Seeing that Prudentius must address himself to most English readers through the imperfect medium of a translation, it may be well to remind those who make their first acquaintance with him that a historical imagination is an indispensable condition of interest and sympathy. If Prudentius has a habit of leaving the main issue and making lengthy and tedious détours into the picturesque parables and miraculous incidents of the Old Testament, there is method in his digressiveness. He knows that one of the charms of Paganism lies in its rich and variegated mythology. Yet Christianity also can point to an even nobler inheritance of the supernatural and the wonderful in the mysterious evolutions of its history. Hence the stories of the early patriarchs, of the Israelites and Moses, of Daniel and Jonah, are imported by the poet as pictorial illustrations of his theme. If occasionally the details border on the grotesque, he certainly reveals a striking knowledge of the Old Testament.
The New Testament is also adequately represented. In one poem ([ix.]) the miracles of Christ in His earthly ministry and His descent into Hades are narrated with considerable spirit and eloquence. Besides being a student of the Bible, Prudentius is a theologian. His theology is that of the Nicene Creed. The Fall of man, the personality of the Tempter, the mystery of the Trinity and of the Incarnation, the Virgin-birth, the Death and Resurrection of Christ, the pains of the lost and the bliss of the saints, the resurrection of the Body and the life everlasting--these are the themes of his pen, the themes too of the theology of his age. If the poet's treatment of these truths occasionally appears antiquated and crude to modern ideas, it is at least dignified and intelligent. His mind has absorbed the Christian religion and the Christian theology, and he not unfrequently rises to noble heights in the interpretation of their mysteries. His didactic poems, the Hamartigenia or the Origin of Evil and the Apotheosis, a treatise on the Person of Christ, prove him to be a theologian of no mean calibre. He is also an allegorist, as is proved by the Psychomachia or the Battle of the Soul, a kind of Holy War which was very popular in the Middle Ages. He is a martyrologist: as witness the Peristephanon, a series of poems on Christian, principally Spanish, martyrs. Moreover, he is an undoubted patriot, and in the Contra Symmachum, which he wrote on the famous affair of the Altar of Victory, he proves that, while a Christian, he is also civis Romanus, loyal to the Empire and the powers that be. He is a skilful versifier, and in this connection the quatrains of the Dittochaeon, verses on themes of the Old and New Testaments, may be mentioned in order to complete the list of his works. His mastery of his very varied metres--hexameter, iambic, trochaic and sapphic--is undoubted: everywhere we note the influence of Virgil and Horace, even when these poets are not recalled by echoes of their diction which are constantly greeting the reader of his poems.
Reference has already been made to the influence of Ambrose of Milan upon the thought and style of Prudentius. But there is a second and even more powerful influence that deserves at least briefly to be noted--namely, the Christian art of the Catacombs. Apart from such definite statements as e.g. are found in Peristephanon xi., it is obvious that Prudentius had a first-hand knowledge of Rome and particularly of the Catacombs. Everywhere in his poems we find evidences of the deep impression made upon his imagination by the paintings and sculptures of subterranean Rome. The now familiar representations which decorate the remains of the Catacombs suggested to him many of the allusions, the picturesque vignettes and glowing descriptions to be found in his poetry. Thus, the story of Jonah--a common theme typifying the Resurrection--the story of Daniel with its obvious consolations for an age of martyrs, the Good Shepherd and the denial of Peter may be mentioned among the numerous subjects which were reproduced in early Christian art and transferred by the poet to his verse. The symbolism of the Cock, the Dove, and the Lamb borne on the shoulders of the Good Shepherd is a perpetually recurring feature in the lyrics and martyr-hymns of Prudentius, who thus becomes one of our most valuable authorities on the Christian art of the fourth century.
The poems, of which a new English rendering is presented in this volume, are acknowledged by most critics to illustrate some of his best qualities, his brightness and dignity, his touches of nature-painting and his capacity for sustained and well-wrought narrative. As we study these lyrics of the early Church, we feel anew the mighty change that Christianity wrought in Roman life by its doctrine of immortality, and we note the curious fascination which the circumstances of the Nativity and especially the Adoration of the Magi had for the Western world. Prudentius had a great vogue in the Middle Ages, and the modern renewal of interest in mediaevalism invests with fresh dignity a poet whose works at the Revival of learning provoked the admiration of Erasmus[1] and the researches of numerous scholars and editors. But it is undoubtedly to the student of ecclesiastical history and dogma and to the lovers of Christian art and antiquities that Prudentius most truly appeals. He claims our interest, not merely because he reflects the Christian environment of his days, but because his poetry represents an attempt to preach Christ to a world still fascinated by Paganism, while conscious that the old order was changing and yielding place to new.
[1]Prudentium, unum inter Christianos vere facundum poetam.
NOTES
HYMNS
[THE TITLE]
The word Cathemerinon is taken from the Greek and is the genitive of χαθημερινα "daily things": the whole title Liber Cathemerinon is equivalent to "Book of daily hymns," and may be rendered "Hymns for the Christian's day."