Abstract
In this continuation of a two-part study, the possibilities of intertextual examination of cento poetry are demonstrated on three specific examples. Petronius uses the technique of parodic cento in a very small extent and purely for ornamental purposes.
His parody, nevertheless, functions on three different levels, the first being the application of any quotation from Vergil to an obscene theme. The second level operates with a thematic parallel with the tragic love story of Dido in Aeneid, and the third one with the specific (though in the cento unexpressed) context of the borrowed fragments.
It is somewhat surprising that while is no trace of the third level to be found in Ausonius''s Cento nuptialis, Proba seems to handle the implicit context and her reader''s memory in a similar way as Petronius.