{"slug":"tmp345.tmp345.opp-lat1","id":"latin:ogl-pl:tmp345.tmp345.opp-lat1","title":"Epigramma","title_source":"Epigramma","author":"Coelius Sedulius","genre":"poetry","date":"","tradition":"latin","coverage":"not-located","coverage_claim":{"status":"not-located","text":"No English translation could be identified: a language model asked twice could not name one, though it could not rule one out either. That is not proof that none exists — translations in dissertations, recent books and other modern languages are easily missed."},"publication":{"status":"machine-draft","reviewed_by":null,"model":"deepseek/deepseek-v4-flash:floor","provider":"Relace","generated":"2026-11-15T06:05:39Z","cost_usd":0.002384},"source":{"registry_id":"latin:ogl-pl:tmp345.tmp345.opp-lat1","work_id":"tmp345.tmp345.opp-lat1","edition":"ogl-pl","language":"","license":"Available under a Creative Commons Attribution-ShareAlike 4.0 International License","url":"https://github.com/OpenGreekAndLatin/patrologia_latina-dev/blob/master/data/tmp345/tmp345/tmp345.tmp345.opp-lat1.xml"},"stats":{"passages":4,"english_words":970,"coptic_letters":0,"source_letters":3819,"commentary_units":21,"commentary_kinds":7,"derived_notes":0,"ambiguities":5,"work_notes":6,"external_links":0,"timeline":3},"summary":{"work":"tmp345.tmp345.opp-lat1","abstract":"The Epigramma of Coelius Sedulius is a collection of Christian Latin poems in elegiac couplets, likely composed in the first half of the 5th century, possibly under Theodosius II. The work adapts classical meter to didactic Christian themes, aiming for clarity over rhetorical ornament. It survives in numerous manuscripts from the 9th century onward, with significant variation in the ordering of epigrams. The attribution of all epigrams to Sedulius is traditional but not universally accepted; some pieces may be later additions by imitators. The Epigramma was widely used in medieval schools as a model of Christian Latin poetry, often copied alongside Sedulius’s Carmen Paschale, and its influence appears in later liturgical hymns and florilegia.","historical_context":"Sedulius likely wrote the Epigramma in the first half of the 5th century, perhaps under the emperor Theodosius II. The dating rests on internal references and the author’s known association with the theological controversies of that period. The work was composed in Latin, the literary language of the Western Roman Empire, and belongs to the genre of Christian poetry, which flourished as the Church sought to appropriate classical forms for doctrinal and moral instruction. The Epigramma was widely used in medieval schools as a model of Christian Latin poetry, often copied alongside Sedulius’s Carmen Paschale. Its influence appears in later liturgical hymns and florilegia. The text survives in numerous manuscripts from the 9th century onward, with significant variation in the ordering of epigrams. The present edition follows the OGL-PL base text, which collates several early witnesses. This edition does not provide a full apparatus of manuscript variants; readers should consult the critical edition by Huemer (1885) for detailed stemmatic analysis.","significance":"The Epigramma is significant as a key example of early Christian Latin poetry that adapted classical meters for didactic purposes. It was a standard school text in the medieval period, shaping the development of Christian hymnody and florilegia. Its transmission history, with numerous manuscript variants and disputed attributions, illustrates the fluidity of textual traditions in late antiquity and the Middle Ages.","timeline":[{"date":"5th c. (first half)","event":"Composition of the Epigramma by Coelius Sedulius, likely under Theodosius II."},{"date":"9th c.","event":"Earliest surviving manuscripts of the Epigramma."},{"date":"1885","event":"Publication of critical edition by Huemer."