\n\tSo when one day Hippolytus walked in his chariot along to the sea, a fighting bull came from the waters and scared the horses, which bolted, dismembered and dragged Hippolytus. Then Diana <\/em>persuaded Asclepius <\/em>to give him back the life and this angered Jupiter<\/em>. Diana changed the figure of Hippolytus making him old and hid him in Italy, in the woods of Nemi <\/em>or of Aricia<\/em>, where he lived under the name Virbius<\/em>.<\/p>\n \n\tNote: the name itself "Hippolytus" is the synthesis of the myth, since it comes to mean "the runaway horses" or "stampede of horses"; it comes from Ιππ\u03ccς, horse and, lithos λυτος, from verb λ\u03cdω , meaning "to loose, untie"<\/em><\/p>\n \n\tThis is, as seen, another version of the famous theme of Potiphar<\/em>, a myth that is found in various Eastern cultures.<\/p>\n \n\tWell, the Italian forest Nemi or Aricia, was sacred to Diana and Virbius, later identified on mythology with Hippolitus, as we have seen. The horses could not entry in this forest of Aricia because the had been the cause of death of Hippolytus. The feast of Diana and Hippolytus held on August 13<\/em>. Virbius and Diana were worshiped in many places in Italy, as in Campania.<\/p>\n \n\tCenturies later there was another Hippolytus, the martyr.<\/p>\n \n\tNews of Hippolytus are very confusing and they have continued to generate controversy among scholars since antiquity itself. We do not know the date of his birth and we know about his death that he died about the year 236. He is presented as a Roman officer who arrested kept Saint Lawrence<\/em>, an episode that led to his conversion to Christianity. It seems he followed the Novatianist heresy when he was as a priest, but later he reconciled himself with the Church. He opposed Calixtus, Urban and Pontian<\/em> popes and he was considered the first "antipope<\/em>". It is said that he was "bishop<\/em>", but we do not know of what diocese. He is one of the most prolific writers of ancient patristic, but only there were preserved a few fragments.<\/p>\n \n\tThere were other several Hippolitus, who often have been confused, as Hippolytus of Porto<\/em>, whose feast is celebrated on August 22.<\/p>\n \n\tHe was buried on the Via Tiburcina<\/em>. His feast day is August 13. Your death and martyrdom must have taken place about the year 236.<\/p>\n \n\tPrudentius <\/em>(348 AD -.. C 410), the famous Christian poet of Calahorra <\/em>or less likely of Saragossa <\/em>, in Spain, (he self generates this confusion), sang the heroic death of some martyrs, among others that of Hippolytus in his work Hymn XI of Liber Peristephanon — ("Crowns of Martyrdom"<\/em>). It is a long poem of 246 verses, of which I will quote some particularly significant verses.<\/p>\n \n\tPrudentius reveals in his work the relationship of Christian worship with pagan mythology and he, as a connoisseur of the pagan world, had the bright idea of applying to the martyr Hippolytus the brutal dismemberment by horses of the mythical Hippolytus, son of Theseus . In this connection, it is considered the patron saint of horses.<\/p>\n \n\tPrudentius says he is based on a fresco mural painting of the tomb of Hippolytus, which logically describes the death of legendary Hippolitus. The tomb seems to have been found, but without trace of the fresco.<\/p>\n \n\tSo the holy Prudentius is a mixture of mythical Greek hero and Christian martyr. Moreover, the poem raises numerous historical problems using various sources, it seems to refer, mixing, to several Hippolitus.<\/p>\n \n\tPrudentius take inspiration for his poem on the tragedy of Seneca<\/em>, Phaedra<\/em>. Actually he is not only inspired, but he goes further: at times it is almost a transcript of the text of Seneca.<\/p>\n \n\t <\/p>\n \n\t \n\t"Martyrdom of St. Hippolytus" (1468, Museum of Sint Salvator Kathedral, Bruges), originally made to decorate the altar of the Cathedral of Bruges.<\/em><\/p>\n \n\tLiber Peristephanon — ("Crowns of Martyrdom"<\/em><\/p>\n \n\tIn verses 83-122 he describes the conviction and punishment of Hippolytus. In verses 123-132 he describes the fresco in which he is inspired. I will bring these two long pieces:<\/p>\n \n\tThey called for some unusual kind of \n\tNow that all was got ready and the needful whips \n\tNote: See below the Latin text.