This drama in freely constructed iambic trimeters, modeled on Euripides and considered “the Christian tragedy par excellence” Tuilier, is a cento. Long thought almost unanimously to be a late Byzantine 12th-c. work, it is now attributed with good reason to Gregory of Nazianzus. In the manner of ancient theater, the action unfolds in a dramatic trilogy: Christ’s passion and death, burial, resurrection. Analysis of the work brings out the author’s orthodoxy, clearly anti-Apollinarist, and his ability to express distinct speculative-theological positions in dramatic language. Besides Christ, the most prominent protagonist is Mary, his mother, heroically participating in the Son’s saving sacrifice. An elaboration, in an apologetic tone, of a literary genre and texts of pagan antiquity, the Christus Patiens is “the adaptation and the work of a thinker, a theologian and an artist” Tuilier.
Bishop of Tours from 653 or 664 to 674. We know little of him: he may have been referendary to Dagobert I in 630 and a high court official. Audonius of Rouen sent him a draft of the Vita Eligii of Noyon for him to correct, with a letter showing that the three were friends. Chrodobert also wrote a letter to the abbess Boba dealing with the case of an adulterous nun, invoking ecclesiastical legislation probably the Council of Orléans of 541 and the auctoritas of Scripture. The letter is important evidence not only of the customs of the time but also of the “prehistory,” before the 8th c., of the cult of Mary Magdalene in France.