}],"relations":[{"work":"Carmen Paschale","relation":"Often copied alongside the Epigramma; both by Sedulius.","key":"","label":null,"url":null},{"work":"Liturgical hymns and florilegia","relation":"Influenced by the Epigramma in later centuries.","key":"","label":null,"url":null}],"external_links":[],"cautions":["The dating of the Epigramma is uncertain; it is placed in the first half of the 5th century based on internal references and association with Theodosius II, but no precise year is known.","Attribution of all epigrams to Sedulius is traditional but not universally accepted; some pieces may be later additions by imitators.","The text survives in numerous manuscripts with significant variation in ordering; the present edition does not provide a full apparatus of variants."],"model":"deepseek/deepseek-v4-flash:floor","provider":"Relace","cost_usd":0.000363,"generated":"2026-11-15T06:05:39Z"},"links":[{"kind":"source","label":"Open Greek and Latin Patrologia Latina","url":"https://github.com/OpenGreekAndLatin/patrologia_latina-dev/blob/master/data/tmp345/tmp345/tmp345.tmp345.opp-lat1.xml"}],"checks":{"work":"tmp345.tmp345.opp-lat1","status":"pass","blocking":[],"warnings":[],"stats":{"passages":4,"translated":4,"commentary_passages":4,"commentary_units":21,"english_words":970,"source_letters":3819,"commentary_kinds":7},"model":"deepseek/deepseek-v4-flash:floor"},"work_notes":[{"unit":"dating","kind":"chronology","basis":"background","lemma":"","severity":"info","text":"Sedulius likely wrote the Epigramma in the first half of the 5th century, perhaps under the emperor Theodosius II. The dating rests on internal references and the author’s known association with the theological controversies of that period.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"background","lemma":"","severity":"info","text":"The Epigramma was widely used in medieval schools as a model of Christian Latin poetry, often copied alongside Sedulius’s Carmen Paschale. Its influence appears in later liturgical hymns and florilegia.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"transmission","kind":"transmission","basis":"text","lemma":"","severity":"info","text":"The text survives in numerous manuscripts from the 9th century onward, with significant variation in the ordering of epigrams. The present edition follows the OGL-PL base text, which collates several early witnesses.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"sense","kind":"sense","basis":"text","lemma":"","severity":"caution","text":"This edition does not provide a full apparatus of manuscript variants. Readers should consult the critical edition by Huemer (1885) for detailed stemmatic analysis.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"background","lemma":"","severity":"caution","text":"The attribution of all epigrams to Sedulius is traditional but not universally accepted; some pieces may be later additions by imitators. The present edition includes them without comment.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"sense","kind":"sense","basis":"text","lemma":"","severity":"info","text":"The Epigramma is composed in elegiac couplets, a classical meter adapted to Christian themes. Sedulius’s style is deliberately simple and didactic, aiming for clarity over rhetorical ornament.","cites":[],"named_sources":[],"dropped_cites":[]}],"derived_work_notes":[{"kind":"coverage","severity":"info","text":"No English translation could be identified: a language model asked twice could not name one, though it could not rule one out either. That is not proof that none exists — translations in dissertations, recent books and other modern languages are easily missed."},{"kind":"limit","severity":"caution","text":"The English is a machine draft produced passage by passage from the transcribed Coptic; no human has verified it. The commentary is model-written and cites only keys the pipeline could resolve."},{"kind":"register","severity":"info","text":"Register: poetry in Latin; the English keeps the liturgical formulae and the vocatives rather than normalising them."},{"kind":"structure","severity":"info","text":"Passages: 4 narrative."},{"kind":"source","severity":"info","text":"Source edition: ogl-pl — Available under a Creative Commons Attribution-ShareAlike 4.0 International License"}],"derived_structure":{"narrative":4},"term_index":[],"citations":{},"segments":[{"i":1,"ref":"p1","source":"COELII SEDULII EPIGRAMMA.\n\nHaec tua perpetuae quae scripsi dogmata vitae, Corde, rogo, facias, Christe, manere meo:\n\nUt, tibi quae placeant, tete faciente, requirens, Gaudia coelorum, te duce, Christe, metam.\n\nSCHOLIA.\n\nHoc epigramma exstat in Vatic. 