<\/em><\/p>\n \n\tAnd speaking of cool in which he is inspired, he says, abusing the most baroque and bloody description in verses 132-152:<\/p>\n \n\tThere is a picture of the outrage painted on a wall, \n\tNow the thick wood held no longer any part of \n\tNote: See below the Latin text<\/em><\/p>\n \n\tAbout the feast day of the saint he also says in 231-234<\/p>\n \n\tIf I remember aright, beauteous Rome honours \n\tNote: See below the Latin text<\/em><\/p>\n \n\tPrudentius is directly inspired by the tragedy of Seneca's "Phaedra" as a comparative study should demonstrate it . For fragment exposed I offer the corresponding text of lines 1050-1114. But what this text shows is that not only Prudentius applies the torture of myth to the martyr, but he ascribes to him all the details of the torture that Seneca applied to the mythical hero.<\/p>\n \n\tWe can think that if Prudentius is describing a fresh and his description agrees almost went really with the text of Seneca, what he sees in his ekphrasis was the representation of the execution of the mythical Hippolytus and not this of the martyr.<\/p>\n \n\tSeneca, Phaedra, 1050-1114<\/em><\/p>\n \n\tThe lands quaked with fear; herds fled in frenzy in all directions through the fields, and the herdsman forgot to follow his cattle. All beasts fled from their wooded haunts; all hunters stood trembling, pale with chilling fear. Hippolytus alone, quite unafraid, with tight reins holds fast his horses and, terror-stricken though they are, urges them on with the encouragement of his familiar voice.<\/strong><\/em><\/p>\n \n\t[1057] There is a deep passage towards the fields through the broken hills, hard by the neighbouring stretches of the sea below. Here that huge creature sharpens his anger and prepares his wrath. When he has gained his spirit, and with full trail rehearsed his wrath, he darts forth, running swiftly, scarce touching the surface of the ground with flying feet, and stands, in grim menace, before the trembling steeds. Thy son, rising up, confronts him with fierce, threatening look, nor does he change countenance, but loudly thunders: “This empty terror cannot break my spirit, for ‘twas my father’s task to conquer bulls.” But straightway his horses, disobedient to the reins, seized the chariot and, roaming from the road, wherever frenzied terror carried them in their mad flight, there they plunged along and dashed amid the rocks.<\/strong><\/em><\/p>\n \n\t[1072] But he, as a helmsman holds his ship steady on the boisterous sea, lest it give its side to the waves, and skilfully cheats the floods, in like manner guides his swift-moving steeds. Now he drags on their mouths checked by the tight-drawn reins, and now, oft plying the twisted lash, he forces them to his will. His companion holds doggedly in pursuit, now racing alongside the horses, now making detour to face them, form every side filling them with fear.<\/strong><\/em><\/p>\n \n\t[1080] But now they could flee no further; for he charged full front upon them, that bristling, horned monster of the deep. Then, truly, the plunging horses, driven by mad fear, broke form control, struggled to wrench their necks from the yoke, and, rearing up, hurled their burden to the ground. Headlong on his face he plunged and, as he fell, entangled his body in the clinging reins; and the more he struggled, the tighter he drew those firm-holding coils. The horses felt their deed, and now, with the light chariot, since none controlled, wherever fear bade on they dashed. Just so, not recognizing their wonted burden, and indignant that the day had been entrusted to a pretended Sun, the horses flung Phaëthon far from his heavenly track. Far and wide the fields are stained with blood, and his head, dashed on the rocks, bounds back from them. The brambles pluck away his hair; the hard stones ravage that lovely face, and his ill-fated beauty is ruined by many a wound. The swift wheels drag his dying limbs; and at last, as he is whirled along, a tree, its trunk charred into a stake, stays him with its stock driven right through the groin and holds him fast, and for a little while the car stands still, held by its impaled master. Awhile that wound stays the team – then equally delay and their master, too, they break. Thereafter the thickets slash his half-dead body, the rough brambles with their sharp thorns tear him and every tree-trunk has taken its toll of him.