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Magnus Scheel Andersen

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Papers by Magnus Scheel Andersen

Research paper thumbnail of MA Thesis: ‘Maro changed for the better’ – The Virgilian Cento of Faltonia Betitia Proba: Christian Poetry and Classical Paideia.
This thesis examines the Christian cento of Faltonia Betitia Proba, a curious piece of poetry of ... moreThis thesis examines the Christian cento of Faltonia Betitia Proba, a curious piece of poetry of 694 lines, put together solely by lines taken from Virgil, the most celebrated Roman poet throughout antiquity. Her cento tells the story from the creation to the death and resurrection of Jesus, thus encompassing both OT and NT material alike, in more or less equal parts. 
Although the cento genre was well known in antiquity, Christian centos were not. This is mainly due to the nature of cento composition, which was seen as unserious pieces of poetry, a frivolium opusculum (“a trifling piece of work”), according to writers such as Jerome, Tertullian and Decimus Ausonius. But Proba’s cento is not playful. It serves a different purpose, namely that of recounting various bible narratives in words that lend credence to the cento through its hypotext, and thereby forming a symbiotic link between Christianity and classical literature.
In the last hundred years, it has been argued by scholars that Proba’s cento was composed during the reign of Julian the Apostate, who ruled from 361 to 363, as a response to his decree of 17th June 362, debarring Christian teachers from explicating classical texts to students. This gives her cento a pedagogical aim: Christian children could then be educated in the verses of Virgil and at the same time acquaint themselves with the various bible stories presented in her cento. The main question discussed in this thesis is whether or not this theory is the most probable reason for Proba to have written her cento. I have attempted to supply a different theory based on a alternate reading of those instances in her cento pertaining to paideia, arguing that her cento might have been meant for her own children to read and also as a celebration commemorating her conversion to Christianity.
Research paper thumbnail of MA Thesis: ‘Maro changed for the better’ – The Virgilian Cento of Faltonia Betitia Proba: Christian Poetry and Classical Paideia.
This thesis examines the Christian cento of Faltonia Betitia Proba, a curious piece of poetry of ... moreThis thesis examines the Christian cento of Faltonia Betitia Proba, a curious piece of poetry of 694 lines, put together solely by lines taken from Virgil, the most celebrated Roman poet throughout antiquity. Her cento tells the story from the creation to the death and resurrection of Jesus, thus encompassing both OT and NT material alike, in more or less equal parts. 
Although the cento genre was well known in antiquity, Christian centos were not. This is mainly due to the nature of cento composition, which was seen as unserious pieces of poetry, a frivolium opusculum (“a trifling piece of work”), according to writers such as Jerome, Tertullian and Decimus Ausonius. But Proba’s cento is not playful. It serves a different purpose, namely that of recounting various bible narratives in words that lend credence to the cento through its hypotext, and thereby forming a symbiotic link between Christianity and classical literature.
In the last hundred years, it has been argued by scholars that Proba’s cento was composed during the reign of Julian the Apostate, who ruled from 361 to 363, as a response to his decree of 17th June 362, debarring Christian teachers from explicating classical texts to students. This gives her cento a pedagogical aim: Christian children could then be educated in the verses of Virgil and at the same time acquaint themselves with the various bible stories presented in her cento. The main question discussed in this thesis is whether or not this theory is the most probable reason for Proba to have written her cento. I have attempted to supply a different theory based on a alternate reading of those instances in her cento pertaining to paideia, arguing that her cento might have been meant for her own children to read and also as a celebration commemorating her conversion to Christianity.

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