1, et Aldo statim post elegiam, et ante hymnum A solis, in Reg. 5, post hunc hymnum, ubi inscribitur Sedulii epigramma. In editione Ascensiana collocatum est inter carmen paschale, et hymnum. Productum etiam est a Barthio e suo codice lib. x. Advers. c. 9, et Usserio Antiquit. Britann. cap. 16; in quodam vetusto ms. inventum fuit a Poelmanuo, descriptum a Fabricio in poetarum christianorum corpore p. 662, excusum etiam ab editore Scoto. Heinsius idem epigramma reperit in codice Nansii. Barthius loc. cit., Non vero, ait, indignum est Sedulio hoc epigrammation, Cum maxime vel ex eo ejus indoles eluceat, quod acumen in voculis paribus te tua, tete, tibi, quaerit: quod genus cum honestate quadam amat hic Christi olor. Goldastus in Manuali Biblico vocat orationem Sedulii, et post elegiam describit. Quatuor tantum sunt versus epigrammatis, ut apud atios exstat: sed in Reg. alii plures adduntur, quos censeo esse exscriptoris Matthiae filii Adae Sculteri, Mansionarii in ecclesia Cracoviensi.","english":"EPIGRAM OF COELIUS SEDULIUS\n\nThese teachings of eternal life which I have written, I ask, O Christ, that you make them remain in my heart:\n\nSo that, seeking what pleases you, with you as the doer, I may, with you as guide, O Christ, attain the joys of the heavens.\n\nSCHOLIA\n\nThis epigram exists in Vatican manuscript 1, and in the Aldine edition immediately after the elegy and before the hymn \"A solis,\" in Royal manuscript 5 after this hymn, where it is inscribed \"Sedulii epigramma.\" In the Ascensian edition it is placed between the Paschal Poem and the hymn. It was also brought forth by Barthius from his codex in book 10, chapter 9 of his Adversaria, and by Usserius in his British Antiquities, chapter 16; in a certain ancient manuscript it was found by Poelman, described by Fabricius in his corpus of Christian poets on page 662, and also printed by the Scottish editor. Heinsius found the same epigram in the codex of Nansius. Barthius, in the cited passage, says: \"This little epigram is not unworthy of Sedulius, especially since his character shines forth from it in that he seeks sharpness in the small words te, tua, tete, tibi: which kind of wordplay this swan of Christ loves with a certain honesty.\" Goldastus in his Biblical Manual calls it the \"Oration of Sedulius\" and describes it after the elegy. There are only four verses of the epigram, as it exists in others; but in the Royal manuscript others are added, which I judge to be by the scribe Matthias, son of Adam Sculterus, mansionary in the church of Cracow.","structure":"narrative","commentary":[{"unit":"structure","kind":"structure","basis":"text","lemma":"Epigramma","severity":"info","text":"The poem consists of four lines, as noted in the scholia; additional verses in the Royal manuscript are judged spurious.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"Scholia","severity":"info","text":"The scholia document the epigram's transmission in multiple manuscripts and editions, including the Vatican, Aldine, and Ascensian, and cite Barthius, Usserius, and Fabricius.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"tete","severity":"info","text":"The form 'tete' is an archaic or poetic contraction of 'te' and 'et' (or 'te' and 'te'), used here for wordplay; Barthius notes Sedulius' fondness for such verbal echoes.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"Scholia","severity":"caution","text":"The scholia are a later editorial addition, not by Sedulius; they report manuscript variants and attributions that may not be reliable.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"Matthiae filii Adae Sculteri","severity":"info","text":"The scribe Matthias, son of Adam Sculterus, is identified as a mansionary (a cathedral official) in Kraków, suggesting a Polish manuscript connection.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The original number of verses is uncertain; the scholia report four, but the Royal manuscript adds more, possibly by a later scribe."],"confidence":"high","notes":[]},{"i":2,"ref":"p2","source":"Ita igitur continenter procedit epigramma: Finem carmen habet, nec lauri serta requiro.—Tu studii merces esto, Maria, mei.— Tardus ego laudum pelagus lustrare tuarum—Exigua coepi, Virgo serena, manu.—Exemplum praebeus aliis imitabile doctis, — Ut coeptis studeant addere plura meis: — Et Jove cum falso saeva Junone relicta, — Incipiant veram te celebrare deam.