<\/strong><\/em><\/p>\n \n\t[1105] Now bands of his mourning servants are scouring the fields through the places where Hippolytus was dragged, marked in a long trail by bloody traces, and his whimpering dogs are tracking their master’s limbs. But not yet has the painstaking toil of his grieving friends availed to fill out his body. Has his glorious beauty come to this? He who but now as the illustrious partner of his father’s throne, who but now, his acknowledged heir, shone like the stars, he is being gathered from every hand for his last burning, and collected for his funeral pyre.<\/strong><\/em> (TRANSLATED BY FRANK JUSTUS MILLER)<\/p>\n \n\tNote: see below the Latin text.<\/em><\/p>\n \n\tMoreover, his description of the fresco that Prudentius said he saw at the tomb of Hippolytus is a clear example of ekphrasis <\/em>(from the Greek \u1f14κφρασις Greek, 'to explain to the end"). An ekphrasis, as rhetoric and classical tradition, is a verbal description , in words, of a work of visual art, of a painting or sculpture, for example.<\/p>\n \n\tAnother example of ekphrasis is offered by the same Prudentius in poem IX.<\/em><\/p>\n \n\tA hypotyposis<\/em> (Greek: úποτúπωσις), would be an especially emotional and animated description to excite the imagination of the listening public. The ekphrasis might be a kind of hypotyposis.<\/p>\n \n\tIn this issue of the two Hippolitus, such a mixture and confusion of data, such coincidence in such important aspects as the way to die, the millimeter match with the text of Seneca and the date of its celebration, the August 13, are still worry and wonder about relationships and syncretism in the early centuries occurred between the traditional pagan religion and Christianity and that often endures to this day.<\/p>\n \n\tThis allowed to Sir James George Frazer <\/em>(1854-1941) to state in the opening pages of his famous and important work "The Golden Bough<\/em>"<\/p>\n \n\t“Here it is worth observing that in his long and chequered career this mythical personage has displayed a rema rkable tenacity of life. For we can hardly doubt that the Saint Hippolytus of \t \n\tHymn XI of Liber Peristephanon — ("Crowns of Martyrdom") v. 83-132:<\/em><\/p>\n \n\tInsolitum leti poscunt genus et noua poenæ \n\tPer siluas, per saxa ruunt, non ripa retardat \n\tv. 132-152<\/p>\n \n\tExemplar sceleris paries habet illitus, in quo \n\tv. 231-234<\/p>\n \n\tSi bene commemini, colit hunc pulcherrima Roma \n\tSeneca, Phaedra, 1050-1114<\/em><\/p>\n \n\ttremuere terrae, fugit attonitum pecus The hero Theseus escaped the labyrinth of Crete with the help of Ariadne, who he promised marriage to, but he abandoned her on Naxos. Theseus is the father of Hippolytus, whom he had from an Amazon, by some calle Antiope or Hippolyta or Melanippe or just the Amazon. Then Theseus married Phaedra, the sister of Ariadne. Many centuries after the mythical time, there was another Hippolytus, a Christian martyr.<\/p>\n","protected":false},"author":6,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4,7,6,13,15],"tags":[],"class_list":["post-4828","post","type-post","status-publish","format-standard","hentry","category-arts","category-culture","category-habits","category-history","category-mythology"],"_links":{"self":[{"href":"https:\/\/www.antiquitatem.com\/en\/wp-json\/wp\/v2\/posts\/4828","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.antiquitatem.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.antiquitatem.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.antiquitatem.com\/en\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/www.antiquitatem.com\/en\/wp-json\/wp\/v2\/comments?post=4828"}],"version-history":[{"count":0,"href":"https:\/\/www.antiquitatem.com\/en\/wp-json\/wp\/v2\/posts\/4828\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.antiquitatem.com\/en\/wp-json\/wp\/v2\/media?parent=4828"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.antiquitatem.com\/en\/wp-json\/wp\/v2\/categories?post=4828"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.antiquitatem.com\/en\/wp-json\/wp\/v2\/tags?post=4828"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"https:\/\/www.antiquitatem.com\/imgs\/arts\/hip\u00f3lito1.jpg\")
<\/p>\n
\n\tdeath, some newly devised penalty to make an
\n\texample for the terror of others. The judge, sitting
\n\twith head thrown back, asked : " What is he called ? "
\n\tand they stated that he was called Hippolytus.
