The Author examines some passages of Proba’s cento, where Virgil’s story of Dido is reused: the description of God’s love for his creation (vv. 107-114); the rich young man (vv. 518-530); the flight of the apostles after Christ’s death, and Peter’s mourning (vv. 638-647); Christ showing his wounds to the apostles, after his resurrection (vv. 677-681). The reuse of Virgilian verses pertaining to Dido’s episode seemingly betray Proba’s sympathy toward Virgil’s ‘infelix Dido’; but most of all Proba seems to exploit the Virgilian context these verses come from, in order to suggest an implicit interpretation of the biblical episodes she narrates
In several of his works, Boccaccio dedicates a whole chapter to the queen of Carthage: we meet Dido ...
On the basis of an innate predisposition to tragic reading, already well established by ancient and ...
The term „cento” comes from the Latin cento, which means „a cloak made of patches,” „patchwork,” as ...
The author examines the relationship between the text of the Virgilian cento composed by the poetess...
Two aspects of the hermeneutic of Proba's Christian cento are dealt with: 1) Virgil's verses and hal...
The text is an analysis of the story of Dido as shown in Virgil’s Aeneid. The author presents pre-Vi...
The author investigates the reuse of Vergil's 'Didonian' verses in Proba's Christian cento
After reasserting the traditional identification of the poetess Proba with Faltonia Betitia Proba (t...
It may seem faintly absurd to claim or imply that a Vergilian cento has suffered unjustified neglect...
This paper, through selected examples drawn from Dido’s story, studies some ways in which Silius rea...
Virgil carefully arranges the appearances of the pairs Dido and Anna, Camilla and Acca as an integra...
Love and tragedy dominate book four of Virgil's most powerful work, building on the violent emotions...
Love and tragedy dominate book four of Virgil’s most powerful work, building on the violent emotions...
Vergil constructs Dido’s curse on Aeneas in direct correspondence to Dido’s personal experiences; it...
The XLI canto of the Orlando furioso has a special focus of prophecies, premonitions, wrong inferenc...
In several of his works, Boccaccio dedicates a whole chapter to the queen of Carthage: we meet Dido ...
On the basis of an innate predisposition to tragic reading, already well established by ancient and ...
The term „cento” comes from the Latin cento, which means „a cloak made of patches,” „patchwork,” as ...
The author examines the relationship between the text of the Virgilian cento composed by the poetess...
Two aspects of the hermeneutic of Proba's Christian cento are dealt with: 1) Virgil's verses and hal...
The text is an analysis of the story of Dido as shown in Virgil’s Aeneid. The author presents pre-Vi...
The author investigates the reuse of Vergil's 'Didonian' verses in Proba's Christian cento
After reasserting the traditional identification of the poetess Proba with Faltonia Betitia Proba (t...
It may seem faintly absurd to claim or imply that a Vergilian cento has suffered unjustified neglect...
This paper, through selected examples drawn from Dido’s story, studies some ways in which Silius rea...
Virgil carefully arranges the appearances of the pairs Dido and Anna, Camilla and Acca as an integra...
Love and tragedy dominate book four of Virgil's most powerful work, building on the violent emotions...
Love and tragedy dominate book four of Virgil’s most powerful work, building on the violent emotions...
Vergil constructs Dido’s curse on Aeneas in direct correspondence to Dido’s personal experiences; it...
The XLI canto of the Orlando furioso has a special focus of prophecies, premonitions, wrong inferenc...
In several of his works, Boccaccio dedicates a whole chapter to the queen of Carthage: we meet Dido ...
On the basis of an innate predisposition to tragic reading, already well established by ancient and ...
The term „cento” comes from the Latin cento, which means „a cloak made of patches,” „patchwork,” as ...