—Nunc ubi magna sedes hominum regina beatrix,—A dextris nati plena decore tui. —Qui cum Patre Deo vivens per saecula cuncta, — Una cum sancto flamine regnat: amen. In versu Nunc, ubi obscure scriptum est Nunc, et in v. Qui cum, etc. non satis clare cuncta. Primum distichum Finem carmen habet, etc.; aliis in locis ejusdem codicis reperitur. In pentametro, Incipient veram te celebrare deam, merito displicebit, quod Virgo Deipara vocetur vera dea. Lamindus Pritanius, sive nomine vero Ludovicus Muratorius in opere Della regolata divozione monendos docet fideles, Mariam non esse deum: contra quem Benedictus Plazza part. Vindicat. devotion. cap. 1, disserit, supervacanee, aut etiam contumeliose hoc monitum exhiberi, cum nemo sit fidelium qui Mariam deum esse credat, aut dicat.","english":"Thus the epigram proceeds continuously: The poem has an end, and I do not seek laurel wreaths.—You, Mary, be the reward of my labor.—I, slow, to traverse the vast sea of your praises—I have begun with a small hand, serene Virgin.—You provide an example imitable by learned others,—That they may strive to add more to my beginnings:—And with false Jove and savage Juno left behind,—Let them begin to celebrate you as a true goddess.—Now where you sit as great queen, blessed ruler of men,—At the right of your Son, full of your own beauty.—Who with God the Father, living through all ages,—Reigns together with the Holy Spirit: amen. In the verse \"Now,\" where \"Now\" is obscurely written, and in the verse \"Who with,\" etc., not everything is sufficiently clear. The first distich \"The poem has an end,\" etc.; it is found in other places of the same codex. In the pentameter, \"Let them begin to celebrate you as a true goddess,\" it will rightly displease that the Virgin Mother of God is called a true goddess. Lamindus Pritanius, or by his true name Ludovicus Muratorius, in the work *Della regolata divozione* teaches that the faithful should be warned that Mary is not God; against whom Benedictus Plazza, in part *Vindicat. devotion.*, chapter 1, argues that this warning is given superfluously, or even insultingly, since there is no faithful person who believes or says that Mary is God.","structure":"narrative","commentary":[{"unit":"reception","kind":"reception","basis":"text","lemma":"vera dea","severity":"caution","text":"The scholiast notes that calling Mary 'vera dea' (true goddess) in the pentameter 'Incipient veram te celebrare deam' is theologically problematic. The ensuing debate between Muratorius and Plazza reflects early modern concerns about Marian veneration.","cites":[],"named_sources":["Muratorius Della regolata divozione","Plazza Vindicat. devotion."],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"Nunc ubi","severity":"info","text":"The scholiast flags the word 'Nunc' as obscurely written in the manuscript, and notes that the following verse 'Qui cum Patre Deo' is not entirely clear. This suggests a textual corruption or scribal difficulty in the codex.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"transmission","kind":"transmission","basis":"text","lemma":"Finem carmen habet","severity":"info","text":"The first distich 'Finem carmen habet, nec lauri serta requiro' is said to appear elsewhere in the same codex, indicating that this epigram may reuse or share material with other poems in the manuscript tradition.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"Lamindus Pritanius","severity":"info","text":"Lamindus Pritanius is a pseudonym for Ludovico Antonio Muratori (1672–1750), the Italian historian and theologian. His work 'Della regolata divozione' (On Regulated Devotion) sought to curb excesses in popular piety.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"merito displicebit","severity":"caution","text":"The scholiast's phrase 'merito displicebit' (it will rightly displease) indicates that the epithet 'vera dea' for Mary was controversial even among early modern editors, reflecting ongoing theological disputes about Mariology.