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.

Replete with stories of gods and men interacting with animals, classical literature also affords a broad range of relationships between women and animals. Such a rich series of symbolic animals finds fertile ground in the biblical world, too. Apart from symbolic animals, early Christianity knows a direct contact with wild animals during the persecutions carried out by the Roman Empire. By analyzing the martyrdom of some women in connection with the animals they had to face, we can note that animals (...) acquire a symbolic meaning. They become the pieces of an allegorical and exegetical framework whose major purpose is to celebrate God. (shrink)

The article offers a fundamental comparison between a passage in the dialogue of Methodius of Olympus calles De libero arbitrio, and one in the Hexaemeron of George of Pisidia. The starting point is represented by a description of the stormy sea, contained in the De libero arbitrio. After a poetical scene full of epical elements , Methodius gives us an original representation of the sea: as the servant can't refuse to obey his master and mumbles by himself, so the sea (...) has to restrain its anger and remain in its limits, even if it wants to be free. According to Job 38.11, it is forced to sacrifice its will, because there is a divine power that governs the universe. This passage may have influenced the composition of George of Pisidia. In fact, in his Hexaemeron the poet has come to personify the sea, first of all, with the image of a fugitive slave, then with a Bacchante who, taken by an impulse, wishes to go beyond the limits, and finally, with a female slave who is dragged away; this is created to support the conception that nature, in spite of natural impulse, is not independent and free, but is governed by God. Even if George of Pisidia inserts in his scene more details, the comparison of the sea with human subjects and the impossibility for it to be free refer to Methodius' passage. That the poet knew Methodius' writings is confirmed by one of his epigrams, in which he praises the bearing of the style of Methodius' works, based on evident lines of reasoning and divine inspiration. (shrink)

In classical and Christian literature mountain symbolism takes many forms deriving from height and center. In so far as mountains are tall, lofty, and rise abruptly to touch heaven, they form part of the symbolism of transcendence and, in so far as they are often numinous places where the gods have revealed their presence, they share in the symbolism of manifestation. According to Gospel’s tradition, in Nonnus’ Paraphrase of St. John’s Gospel, the mountain, visible home of the invisible God, situated (...) next to the deity on account of its high peak and solitude, takes on a symbolic value in revealing the role of Christ and his future elevation on the Cross. (shrink)

This article analyzes the Life of Macrina by comparing it with the mystical experience of the bride in the Commentary on the Song of Songs, both works written by Gregory of Nyssa. In the Life of Macrina, Gregory adopts the same imagery that he uses to portray the bride in the Commentary on the Song of Songs in order to emphasize Macrina’s angelic status and her pure love for God. Although scholars have pointed out the value of virginity in the (...) life of Macrina, another aspect has to be taken into account: her spousal virginity. Since Gregory uses the paradox within theological reflection and a theological context, Macrina's condition as bride of Christ comes to be realized paradoxically through her choice of virginity. Thanks to her spousal virginity, she joins Christ as His bride. Thus, in keeping with the Commentary on the Song of Songs, Macrina is the bride, Christ is the Bridegroom, and the mystical union is reached. (shrink)

Following the example of classical literature, Christian texts of the fourth century portray dreams of pregnant mothers. In such dreams, the mother sees her son or daughter, and knows the name of the infant and the great future for which the infant is destined. The dreams of Emmelia, Nonna and Monica are described in the writings of their sons (Gregory of Nyssa, Gregory of Nazianzus and Augustine, respectively). Thanks to her visions and dreams about her child, each mother becomes a (...) mediatrix of God. (shrink)