At Peristephanon 2.549-560, Prudentius depicts St. Laurence as consul in a heavenly Rome. This extraordinary passage achieves two purposes. First, it links the celebration of Rome’s conversion to the concluding prayer. By looking toward the martyr in heavenly glory, Prudentius can make his prayer heard despite his separation from the martyr’s body. Laurence’s exaltation also qualifies aristocratic ambitions. Prudentius glories in the Senate’s conversion, but senatorial lifestyles were at odds with his ideals (as Laurence’s denunciation of the rich underscores). (...) By putting Laurence at the apex of the afterlife for which both senators and ascetics longed, Prudentius can rejoice in the conversion of Rome’s élite and still maintain the superiority of ascetical to worldly lifestyles. (shrink)

We hold a rather recent commentary on Prudentius, Peristephanon, which Pierre-Yves Fux provided in two volumes (2003 and 2013). The commentary proves that the text by Prudentius contains undissolved problems as to its criticism and exegesis. The following remarks refer to the poem on the martyr Romanus (perist. 10). It becomes clear that a part of the damage of the text that has been handed down to us is caused by conscious interference, which goes back to Late Antiquity.

Within Prudentius’Peristephanonthere are three main episodes which focus upon the torture and/or death of women: the torture and death of Eulalia inPerist. 3, that of Encratis inPerist. 4 and the death of Agnes inPerist. 14. This article compares the variety and types of pain that these women are depicted as undergoing during their martyrdoms, analysing the extent to which gender and sexuality play a role in their responses to pain or to the threat of it. The article first examines the (...) martyrdoms of Agnes and Eulalia and uses these as a basis for analysing the torture of Encratis who is depicted as suffering the most pain and who, even more than the other two, is represented as a liminal figure, not only in terms of gender but also in terms of her status as a living being. A comparison and contrast between Prudentius’ representation of Encratis and his depiction of Loth's wife in hisHamartigeniawill give further insight into the significance of Encratis’ suffering and the way in which the slow and painful decay of her flesh links her with the city she protects. It will be shown how the vulnerability of these martyrs’ female flesh and the threatened or actualized violation of their virginal bodies are rendered at once shocking and their source of triumph over traumatic pain. (shrink)

In thePeristephanon, a collection of hymns in praise of the Christian martyrs, the Spanish poet Aurelius Prudentius Clemens refers back to a time more than a hundred years before he was writing, when Christianity was not the predominant influence in the Roman world but the religion of a beleaguered minority. In the course of Prudentius' lifetime, the trials that were suffered by that minority under emperors such as Decius and Diocletian became an important point of reference for increasing numbers of (...) Roman converts seeking to identify with Christianity and its sectarian past. At the time, however, those trials were recorded in only meagre written accounts. Prudentius, whose successful administrative career might have culminated in elevation to a senior position in the imperialscrinia, displays particular interest in the extent of the official archival material in thePeristephanon. In a number of passages in this work, he comments on the fragility of historical documents, which are easily destroyed by acts of malice or the effects of time. The following discussion will examine the ways in which he reflects on the permanence, or otherwise, of his own written texts. Analysis of his imitation of elegiac verse inscriptions will demonstrate how he draws attention to the inadequacy of even the most monumental types of human writing. But I will argue that, by identifying his poems with the martyrs' perishable bodies, Prudentius claims that they too can be a medium for a divine presence not confined to any perishable physical form. (shrink)

Peristephanon X, a hymn on the martyrdom of St. Romanus of Antioch, may be considered the masterpiece of Prudentius’ poetry on the Christian martyrs. Romanus is represented as a Christian hero. As a rhetor, he defends his faith against paganism as if he were a lawyer; as a martyr, he follows Christ’s example in accepting torture and death. Prudentius’ poetry aims to stimulate and revivify the Christian belief of his audience.

In the last years, there has been an increasing interest in the Christian poet Prudentius and his literary technique. This article wants to show that Propertius’s elegy 4.11, the so-called regina elegiarum, is a crucial intertext for Prudentius, Peristephanon 13. Numerous lexical and motivic references to the Propertian text regarding the matrone Cornelia render it plausible that Prudentius wanted his recipients to read his poem about the Carthagian martyr bishop Cyprian while bearing in mind the Propertian intertext. Furthermore, by (...) choosing a rare metre, Prudentius might also allude to a specific Horatian poem (carm. 1.4) as another important intertext. (shrink)