carnal abstinence, frugality in food, sobriety in
dress, while, walking in silver powder and golden sand, a tiara on his
head, his garb figured with precious stones, Elagabalus worked, amid
his eunuchs, at womanish labor, calling himself the Empress and
changing, every night, his Emperor, whom he preferably chose among
barbers, scullions and circus drivers.

This antithesis delighted him. Then the Latin language, arrived at its
supreme maturity under Petronius, commenced to decay; the Christian
literature replaced it, bringing new words with new ideas, unemployed
constructions, strange verbs, adjectives with subtle meanings,
abstract words until then rare in the Roman language and whose usage
Tertullian had been one of the first to adopt.

But there was no attraction in this dissolution, continued after
Tertullian's death by his pupil, Saint Cyprian, by Arnobius and by
Lactantius. There was something lacking; it made clumsy returns to
Ciceronian magniloquence, but had not yet acquired that special flavor
which in the fourth century, and particularly during the centuries
following, the odor of Christianity would give the pagan tongue,
decomposed like old venison, crumbling at the same time that the old
world civilization collapsed, and the Empires, putrefied by the sanies
of the centuries, succumbed to the thrusts of the barbarians.

Only one Christian poet, Commodianus, represented the third century in
his library. The _Carmen apologeticum_, written in 259, is a
collection of instructions, twisted into acrostics, in popular
hexameters, with caesuras introduced according to the heroic verse
style, composed without regard to quantity or hiatus and often
accompanied by such rhymes as the Church Latin would later supply in
such abundance.

These sombre, tortuous, gamy verses, crammed with terms of ordinary
speech, with words diverted from their primitive meaning, claimed and
interested him even more than the soft and already green style of the
historians, Ammianus Marcellinus and Aurelius Victorus, Symmachus the
letter writer, and Macrobius the grammarian and compiler. Them he even
preferred to the genuinely scanned lines, the spotted and superb
language of Claudian, Rutilius and Ausonius.

They were then the masters of art. They filled the dying Empire with
their cries; the Christian Ausonius with his _Centon Nuptial_, and his
exuberant, embellished _Mosella_; Rutilius, with his hymns to the
glory of Rome, his anathe