This drama in freely constructed iambic trimeters, modeled on Euripides and considered â€œthe Christian tragedy par excellenceâ€ 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: Christâ€™s passion and death, burial, resurrection. Analysis of the work brings out the authorâ€™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 Sonâ€™s saving sacrifice. An elaboration, in an apologetic tone, of a literary genre and texts of pagan antiquity, the Christus Patiens is â€œthe adaptation and the work of a thinker, a theologian and an artistâ€ 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 OrlÃ©ans of 541 and the auctoritas of Scripture. The letter is important evidence not only of the customs of the time but also of the â€œprehistory,â€ before the 8th c., of the cult of Mary Magdalene in France.