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The exact nature of the textual obscurity in 'Nunc' and 'Qui cum' is not specified; the scholiast may refer to illegible script or unclear syntax.","The identity of 'Benedictus Plazza' is uncertain; possibly a misspelling or variant of a contemporary Catholic apologist."],"confidence":"high","notes":[]},{"i":3,"ref":"p3","source":"Certum tamen est, nonnullos minus caute beatissimam Virginem Matiam deam appellasse: nam ut omittam auctorem anonymum hujus epigrammatis, et Apollinarem haereticum, qui in carmine etiam ut deam vocavit, satis notus est versus Justi Lipsii: Si vota concepisset Hallensi deae: quod Lipsius, ut ait Raynandus observat, in ad Marian. Nomenclat. tom, xvii: necessitate metri adactus scripsit, nec ejus auctoritas, in politiori litteratura summa, ejusdem momenti est in re theologica. Negat idem Raynaudus, Petrum Damiani in elogiis Deiparae hoc vocabulo deae usum fuisse, quod alii asseruerant: dubitat autem, an Leo X, vel potius Joannes Medices in epistolis ejus nomine scriptis Mariam deam nuncupaverit: nihil enim tale reperit, quamvis aliqui rem ita se habere affirmaverint. Jacobus Balde Epod. 115, eodem fere modo, ac Lipsius, peccat: Virgo, serenati circumdata solis amictu, — Solem premebat calcibus, — Os, humerosque deae similis; quantamque referre — Augusta majestas potest.","english":"It is certain, however, that some have rather incautiously called the most blessed Virgin Mary a goddess: for, to pass over the anonymous author of this epigram and the heretic Apollinaris, who in his poem even called her a goddess, the verse of Justus Lipsius is well known: “If the Hallensian goddess had conceived vows,” which Lipsius, as Raynaud observes, wrote, driven by the necessity of meter, and his authority, though supreme in refined literature, is of no moment in theological matters. The same Raynaud denies that Peter Damian used the term “goddess” for the Mother of God in his eulogies, as some had asserted; but he doubts whether Leo X, or rather Giovanni de’ Medici, in letters written in his name, called Mary a goddess, for he found nothing of the sort, although some have affirmed that this is the case. Jacob Balde, in his Epode 115, errs in much the same way as Lipsius: “The Virgin, surrounded by the cloak of the serene sun, — She pressed the sun with her heels, — Her mouth and shoulders like a goddess; and how great an august majesty she can display.","structure":"narrative","commentary":[{"unit":"reception","kind":"reception","basis":"text","lemma":"deam","severity":"info","text":"The note reports that some authors, including Lipsius and Balde, called Mary a goddess under metrical pressure, a practice the commentator rejects as theologically incautious.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"Apollinarem haereticum","severity":"info","text":"Apollinaris the heretic (Apollinarius of Laodicea) is cited as having called Mary a goddess in a poem, linking the Marian title to Christological controversy.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"Justi Lipsii","severity":"info","text":"Justus Lipsius (1547–1606), a humanist scholar, is quoted for a verse using 'dea' of Mary; the commentator minimizes his theological authority despite his literary standing.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"Raynandus","severity":"info","text":"Raynaud (Théophile Raynaud, 1583–1663) is the source for the denial that Peter Damian used 'dea' and for doubt about Leo X's letters; his work is cited as 'ad Marian. Nomenclat. tom, xvii'.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"parallel","kind":"parallel","basis":"text","lemma":"Jacobus Balde Epod. 115","severity":"info","text":"Jacob Balde (1604–1668), a Jesuit poet, is compared to Lipsius for using 'deae' of Mary in Epode 115, showing a recurring pattern in Neo-Latin Marian poetry.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"nonnullos minus caute","severity":"caution","text":"The commentator warns that calling Mary a goddess is incautious and theologically problematic, even if metrically convenient; the passage is a corrective gloss, not a neutral report.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The identity of the 'anonymous author of this epigram' is not specified; the passage may refer to the very epigram being annotated, but this is not made explicit."],"confidence":"high","notes":[]},{"i":4,"ref":"p4","source":"Codex Nansii cum placeant: alii quae placeant; etiam Aldus, cui Arntzenius affingit placeat. Nostri mss. cum Aldo tete favente, resistente metro. In Vat. prius erat tete fatente, quod pejus est: correctum deinde per favente cum glossa concedente. Cappusotus in editione Ascensiana, et Barthius e suo mss. tete fautore. Fabricius ex conjectura, ut opinor, tete formante. Scotus Editor emendabat tete faciente, quod ad marginem veluti pro diversa scriptura Usserius notavit, et probat Burmannus, Secundi patruus, ex Heinsio ad Ovidium i p. 39, et l. viii Met. v. 251. Haec lectio elegans est: praecedit enim facias; et videtur esse vera, cum facile faciente in favente a librariis mutari potuerit. Goldastus edidit tete manente quod neque metro neque sensui congruit.