\n\t" Hippolytus let him be, then. Let him get a team
\n\tfrightened and agitated and be torn to death by
\n\twild horses." His words were hardly spoken when
\n\tthey forced two animals that had never known the
\n\tbridle to submit their necks to the strange yoke. They
\n\twere not brought from the stable nor ever had been
\n\tstroked by a caressing trainer's hand and broken in
\n\tto suffer a rider's government, but were beasts of the
\n\tfield lately caught out of a wandering herd, their
\n\tuntamed spirits excited by a wild creature's nervous-
\n\tness. Already the struggling pair were harnessed
\n\ttogether, their heads joined in discordant partner-
\n\tship. Instead of a pole there was a rope separating
\n\tthe bodies of the two, running between them and
\n\ttouching the flanks of both ; and from the yoke it
\n\tstretched out a long way back, trailing behind their
\n\ttracks, reaching beyond their hooves. To the end
\n\tof it, where the rut it made on the surface of the
\n\tdusty ground followed the changing course of the
\n\trunaway horses, a noose fastened Hippolytus' legs,
\n\tbinding his feet tight with a gripping knot and tying
\n\tthem to the rope.<\/strong><\/em><\/p>\n
\n\tand harness and wild horses provided for the martyr's
\n\tsuffering, they set them on with sudden shouts and
\n\tlashes, and violently dug the pricks into their sides.
\n\tThese were the last words heard from the venerable
\n\told man : " Let these ravish my body, but do Thou,
\n\tO Christ, ravish my soul." Off go the horses head-
\n\tlong, rushing about blindly wherever the din and
\n\ttheir quivering nerves and frantic excitement drive
\n\tthem, spurred by their wild spirit, carried on by their
\n\tdash, impelled by the noise, and in their swift career
\n\tunconscious of the burden that goes with them.
\n\tThrough woods and over rocks they rush, no river-
\n\tbank keeps them back, no torrent in their way checks
\n\tthem. They lay fences low and break through every
\n\tobstacle ; down slopes and over broken ground
\n\tthey go, and bound over the steep places. The body
\n\tis shattered, the thorny shrubs which bristle on the
\n\tground cut and tear it to little bits. Some of it
\n\thangs from the top of rocks, some sticks to bushes,
\n\twith some the branches are reddened, with some the
\n\tearth is wet. <\/strong><\/em> (TRANSLATION BY H. J. THOMSON)<\/p>\n
\n\tshowing in many colours the wicked deed in all its
\n\tdetails ; above the tomb is depicted a lively likeness,
\n\tportraying in clear semblance Hippolytus' bleeding
\n\tbody as he was dragged along. I saw the tips of
\n\trocks dripping, most excellent Father, and scarlet
\n\tstains imprinted on the briers, where a hand that
\n\twas skilled in portraying green bushes had also
\n\tfigured the red blood in vermilion. One could see
\n\tthe parts torn asunder and lying scattered in dis-
\n\torder up and down at random. The artist had
\n\tpainted too his loving people walking after him in
\n\ttears wherever the inconstant track showed his zig-
\n\tzag course. Stunned with grief, they were searching
\n\twith their eyes as they went, and gathering the
\n\tmangled flesh in their bosoms. One clasps the snowy
\n\thead, cherishing the venerable white hair on his
\n\tloving breast, while another picks up the shoulders,
\n\tthe severed hands, arms, elbows, knees, bare frag-
\n\tments of legs. With their garments also they wipe
\n\tdry the soaking sand, so that no drop shall remain to
\n\tdye the dust; and wherever blood adheres to the
\n\tspikes on which its warm spray fell, they press a
\n\tsponge on it and carry it all away.<\/strong><\/em><\/p>\n
\n\tthe sacred body, nor cheated it of a full burial. The
\n\tparts were reviewed and found to make the number
\n\tbelonging to the unmutilated body ; the pathless
\n\tground being cleared, and the boughs and rocks
\n\twiped dry, had nothing of the whole man still to
\n\tgive up ; and now a site was chosen on which to set a
\n\ttomb. They left the river-mouth," for Rome found
\n\tfavour with them as the place to keep the holy
\n\tremains.<\/strong><\/em><\/p>\n
\n\tthis martyr on the Ides * of August, as she herself
\n\tnames the day in the old fashion, and I should like
\n\tyou too, holy teacher, to count it among your yearly
\n\tfestivals.<\/em><\/strong> (TRANSLATION BY H. J. THOMSON)<\/p>\n
\n\tthe Roman calendar, who was dragged by horses to death on the thirteenth of August, Diana’s own day, is no other than the Greek hero of the same name, who, after dying twice over as a heathen sinner, has been happily resuscitated as a Christian saint”. <\/strong><\/em><\/p>\n![\"\"](\"https:\/\/www.antiquitatem.com\/imgs\/arts\/hip\u00f3lito_2.jpg\")
<\/p>\n
\n\tinuenta, exemplo quo trepident alii.
