Abstract

By analysing three paradigmatic passages, this paper explores how Prudentius uses classical love motifs and imagery not only to lambast paganism, but also as a powerful rhetorical tool to convey his Christian message. The ‘fire of love’ imagery is conspicuous in Psychomachia 53–57, which wittily blends Christian and erotic language. In an entirely different context, the flamma amoris is also fully exploited to depict lustful young Vestal Virgins, in combination with other classical metaphors of passion, such as the ‘wound of love’ and the signa amoris. Additionally, the contrast between heat and cold is a central element in the description of the Vestals’ tardy nuptials, redolent of classical satirical portraits of vetulae libidinosae. Finally, in Hamartigenia 628–636 the relationship between the soul and God draws from a Christian tradition of bridal representation, but the lapse into sin is portrayed as the love triangle, typical of the Latin love elegy. These examples illustrate how Prudentius creatively and consciously frames love and sex imagery in new contexts, exploring their potential and infusing clichés with new meanings and forms.