\n\nSequitur, ut descriptis jam veris carminibus Sedulii appendices addam: in quarum prima versus, qui a nonnullis falso Sedulio imputati sunt, ascribam: in reliquis ea colligam, quae ad laudes ejus, aut opera illustranda pertinere posse arbitratus suus. Centoni Virgiliano in prima appendice subjiciam versus Virgilii a Martenio collectos, et a me iterum collatos, ex quibus Cento coalescit. Cur autem istiusmodi Cento inter Sedulii carmina reponi non debeat, disserui in Proleg. num. seq. contra Martenium qui in eo carmine centonario cumdem stylum atque in Carmine Paschali Sedulii sibi visus est deprehendisse.","english":"The codex of Nansius has *placeant*; others have *placeant*; and Aldus, to whom Arntzenius assigns *placeat*. Our manuscripts, with Aldus favoring *tete*, resist the meter. In the Vatican manuscript, it was previously *tete fatente*, which is worse; it was then corrected to *favente* with the gloss *concedente*. Cappusotus in the Ascensian edition, and Barthius from his own manuscript, have *tete fautore*. Fabricius, from conjecture, I think, has *tete formante*. Scotus the editor emended to *tete faciente*, which Usserius noted in the margin as a variant reading, and Burmannus, the uncle of Secundus, approves, citing Heinsius on Ovid, I p. 39, and Metamorphoses VIII, v. 251. This reading is elegant; for *facias* precedes; and it seems to be the true one, since *faciente* could easily have been changed to *favente* by scribes. Goldastus published *tete manente*, which suits neither meter nor sense.\n\nIt follows that, now that the true poems of Sedulius have been described, I should add appendices: in the first of these, I will ascribe verses that have been falsely attributed to Sedulius by some; in the remaining ones, I will collect those things that I have judged can pertain to his praises or to illustrating his works. To the Virgilian cento in the first appendix, I will subjoin the verses of Virgil collected by Martenius and collated again by me, from which the cento is composed. But why a cento of this kind should not be placed among the poems of Sedulius, I have discussed in the Prolegomena, number following, against Martenius, who thought he detected in that cento-poem the same style as in the Paschal Poem of Sedulius.","structure":"narrative","commentary":[{"unit":"background","kind":"background","basis":"text","lemma":"Codex Nansii","severity":"info","text":"The Codex Nansius refers to a manuscript owned by the humanist Johannes Nansius (1544–1638), a Flemish scholar. This passage discusses variant readings in Sedulius manuscripts.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"tete","severity":"info","text":"The word 'tete' is a variant of 'tute' (you, ablative), used in textual criticism of Sedulius' verse. The passage debates its correct form based on meter and manuscript evidence.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"Centoni Virgiliano","severity":"info","text":"The Virgilian cento is a poem composed from lines of Virgil, falsely attributed to Sedulius by Martenius. The editor rejects this attribution, citing stylistic differences discussed in the Prolegomena.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"transmission","kind":"transmission","basis":"text","lemma":"faciente","severity":"info","text":"The reading 'tete faciente' is preferred by the editor as elegant and metrically sound, supported by Heinsius on Ovid. It is argued that scribes easily corrupted 'faciente' to 'favente'.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"Goldastus","severity":"caution","text":"Goldastus' reading 'tete manente' is rejected as fitting neither meter nor sense, illustrating the difficulty of establishing a correct text for Sedulius' epigrams.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The passage lists multiple variant readings for a single line of Sedulius, but the exact line is not quoted. The editor's preferred reading 'tete faciente' is based on conjecture and manuscript comparison, not on a definitive source."],"confidence":"high","notes":[]}]}