Work dossier · summary and historical context
Contra haereticos is a Greek polemical work traditionally attributed to John Chrysostom, surviving in a single medieval manuscript with lacunae in the final chapters. The text targets unspecified heretics, likely Arians or Anomoeans, and argues for Christ's full divinity using metaphors such as 'dancers' and 'soldiers' to structure ethical and doctrinal piety. It cites Colossians 1:18 to assert Christ as head of the Church. The work is cited in Theodoret of Cyrus's fifth-century florilegium and later Byzantine anti-heretical compilations but never entered Greek liturgical lectionaries. No complete critical edition exists; the present text is reconstructed from the sole witness, and two known Mount Athos fragments remain uncollated, potentially affecting the lacunose final chapters.
Contra haereticos matters as a potential witness to Chrysostom's polemical method and the Christological controversies of the late 4th century. Its use of dual metaphors and paradoxical gratitude for heresy as a stimulus to orthodoxy connects it to broader patristic rhetorical strategies. The work's fragmentary survival and disputed authorship highlight the challenges of reconstructing early Christian texts and the need for critical editions.
The work's internal references to Arian and Anomoean controversies suggest a date in the 380s–390s, a period of intense Christological debate in the Eastern Roman Empire, particularly in Antioch where Chrysostom served as a presbyter and later bishop. The community addressed is likely a Greek-speaking Christian audience in Antioch or Constantinople, familiar with Nicene orthodoxy and the threat of Arianism. The genre is polemic/apologetic, common in 4th-century patristic literature for refuting doctrinal error. The work survives only in a single medieval manuscript, with no external witness confirming the attribution to Chrysostom, which is traditional but not universally accepted. Its transmission is limited to anti-heretical compilations, indicating a niche readership among orthodox polemicists. The lack of liturgical use suggests it was not intended for public worship but for theological instruction or debate.
Apparatus · what the pipeline recorded
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