265:. This generally assumes that the poet was writing in an uneducated manner, but this is unsatisfactory in the case of the Veronese writer, who often deliberately moves away (grammatically) from his source. Rather, the poet is constructing a Latin more accessible to his clerical audience, based on their spoken Latin. There is a parallel between this and the similar vulgarising of
254:
is an invention of the poet. In general, the poet's non-classical usages contrast with his evident learnedness. His verses are marked by "syllabic irregularities" among other anomalies.
113:
to Verona. At the time Verona possessed newly rebuilt walls, studded with forty regular towers and eighth tall ones at the gates, referred to in lines 4–6. The poet of the
206:, before bishop Anno brought them back around 760 and re-buried them in their original sarcophagus, inspired reference to these saints. The anonymous poet, in competition with
162:
94:
90:
179:
278:
174:
168:
403:
246:
The anonymous poet was inventive in his use of language. He praises Verona in line 2 for its pre-eminence among the cities
73:, archdeacon at Verona from 803 until his death in 846, but this ascription is unlikely. The poem consists of thirty-three
125:("its shrines and temples were built and dedicated to the gods", line 13). The monuments specifically referred to are the
321:
210:, lists some Milanese saints (lines 63–64) and some cities which praise Verona, "the gateway to the bounds of
398:
250:, "in the area of the Veneto, as Isidore teaches." In fact, Isidore teaches no such thing, and the plural form
61:
160:
associated with Verona. The list of
Veronese bishops after line 40 does not appear to be based on the earlier
117:, probably a monk, stresses not only the glory of Verona's Christian present, but departs from his model, the
138:
144:
In lines 22–24, the
Veronese poet does lament the evil of the city's pagan founders. Thereafter the
393:
388:
310:(Norman: University of Oklahoma Press), 29–31 (analysis), 180–187 (poem, with translation).
137:
can form a valuable source for early medieval Verona, since the city was partially destroyed by the
89:
were composed in a city that had undergone a recent ecclesiastical reform—under its bishops
266:
56:
8:
191:
70:
126:
102:
97:(799)—and the establishment of an abbey and basilica dedicated to the patron
157:
130:
106:
65:(c.738), which is preserved today only in a Veronese manuscript. The anonymous
44:
382:
325:(c.796) was also composed at Verona to praise Pippin around this same time.
98:
347:
which recounts this story was only written down in the tenth century.
262:
261:
are sometimes classified as "popular" poetry, on the basis of their
101:
outside the walls of the city and the establishment of the orthodox
215:
48:
334:
This portion of the poem takes the form of a pilgrim's itinerary.
235:
223:
211:
203:
74:
219:
195:
187:
153:
52:
227:
207:
199:
149:
110:
231:
172:, but is similar to a list of bishops embroidered on the
319:
Pippin receives high praise in lines 94–96. The
279:
List of literary descriptions of cities (before 1550)
380:
59:, between 795 and 806. It was modeled on the
308:Latin Poetry of the Carolingian Renaissance
248:in partibus Venetiarum, ut docet Isidorus
123:fana, tempora, constructa a deorum nomina
302:
300:
298:
296:
294:
381:
241:
80:
291:
13:
345:Translatio sancti Firmi et Rustici
14:
415:
322:De Pippini regis Victoria Avarica
194:, which had first been taken to
148:is dedicated to the thirty-five
109:had moved his royal court from
350:
337:
328:
313:
103:Cathedral of Maria Matricolare
62:Laudes Mediolanensis civitatis
1:
284:
404:Carolingian Latin literature
238:; Milan is notably omitted.
139:earthquake of 3 January 1117
121:, to praise its pagan past:
7:
272:
10:
420:
186:.760). The return of the
105:within the walls. In 799
163:Sermo de Vita S. Zenonis
267:Paulinus II of Aquileia
57:Carolingian Renaissance
69:have been ascribed to
55:, composed during the
399:Medieval Latin poetry
306:Peter Godman (1985),
242:Linguistic analysis
192:Firmus and Rusticus
81:Context and content
77:and three verses.
36:Rhythmus Pipinianus
16:Medieval Latin poem
127:Roman amphitheatre
85:Contextually, the
394:9th-century poems
389:8th-century poems
30:Carmen Pipinianum
411:
373:
354:
348:
341:
335:
332:
326:
317:
311:
304:
24:Versus de Verona
419:
418:
414:
413:
412:
410:
409:
408:
379:
378:
377:
376:
355:
351:
342:
338:
333:
329:
318:
314:
305:
292:
287:
275:
244:
202:and finally to
158:twelve apostles
131:Ponte di Pietra
107:Pippin of Italy
83:
51:on the city of
41:Ritmo Pipiniano
17:
12:
11:
5:
417:
407:
406:
401:
396:
391:
375:
374:
356:These include
349:
336:
327:
312:
289:
288:
286:
283:
282:
281:
274:
271:
243:
240:
175:Velo di Classe
82:
79:
45:medieval Latin
15:
9:
6:
4:
3:
2:
416:
405:
402:
400:
397:
395:
392:
390:
387:
386:
384:
371:
367:
363:
359:
353:
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340:
331:
324:
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316:
309:
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253:
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197:
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128:
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96:
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78:
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68:
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54:
50:
46:
42:
38:
37:
32:
31:
26:
25:
19:
369:
365:
361:
357:
352:
344:
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330:
320:
315:
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258:
256:
251:
247:
245:
183:
173:
169:Vita Zenonis
167:
161:
145:
143:
134:
122:
118:
114:
93:(c.780) and
86:
84:
66:
60:
40:
35:
34:
29:
28:
23:
22:
20:
18:
200:Capodistria
383:Categories
285:References
263:vulgarisms
252:Venetiarum
198:, then to
178:of bishop
99:Saint Zeno
366:sternatum
71:Pacificus
43:), was a
358:egredere
273:See also
216:Aquileia
152:, forty
129:and the
75:strophes
49:encomium
370:stratum
236:Ravenna
224:Brescia
212:Liguria
204:Trieste
154:martyrs
47:poetic
27:, also
362:egredi
259:Versus
234:, and
220:Mantua
196:Africa
188:relics
156:, and
150:saints
146:Versus
135:Versus
133:. The
119:Versum
115:Versus
95:Ratold
91:Eginus
87:Versus
67:Versus
53:Verona
228:Pavia
208:Milan
111:Pavia
368:for
364:and
360:for
343:The
257:The
232:Rome
180:Anno
21:The
269:.
214:":
190:of
166:or
141:.
33:or
385::
293:^
230:,
226:,
222:,
218:,
372:.
184:c
182:(
39:(
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