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It was in reality a scene not merely perfect in its picturesqueness, but absolutely dramatic also, getting rid of any necessity for tedious descriptions, and showing us, by the colour and character of Claudian's dress, and the dress of his attendants, the whole nature and life of the man, from what school of philosophy he affected, down to what horses he backed on the turf.
After paying to the full the tribute of admiration which is due to Claudian's refined and dignified workmanship, we are still left with the feeling that this kind of poetry was already obsolete. It is not only that, as has been remarked with truth of his historical epics, the elaboration of the treatment is disproportionate to the importance or interest of the subject.
I premise a few general rules on that point, on the nature, namely, of the evidence to be received in such cases. Meanwhile be pleased to observe, for example, that I could press into my service Claudian's famous line, Ille Caledoniis posuit qui castra pruinis.
Numerous and sometimes important variations present themselves; not seldom, also, absolute and final contradictions; yet neither one nor the other are deemed sufficient to shake the credibility of the main fact. The embassy of the Jews to deprecate the execution of Claudian's order to place his statue in their temple Philo places in harvest, Josephus in seed-time, both contemporary writers.
These historical epics of Claudian's On the Consulate of Stilicho, On the Gildonic War, On the Pollentine War, On the Third, Fourth, and Sixth Consulates of Honorius are accompanied by other pieces, written in the same stately and harmonious hexameter, of a more personal interest: invectives against Rufinus and Eutropius, the rivals of his patron; a panegyric on Stilicho's wife, Serena, the niece of Theodosius; a fine epithalamium on the marriage of Honorius with Maria, the daughter of Stilicho and Serena; and also by a number of poems in elegiac metre, in which he wrote with equal grace and skill, though not with so singular a mastery.
In Claudian's distinguished contemporary, the Spanish poet Aurelius Prudentius Clemens, Christian Latin poetry reached complete maturity. His collected poems were published at Rome in 404, the year celebrated by Claudian as that of the sixth consulship of Honorius. Before Prudentius, Christian poetry had been slight in amount and rude or tentative in manner.
It has in common with Milton the circumstance that its whole action is contained in a solitary event, viz., the carrying off of Proserpine from the vale of Henna by Pluto, All the personages, too, are superhuman; and the incident itself supernatural. Claudian's ambition was to overlay his story with the gold and jewellery of expression and invention.
About a year ago, he had picked up an old Claudian, and the reading of the poet had settled him to a task which he had before that doubtfully sought. He wanted to write either a poem or a drama on some subject taken from the "Decline and Fall," and now, with Claudian's help, he fixed upon Stilicho for his hero. The form, he then decided, should be dramatic.
A subject so calculated to fire the imagination has of course not been neglected by the poets. Claudian's verses are well known: Pyrenaeisque sub antris Ignea flumineae legere ceraunia nymphae.
And whom do you speak of next?" "I pass on to St Cyprian and Lactantius; to the latter I attribute the beautiful poem of the Phoenix." "What! Claudian's poem?" "No, but one infinitely superior. After Lactantius comes St Ambrose, St Jerome, and St Augustine. The second does not interest me, and my notice of him is brief; but I make special studies of the first and last.
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