Work dossier · summary and historical context
The Carmen de resurrectione mortuorum is a Latin poem transmitted under the name of Cyprian of Carthage but widely considered spurious. Its style, theology, and metrical features suggest composition in the late 4th or early 5th century, after the Constantinian settlement. The work survives in a single medieval manuscript tradition, with the earliest witness a 9th-century codex, indicating limited circulation in late antiquity. The attribution to Cyprian was questioned by Erasmus and rejected by most modern scholars, though the poem appears in some patristic collections. The editor notes that the rough diction and metrical violations argue against Cyprian, while the weighty sentiments are not unworthy of him.
The Carmen de resurrectione mortuorum is significant as a witness to late antique Christian poetry and eschatological thought, despite its disputed authorship. It illustrates the persistence of millenarian ideas and the adaptation of classical poetic forms to Christian doctrine. Its limited manuscript transmission and contested attribution also shed light on the reception of pseudepigrapha in patristic collections and early modern scholarship.
The poem's uncertain date and authorship place it in a period of theological and literary transition in the Latin West. If composed in the late 4th or early 5th century, it would belong to a milieu where Christian poets like Prudentius and Paulinus of Nola were active, blending classical forms with Christian themes. The poem's eschatological focus on resurrection and judgment reflects ongoing debates about the afterlife, possibly engaging with Origenist allegorism or millenarian traditions. Its survival in a single 9th-century manuscript from Corbie suggests limited circulation, perhaps in monastic circles. The editor Martène considered but rejected Cyprian of Antioch as author, noting he wrote in Greek, highlighting early modern scholarly debates. The poem's rough diction and metrical violations argue against Cyprian of Carthage, though the editor infers the author lived when idol worship still flourished, citing verses on the final judgment where the impious detest their idolatry.
Apparatus · what the pipeline recorded
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