:
2902:
2898:
2894:
2889:
2885:
2879:
2875:
2871:
2866:
2865:
2858:
2854:
2850:
2846:
2845:
2839:
2835:
2831:
2827:
2823:
2819:
2815:
2811:
2807:
2802:
2798:
2794:
2790:
2789:
2783:
2779:
2773:
2769:
2765:
2761:
2757:
2752:
2748:
2742:
2738:
2734:
2733:Baltimore, MD
2730:
2725:
2721:
2715:
2711:
2707:
2703:
2698:
2694:
2688:
2684:
2680:
2679:Cambridge, UK
2676:
2671:
2660:
2656:
2652:
2651:
2645:
2641:
2637:
2634:(27): 31–39.
2633:
2628:
2618:on 2008-12-02
2617:
2613:
2612:
2607:
2602:
2598:
2592:
2588:
2584:
2579:
2578:
2571:
2570:
2558:
2553:
2546:
2541:
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2537:
2535:
2533:
2525:
2524:
2519:
2514:
2507:
2502:
2495:
2490:
2488:
2480:
2475:
2473:
2471:
2463:
2458:
2451:
2446:
2439:
2434:
2427:
2422:
2415:
2410:
2403:
2398:
2391:
2386:
2370:
2366:
2362:
2356:
2349:
2344:
2342:
2334:
2329:
2322:
2318:
2313:
2306:
2305:Jensen (1996)
2301:
2294:
2289:
2282:
2277:
2270:
2265:
2263:
2261:
2253:
2248:
2241:
2236:
2229:
2224:
2217:
2212:
2205:
2200:
2193:
2188:
2181:
2176:
2169:
2164:
2157:
2152:
2145:
2140:
2138:
2130:
2125:
2118:
2113:
2111:
2103:
2098:
2092:, pp. 555–58.
2091:
2086:
2079:
2074:
2067:
2062:
2060:
2052:
2051:Cooper (2007)
2047:
2040:
2035:
2033:
2025:
2020:
2013:
2008:
2006:
1998:
1993:
1986:
1981:
1974:
1969:
1967:
1965:
1957:
1952:
1945:
1940:
1933:
1928:
1921:
1916:
1909:
1904:
1897:
1892:
1885:
1880:
1874:, pp. 169–70.
1873:
1868:
1862:, pp. 164–65.
1861:
1856:
1854:
1852:
1844:
1839:
1832:
1827:
1819:
1815:
1808:
1806:
1799:, pp. 122–23.
1798:
1793:
1786:
1781:
1774:
1769:
1762:
1757:
1751:, pp. 154–55.
1750:
1745:
1738:
1733:
1726:
1721:
1714:
1709:
1703:, pp. 141–42.
1702:
1697:
1690:
1685:
1679:, pp. 138–40.
1678:
1673:
1666:
1661:
1654:
1649:
1642:
1637:
1630:
1629:Balmer (1996)
1625:
1618:
1613:
1606:
1601:
1599:
1591:
1586:
1579:
1574:
1567:
1562:
1555:
1550:
1543:
1538:
1531:
1526:
1519:
1514:
1507:
1502:
1495:
1494:McGill (2005)
1490:
1483:
1478:
1471:
1466:
1464:
1456:
1451:
1449:
1441:
1436:
1434:
1432:
1430:
1422:
1417:
1411:, pp. 131–32.
1410:
1405:
1403:
1395:
1390:
1388:
1386:
1384:
1379:
1366:
1359:
1352:
1348:
1344:
1338:
1331:
1327:
1323:
1317:
1309:
1305:
1304:
1299:
1295:
1290:
1283:
1279:
1275:
1269:
1262:
1257:
1249:
1245:
1240:
1232:
1226:
1222:
1211:
1210:
1206:
1205:
1199:
1197:
1193:
1189:
1185:
1181:
1178:
1174:
1166:
1161:
1159:
1155:
1150:
1146:
1142:
1141:
1136:
1132:
1128:
1124:
1120:
1116:
1112:
1108:
1107:
1098:
1097:
1092:
1089:) identified
1088:
1084:
1080:
1071:
1069:
1065:
1060:
1059:
1054:
1053:
1048:
1047:William Smith
1044:
1040:
1035:
1033:
1029:
1025:
1021:
1017:
1016:
1011:
1008:
1004:
1000:
996:
993:
989:
985:
981:
976:
974:
970:
966:
962:
958:
954:
951:
947:
943:
939:
935:
934:
929:
925:
920:
918:
917:Theodosius II
915:
911:
910:Aelia Eudocia
908:
904:
900:
896:
892:
888:
884:
880:
876:
872:
868:
865:
864:Church Father
857:
853:
848:
839:
837:
836:
831:
827:
822:
820:
815:
805:
803:
799:
795:
787:
783:
778:
774:
771:
767:
766:materfamilias
757:
755:
751:
747:
742:
731:
727:
723:
719:
709:
700:
686:
684:
680:
676:
672:
668:
664:
660:
656:
652:
648:
644:
640:
636:
632:
628:
624:
620:
616:
612:
608:
604:
600:
596:
592:
588:
583:
581:
577:
573:
569:
565:
561:
557:
552:
550:
546:
542:
538:
534:
531:
527:
523:
519:
515:
511:
507:
506:
501:
497:
493:
489:
484:
482:
478:
474:
470:
466:
462:
458:
455:
454:New Testament
451:
447:
443:
442:Old Testament
437:
434:
427:
406:
404:
400:
396:
392:
389:("god"), and
388:
384:
380:
376:
371:
369:
366:, which many
365:
361:
357:
353:
349:
345:
344:
339:
335:
331:
327:
323:
318:
312:
308:
305:
301:
297:
293:
289:
285:
277:
267:
263:
259:
255:
246:
237:
223:
221:
217:
213:
209:
205:
201:
197:
196:
191:
185:
183:
179:
175:
174:New Testament
171:
167:
163:
162:
157:
149:
145:
144:
138:
130:
129:
120:
117:
115:
111:
108:
105:
101:
98:
94:
90:
87:
83:
80:
77:
73:
70:
67:
63:
59:
55:
50:
44:
39:
35:
29:
22:
19:
3469:
3465:
3459:
3420:
3391:
3388:Cento Probae
3387:
3356:
3352:
3322:
3295:
3264:
3239:
3211:Online books
3201:
3163:
3136:
3111:
3107:
3080:
3063:
3057:
3030:
3003:
2976:
2966:– via
2962:November 14,
2960:. Retrieved
2946:
2919:
2892:
2863:
2842:
2809:
2805:
2797:the original
2787:
2755:
2728:
2701:
2674:
2662:. Retrieved
2649:
2631:
2620:. Retrieved
2616:the original
2609:
2576:
2566:Bibliography
2552:
2547:, pp. 22–23.
2521:
2513:
2501:
2479:Green (1995)
2457:
2450:Lejay (1911)
2445:
2438:Smith (1849)
2433:
2428:, pp. 66–67.
2421:
2409:
2397:
2385:
2373:. Retrieved
2369:the original
2355:
2328:
2320:
2312:
2300:
2288:
2276:
2247:
2235:
2223:
2211:
2199:
2187:
2180:Green (1995)
2175:
2163:
2151:
2144:Plant (2004)
2131:, pp. 52–53.
2124:
2117:Green (1995)
2097:
2090:Green (1995)
2085:
2073:
2053:, pp. 66–67.
2046:
2019:
1999:, pp. 33–34.
1992:
1980:
1951:
1939:
1927:
1915:
1903:
1898:, p. 181–82.
1891:
1879:
1867:
1838:
1826:
1818:the original
1792:
1780:
1768:
1756:
1744:
1732:
1720:
1708:
1696:
1684:
1672:
1660:
1655:, pp. 65–66.
1648:
1636:
1624:
1612:
1585:
1573:
1561:
1549:
1537:
1525:
1513:
1501:
1489:
1477:
1416:
1394:Plant (2004)
1364:
1358:
1350:
1337:
1329:
1322:garrula anus
1321:
1316:
1301:
1289:
1268:
1260:
1248:Cento Probae
1247:
1243:
1230:
1225:
1207:
1195:
1172:
1164:
1162:
1157:
1153:
1144:
1138:
1134:
1131:anachronisms
1118:
1114:
1110:
1104:
1102:
1094:
1086:
1067:
1056:
1050:
1043:philologists
1038:
1036:
1013:
977:
972:
968:
964:
960:
956:
941:
931:
928:pseudonymous
921:
902:
898:
886:
882:
879:garrula anus
878:
861:
855:
833:
829:
823:
813:
811:
797:
791:
785:
765:
763:
753:
749:
737:
729:
721:
678:
655:Sack of Troy
650:
630:
626:
586:
584:
579:
575:
571:
555:
553:
540:
536:
525:
513:
503:
485:
472:
468:
464:
439:
432:
429:
419:
390:
386:
385:("father"),
382:
381:("mother"),
378:
374:
372:
341:
325:
319:
310:
287:
273:
265:
257:
253:
193:
186:
159:
142:
141:
127:
126:
125:
89:Christianity
69:Roman Empire
48:
18:
3437:. pp.
2523:Etymologiae
1520:, pp. 1–14.
1308:paraphrases
1123:medievalist
1106:Etymologiae
1096:Etymologiae
980:Renaissance
978:During the
965:posita sola
603:Holy Spirit
599:crucifixion
496:Great Flood
492:Fall of Man
477:Holy Spirit
473:vatis Proba
354:poets like
278:, was born
3491:Categories
3085:Oxford, UK
3068:London, UK
3035:Oxford, UK
2981:Oxford, UK
2968:New Advent
2706:Oxford, UK
2664:August 10,
2655:London, UK
2622:2017-08-07
2583:Hexham, UK
2526:, I.39.26.
