Arbre généalogique Goossens x Van der Heijden » Faltonia Betitia Proba (300-360)

Données personnelles Faltonia Betitia Proba 

• Elle est née en l'an 300.
• Elle est décédée en l'an 360, elle avait 60 ans.
• Un enfant de Petronius Probianus et Demetria Vr. Petronius Probianus
• Cette information a été mise à jour pour la dernière fois le 16 septembre 2012.

Famille de Faltonia Betitia Proba

Elle avait une relation avec Clodius Celsinus Adelphius.

La relation a commencé en l'an 320, elle avait 20 ans.

Enfant(s):

1. Quintus Clodius Hermogenianus Olybrius  320-390 
2. Faltonius Probus Alypius  335-400

Notes par Faltonia Betitia Proba

Faltonia Betitia Proba: From Wikipedia, the free encyclopedia

Faltonia Proba teaching the history of the world since the Creation through her Cento Vergilianus de laudibus Christi. Miniature from a 15th century manuscript of the De mulieribus claris by Giovanni Boccaccio. Faltonia Betitia Proba (c. 306/c. 315 - c. 353/c. 366) was a Latin Roman Christian poetess, possibly the most influential Latin poetess of Late Antiquity.
A member of one of the most influential aristocratic families, she composed the Cento vergilianus de laudibus Christi, a cento composed with verses by Virgil re-ordered to form an epic poem centred around the life of Jesus.
Life
Proba belonged to an influential family of the 4th century, the Petronii Probi. Her father was Petronius Probianus, Roman consul in 322, while her mother was probably called Demetria. She had a brother, Petronius Probinus, appointed consul in 341; also her grandfather, Pompeius Probus, had been a consul, in 310. Proba married Clodius Celsinus Adelphus, praefectus urbi of Rome in 351, thus creating a bond with the powerful gens Anicia. They had at least two sons, Quintus Clodius Hermogenianus Olybrius and Faltonius Probus Alypius, who become high imperial officers. She also had a nephew, Anicia Faltonia Proba, daughter of Olybrius and Tirrania Anicia Juliana.
Her family was Pagan, but Proba converted to Christianity when she was an adult, influencing her husband and her sons, who converted after her. Proba died before Celsinus. She was probably buried with her husband in the Basilica di Sant'Anastasia alPalatino in Rome, where, until the 16th century, there was their funerary inscription, later moved to Villa Borghese before disappearing. The bond between Proba and this church might be related to saint Anastasia, who probably belonged to the gens Anicia: Proba and Celsinus could have received the honour of being buried ad sanctos (next to the tomb of a saint), because of the particular veneration of the Anicii for this saint.
With her husband she owned the Horti Aciliorum at Rome, on the Pincian Hill.
Works
To "Proba" are attributed two poems, only one of them preserved. Most of the modern scholars identify this poetess Proba with Faltonia Betitia, the other possible identification being with her nephew, Anicia Faltonia Proba.
[edit] Constantini bellum adversus MagnentiumThe first poem, now lost, is called Constantini bellum adversus Magnentium by the Codex Mutinensis. It dealt with the war between Roman Emperor Constantius II and the usurper Magnentius. Proba was involved to this war through her husband Clodius Celsinus Adelphus, who had been praefectus urbi of Rome in 351, that the same year Italy passed from the sphere of influence of Magnetius to Constantius after the Battle of Mursa Major.
The existence of this first poem is based on the first verses of the second poem. Here Proba rejects her first Pagan composition, and scholars think that the Pagan poem was destroyed according to her will.
De laudibus Christi
After her conversion, around 362, Proba composed a Christian epic poem, the Cento Vergilianus de laudibus Christi, also known as De laudibus Christi.
The poem is a Virgilian cento, a patchwork of verses extracted from several works of Virgil, with minimal modifications (in this case, with the introduction of Biblical names).
She knew Virgil's poems quite well and memorized most of them. She devised a scheme one day that the history of the Bible could be compiled in a pleasant easy to read verse. She researched Bucolics, the Georgics, and the Aeneid. She would then mix various lines from each with great care and skill to complete a story. They were done expertly following all the rules of meter and the respect of verse that a connoisseur had trouble detecting the scheme. The resulting cento presents the Biblical story from the creation of the world up to the coming of the Holy Spirit by using 694 lines from Virgil. This poem was declared apocryphal (not heretic, but also not allowed to be read in public) by Pope Gelasius I and is her only surviving work. She also wrote a Homeric cento with verses taken from Homer that basically followed the same scheme. She was skilled in both the Greek and Latin languages.
The 694 lines are divided into a proemium with invocation (lines 1-55), episodes from the Old Testament (lines 56-345), episodes from the New Testament (lines 346-688) and the end.
Jerome heavily criticized this work, claiming that an "old chatterbox" wanted "to teach Scriptures before understanding them", considering "the Christless Maro a Christian" (Letters 53.7, written from Bethlehem to Paulinus of Nola);[8] Isidore of Seville, on the contrary, praised the author of this work.
Pope Gelasius I (492-496) declared the De laudibus Christi an apocryphal; therefore, even if it was not considered heretical, its public reading was forbidden. Despite this prohibition, the work had some success: it is known that Emperors Arcadius (395-408) and Theodosius II (408-451) requested copies of the poem; furthermore, during the Middle Ages this cento was used in education, and Proba's fame caused Giovanni Boccaccio to include her among the most influential women list, in his De mulieribus claris. The first printed edition of the De laudibus Christi, dating back to 1472, possibly the first printed work composed by a woman.

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Barre chronologique Faltonia Betitia Proba

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