\n\tIlle supinata residens ceruice : " Quis ", inquit,
\n\t" dicitur ? " adfirmant dicier Hippolytum.
\n\t" Ergo sit Hippolytus, quatiat turbetque iugales
\n\tintereatque feris dilaceratus equis. "
\n\tVix hæc ille, duo cogunt animalia freni
\n\tignara insueto subdere colla iugo,
\n\tnon stabulis blandiue manu palpata magistri
\n\timperiumque equitis ante subacta pati,
\n\tsed campestre uago nuper pecus e grege captum,
\n\tquod pauor indomito corde ferinus agit.
\n\tIamque reluctantes sociarant uincula bigas
\n\toraque discordi foedere nexuerant :
\n\ttemonis uice funis inest, qui terga duorum
\n\tdiuidit et medius tangit utrumque latus,
\n\tdeque iugo in longum se post uestigia retro
\n\tprotendens trahitur transit et ima pedum.
\n\tHuius ad extremum, sequitur qua puluere summo
\n\tcornipedum refugas orbita trita uias,
\n\tcrura uiri innectit laqueus nodoque tenaci
\n\tadstringit plantas cumque rudente ligat.
\n\tPostquam composito satis instruxere paratu
\n\tmartyris ad poenam uerbera, uincla, feras,
\n\tinstigant subitis clamoribus atque flagellis
\n\tiliaque infestis perfodiunt stimulis.
\n\tVltima uox audita senis uenerabilis hæc est :
\n\t" Hi rapiant artus, tu rape, Christe, animam ! "
\n\tProrumpunt alacres cæcoque errore feruntur,
\n\tqua sonus atque tremor, qua furor exagitant.
\n\tIncendit feritas, rapit impetus et fragor urget,
\n\tnec cursus uolucer mobile sentit onus.<\/em><\/p>\n
\n\tfluminis aut torrens oppositus cohibet ;
\n\tprosternunt sæpes et cuncta obstacula rumpunt,
\n\tprona fragosa petunt, ardua transiliunt.
\n\tScissa minutatim labefacto corpore frusta
\n\tcarpit spinigeris stirpibus hirtus ager.
\n\tPars summis pendet scopulis, pars sentibus hæret,
\n\tparte rubent frondes, parte madescit humus.<\/em><\/p>\n
\n\tmulticolor fucus digerit omne nefas ;
\n\tpicta super tumulum species liquidis uiget umbris,
\n\teffigians tracti membra cruenta uiri.
\n\tRorantes saxorum apices uidi, optime papa,
\n\tpurpureasque notas uepribus impositas.
\n\tDocta manus uirides imitando effingere dumos
\n\tluserat et minio russeolam saniem.
\n\tCernere erat, ruptis compagibus, ordine nullo,
\n\tmembra per incertos sparsa iacere situs.
\n\tAddiderat caros gressu lacrimisque sequentes,
\n\tdeuia quo fractum semita monstrat iter.
\n\tMærore adtoniti atque oculis rimantibus ibant
\n\timplebantque sinus uisceribus laceris.
\n\tIlle caput niueum complectitur ac reuerendam
\n\tcanitiem molli confouet in gremio ;
\n\thic humeros truncasque manus et brachia et ulnas
\n\tet genua et crurum fragmina nuda legit.
\n\tPalliolis etiam bibulæ siccantur harenæ,
\n\tne quis in infecto puluere ros maneat.
\n\tSi quis et in sudibus recalenti aspergine sanguis
\n\tinsidet, hunc omnem spongia pressa rapit.
