| Prolegomena | 7 |
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| 1 Origin and Development of the Cento | 11 |
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| 1.1 The Greek Cento | 11 |
| 1.1.1 Precursors of the Greek Cento: Rhapsody and Pastiche | 11 |
| 1.1.2 The Beginnings | 15 |
| 1.2 The Latin Cento | 20 |
| 1.3 Summary | 24 |
| 2 What is a Cento? | 27 |
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| 2.1 Technique | 30 |
| 2.2 Original context | 31 |
| 2.3 The Establishment of the Primary Text | 34 |
| 2.4 Why Write a Cento? | 37 |
| 2.5 The Ancient Vergilian Centos: A Brief Overview | 41 |
| 2.6 Summary | 47 |
| 3 Hosidius Geta, Medea: an Introduction | 51 |
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| 3.1 Geta’s Medea : The Latin Text | 53 |
| 3.2 The Plot | 90 |
| 3.3 Transmission | 92 |
| 3.4 The Author | 94 |
| 4 Hosidius Geta’s Medea : Form and Technique | 101 |
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| 4.1 Meter | 101 |
| 4.2 “Cheating” – Changing the Vergilian Text | 105 |
| 4.3 Reinterpreting the Primary Text Semantically and Grammatically | 112 |
| 4.4 Summary | 114 |
| 5 The Relationship Between Cento and Primary Text | 117 |
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| 5.1 Prologue (1-24) / First Choral Song (25-51) | 117 |
| 5.2 Medea – Creon (52-103) / Second Choral Song (104-147) | 126 |
| 5.3 Medea – Nurse (148-180) | 132 |
| 5.4 Jason – Medea (181-283) / Third Choral Song (284-312) | 135 |
| 5.5 The Messenger’s Report (313-373) | 140 |
| 5.6 Medea – Nurse (374-381) / Infanticide Scene (382-407) | 144 |
| 5.7 The Final Scene: Medea’s Departure (408-461) | 147 |
| 5.8 Summary | 151 |
| 6 Hosidius Geta’s Place in the Medea Tradition | 155 |
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| 6.1 Verbal Allusions | 156 |
| 6.2 Alexandrian Footnotes | 158 |
| 6.3 Imitatio and Aemulatio: Innovations in Geta’s Play | 159 |
| 6.4 Conclusion | 162 |
| Bibliography | 165 |
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| Indices | 173 |
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