2390:Worth 2015
2333:Cox (2008)
1496:, pp. 2–5.
1375:References
1303:Cyclopædia
1274:Silver Age
1177:Latin poet
1028:John Colet
995:Charles IV
950:Archbishop
946:apocryphal
819:asceticism
645:, and the
403:classicist
360:Prudentius
352:Late Latin
307:Magnentius
204:apocryphal
188:alongside
85:Subject(s)
2901:Routledge
2834:163022254
2632:Vergilius
2481:, p. 551.
2464:, p. 133.
2440:, p. 134.
2254:, p. 190.
2230:, p. 650.
2182:, p. 553.
2170:, p. 357.
2146:, p. 171.
2119:, p. 558.
2080:, p. 166.
2068:, p. 165.
1958:, p. 158.
1946:, p. 186.
1934:, p. 185.
1922:, p. 184.
1910:, p. 182.
1886:, p. 176.
1833:, p. 164.
1787:, p. 121.
1775:, p. 113.
1763:, p. 157.
1739:, p. 151.
1727:, p. 145.
1715:, p. 142.
1691:, p. 138.
1631:, p. 111.
1619:, p. 128.
1580:, p. 470.
1556:, p. 469.
1544:, p. 159.
1532:, p. 475.
1508:, p. 180.
1472:, p. 131.
1457:, p. 113.
1442:, p. 132.
1396:, p. 170.
1347:Demetrias
1300:, in his
1184:panegyric
1119:expressit
1064:monograph
871:Bethlehem
842:Reception
444:books of
2640:41591857
2559:, p. 65.
2416:, p. 56.
2404:, p. 69.
2392:, p. 66.
2375:July 11,
2350:, p. 25.
2335:, p. 18.
2307:, p. 53.
2283:, p. 59.
2271:, p. 68.
2242:, p. 64.
2218:, p. 57.
2206:, p. 58.
2158:, p. 53.
2104:, p. 67.
2041:, p. 35.
2026:, p. 34.
2014:, p. 33.
1987:, p. 36.
1975:, p. 31.
1667:, p. 66.
1607:, p. 39.
1592:, p. 99.
1568:, p. 53.
1423:, p. 24.
1306:(1728),
1294:Ausonius
1282:Juvencus
1202:See also
1180:Claudian
1087:pictured
1007:humanist
1003:Petrarch
895:Arcadius
856:pictured
830:Caesares
802:Carthage
794:antitype
786:pictured
770:Latinist
673:and the
556:Georgics
541:Georgics
505:Georgics
409:Contents
356:Juvencus
302:and the
216:Petrarch
103:Genre(s)
75:Language
3396:Swansea
3128:3154430
2606:"Cento"
2496:, p. 6.
1484:, p. 1.
1311:taken."
999:Italian
997:), the
922:During
907:Empress
683:Mercury
671:Celaeno
653:), the
560:beehive
522:Laocoön
518:Serpent
457:Gospels
446:Genesis
414:Summary
399:Musaeus
304:usurper
65:Country
57:Written
3532:Jerome
3445:
3441:–180.
3427:Leiden
3406:
3375:
3333:
3310:
3283:
3269:Leiden
3252:
3199:about
3178:
3151:
3126:
3095:
3045:
3018:
2991:
2930:
2907:
2880:
2832:
2826:639543
2824:
2774:
2760:Leiden
2743:
2716:
2689:
2638:
2593:
1252:Latin:
1246:) and
1235:Latin:
1175:, the
1149:Easter
984:letter
944:to be
867:Jerome
852:Jerome
826:Julian
798:Aeneid
754:Aeneid
750:Aeneid
746:Turnus
726:Aeneas
679:Aeneid
663:Aeneas
651:Aeneid
627:Aeneid
611:Joseph
597:, his
593:, his
580:Aeneid
576:Aeneid
537:Aeneid
533:Alecto
526:Aeneid
514:Aeneid
498:, and
494:, the
490:, the
465:Aeneid
461:Christ
450:Exodus
343:Aeneid
334:Virgil
262:Virgil
218:, and
208:Jerome
166:Virgil
133:Latin:
91:, the
3365:Italy
3355:[
3124:JSTOR
2830:S2CID
2822:JSTOR
2636:JSTOR
1365:Cento
1278:Lucan
1276:poet
1217:Notes
1109:that
963:...
957:Proba
903:sensu
730:right
718:Jesus
615:Venus
481:Muses
395:Moses
391:vates
383:pater
379:mater
330:cento
328:is a
322:proem
266:right
178:Bible
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114:Meter
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