\n\tNec iam densa sacro quidquam de corpore silua
\n\tobtinet aut plenis fraudat ab exsequiis.
\n\tCumque recensitis constaret partibus ille
\n\tcorporis integri qui fuerat numerus,
\n\tnec purgata aliquid deberent auia, toto
\n\tex homine extersis frondibus et scopulis,
\n\tmetando eligitur tumulo locus, ostia linquunt,
\n\tRoma placet, sanctos quæ teneat cineres.<\/em><\/p>\n
\n\tIdibus Augusti mensis, ut ipsa uocat
\n\tprisco more diem, quem te quoque, sancte magister,
\n\tannua festa inter dinumerare uelim. <\/em> (v.231-234)<\/p>\n
\n\tpassim per agros nec suos pastor sequi
\n\tmeminit iuvencos; omnis e saltu fera
\n\tdiffugit, omnis frigido exsanguis metu
\n\tvenator horret, solus immunis metu
\n\tHippolytus artis continet frenis equos
\n\tpavidosque notae vocis hortatu ciet.
\n\test alta ad agros collibus ruptis via,
\n\tvicina tangens spatia suppositi maris;
\n\thic se illa moles acuit atque iras parat.
\n\tut cepit animos seque praetemptans satis
\n\tprolusit irae, praepeti cursu evolat,
\n\tsummam citato vix gradu tangens humum,
\n\tet torva currus ante trepidantes stetit.
\n\tcontra feroci gustus insurgens minax
\n\tvultu nec ora mutat et magnum intonat:
\n\t'haud frangit animum vanus hic terror meum:
\n\tnam mihi paternus vincere est tauros labor.'
\n\tinobsequentes protinus frenis equi
\n\trapuere currum iamque derrantes via,
\n\tquacumque rabidos pavidus evexit furor,
\n\thac ire pergunt seque per scopulos agunt.
\n\tat ille, qualis turbido rector mari
\n\tratem retentat, ne det obliquum latus,
\n\tet arte fluctum fallit, haud aliter citos
\n\tcurrus gubernat: ora nunc pressis trahit
\n\tconstricti frenis, terga nunc torto frequens
\n\tverbere cohercet. sequitur adsiduus comes,
\n\tnunc aequa carpens spatia, nunc contra obvius
\n\toberrat, omni parte terrorem movens.
\n\tnon-licuit ultra fugere: nam toto obvius
\n\tincurrit ore corniger ponti horridus.
\n\ttum vero pavida sonipedes mente exciti
\n\timperia solvunt seque luctantur iugo
\n\teripere rectique in pedes iactant onus.
\n\tpraeceps in ora fusus implicuit cadens
\n\tlaqueo tenaci corpus et quanto magis
\n\tpugnat, sequaces hoc magis nodos ligat.
\n\tsensere pecudes facinus— et curru levi,
\n\tdominante nullo, qua timor iussit ruunt.
\n\ttalis per auras non suum agnoscens onus
\n\tSolique falso creditum indignans diem
\n\tPhaethonta currus devio excussit polo.
\n\tlate cruentat arva et inrisum caput
\n\tscopulis resultat; auferant dumi comas,
\n\tet ora duras pulchra populatur lapis
\n\tperitque multo vulnere infelix decor.
\n\tmoribunda celeres membra pervolvunt rotae:
\n\ttandemque raptum truncus ambusta sude
\n\tmedium per inguen stipite ingesto tenet,
\n\tpaulumque domino currus affixo stetit.
\n\thaesere biiuges vulnere— et pariter moram
\n\tdominumque rumpunt, inde semanimem secant
\n\tvirgulta, acutis asperi vepres rubis
\n\tomnisque truncus corporis partem tulit.
\n\terrant per agros funebris famuli manus,
\n\tper illa qua distinctus Hippolytus loca
\n\tlongum cruenta tramitem signat nota,
\n\tmaestaeque domini membra vestigant canes.
\n\tnecdum dolentum sedulus potuit labor
\n\texplere corpus, hocine est formae decus?
\n\tqui modo paterni clarus imperii comes
\n\tet certus heres siderum fulsit modo,
\n\tpassim ad supremos ille colligitur rogos
\n\tet funeri confertur.<\/em>
\n\t <\/p>\n","protected":false},"excerpt":{"rendered":"