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 asus. The hexameter poems are much indebted to Virgil, and in a less degree to Lucretius and Juvencus. All shew great fluency, relieved by dramatic vividness (e.g. Perist. v.; c. Symm. ii. 654 sqq.), rhetorical vigour of description (e.g. Apoth. 450–503; c. Symm. i. 415), considerable power of satire (Apoth. 186–206; Ham. 246) and humour (Perist. ii. 169, 407, ix. 69, 82), and much epigrammatic terseness of expression; but he dwells on unpleasant details in the accounts of martyrdoms (e.g. ib. x. 901) and of the coarsenesses of heathen mythology (Cath. vii. 115 sqq.). They are full of typical adaptations of Bible history (e.g. prefaces to Ham., Psych., and i. ii. Symm.). In this way, and in the substance of their arguments, they have a theological value, as shewing the tone of thought common at the time. Their lack of originality of thought makes them even more valuable for this purpose. (For the substance of the theology v. Brockhaus, c. vii.) But perhaps their historical value is the greatest. They give considerable information about heathen antiquities, e.g. the kinds of torture in use (Perist. i. 42), methods of writing (ib. ix. 23), the corn supplies of Rome (c. Symm. ii. 920), the gladiatorial shows (ib. i. 384, ii. 1909), the religious rites (ib. i. ii. passim; Perist. x.), and still more about Christian antiquities: the luxury and avarice of the times (Ham. 246; Apoth. 183, 210, 450), the position of deacons and archdeacons at Rome (Perist. ii. 37, v. 29), the times and details of fasting (Cath. iii. 57, vii. viii. 9), the use of anointing (ib. vi. 125, ix. 98; Apoth. 357 493; Psych. 360), the sign of the cross (Cath. vi. 129, ix. 84; Apoth. 493; c. Symm. ii. 712), lights in churches, especially on Easter Eve (Cath. v.), funeral rites (ib. x. 49), and the veneration for the saints (''Perist. passim.'' esp. i. 10–21, ii. 530 sqq., x. ad fin., xi. ad in.. xii.). Especially do they illustrate the art of the time. We have mention of the Lateran church (c. Symm. i. 586), that of St. Laurence (Perist. xi. 216), of buildings over the tombs of SS. Peter and Paul (xii.) and of the catacombs (xi. 153) at Rome; of a church at Merida (iii. 191), and a baptistery apparently at Calahorra (viii.); of a picture of the martyrdom of St. Cassian in the church at Imola (ix.), of St. Hippolytus in the catacombs (xi. 123), and of St. Peter (xii. 38). The Dittochaeon consists of titles for pictures, and nearly all the symbols which he uses (the Dove, the Palm, the Good Shepherd, etc.), as well as the Bible scenes illustrating his poems, are found on gems or on the walls of the catacombs, so that he may have derived his use of them from thence (Brockhaus c. ix.).

From the first his poems were held in great honour; they are quoted with high praise by Sidonius Apollinaris, Avitus, Leo, Isidore, Rabanus Maurus, Alcuin, etc. In the middle ages the Psychomachia and the Cathemerinon were special favourites, and the MSS. of them are very numerous. The best eds. of the poems are those of Areval, 1788 (reprinted in Migne, lix., lx.); Chamillard (in the Delphin classics, with useful index), 1687; Obbar, 1845; Dressel, 1860. The Apotheosis is separately printed in Hurter, Patrum Opuscula Selecta, xxxiii. Translations of selected poems were made by F. St. J. Thackeray (1890); a study of the text by E. O. Winstedt in ''Class. Rev. 1903; a metrical study by E. B. Lease (Baltimore, 1895); and an excellent monograph by Brockhaus, A Prudentius ins einer Bedeutung für die Kirche seiner Zeit'' (Leipz. 1872). We give a fuller account of each poem.

A. Lyrical. (a) Cathemerinon (i.e. καθημερίνων ὕμνων), described in the Pref. 37, 38; a collection of hymns for the hours of the day and for church seasons. Though necessarily too long for public worship, extracts were made at least as early as 9th cent., and are found frequently in the Mozarabic Liturgy (cf. v. vi. vii. ix. x.), and a few in the Roman and Salisbury breviaries; on Tues., Wed., Thurs. at Lauds (i. ii.), Compline at Christmas (ix.), Compline on Good Friday (vi.), Easter Eve (v.), Epiphany, the Holy Innocents, and the Transfiguration (xii.). (Daniel, i. 119, and Kayser, Gesch. d. Kirchenhymnen, 275–336.)

(b) Peristephanon (i.e. περὶ στεφάνων, de Coronis Martyrum) described in Pref. 42; a collection of 14 lyrical poems, all (except viii. which is an inscription for a baptistery) in honour of martyrs. The choice of the martyrs is inspired by circumstances of the poet's life; the details perhaps taken from existing Acta Martyrum. Half are connected with his own native church of Spain (i. ii. (?) iii.–vi. xiii.), the rest are saints whom he found specially honoured at Rome (ii. vii: x. (?) xi. xii.) or on his journey thither (ix.).

B. Apologetic (referred to in Pref. 39). (a) Apotheosis = ἀποθέωσις, perhaps The Deification of Human Nature in Christ (cf. Pref. 8, 9, and 176, 177; c. Symm. ii. 268). The writer deals with Patripassian, Sabellian, Ebionite, and Docetic errors on our Lord's Nature.

(b). Hamartigenia = ἀμαρτιγενεία A treatise on the origin of sin; discussed in a polemical argument against Marcion. The poem falls into two parts. (1) 1–639. God is not the creator of Evil. The existence of good and evil does not justify Marcion's theory of two Gods, for unity is essential to our conception of God. (2) 640–931. God permits evil but does not sanction it. The whole object of the Incarnation was to save man from evil (640–669). The cause of evil is man's free will, but this was needed to secure moral goodness and his power of ruling creation. The thought is mainly based on Tertullian, adv. Marcionem. The language shews reminiscences of Vergil, Persius (384), and Juvenal (763). Like the other poems, it is full of O.T. illustrations, mystically applied (Pref. 409, 564, 723). The full description of hell and paradise, and also the graphic portraiture of Satan, are especially noteworthy as the earliest in Christian literature, and so probably of great influence upon later art and literature. Both Dante and Milton may indirectly be indebted to them.

(c) Libri c. Symmachum (described in Pref. 40, 41). In 384 Symmachus had presented a petition to Valentinian II. for the restitution of the altar of Victory in the senate-house, which had been removed by Gratian, and also of the incomes of the vestal virgins. Through the influence of St. Ambrose (Epp. 17, 18) this had been refused. In 392 the altar was restored by Eugenius; in 394 again removed by Theodosius, After his death the heathen