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the field of prose of the truce or coalition which was slowly forming itself between the new religion and the old culture. Beyond a certain faint and almost impalpable mysticism, which hints at the legend of the Phoenix as symbolical of the doctrine of the Resurrection, there is nothing in the poem which is distinctively Christian. Phoebus and the lyre of Cyllene are invoked, as they might be by a pagan poet. But the language is from beginning to end full of Christian or, at least, scriptural reminiscences, which could only be possible to a writer familiar with the Psalter. The description with which the poem opens of the Earthly Paradise, a "land east of the sun," where the bird has its home, has mingled touches of the Elysium of Homer and Virgil, and the New Jerusalem of the Revelation; as in the Psalms, the sun is a bridegroom coming out of his chamber, and night and day are full of a language that is not speech.
In the literary revival of the latter half of the fourth century these tendencies have developed themselves, and taken a more mature but a less interesting form. After Christianity had become formally and irrevocably the State religion, it took over what was left of Latin culture as part of the chaotic inheritance which it had to accept as the price for civil establishment. A heavy price was paid on both sides when Constantine, in Dante's luminous phrase, "turned the eagle." The Empire definitively parted with the splendid administrative and political tradition founded on the classical training and the Stoic philosophy; though shattered as it had been in the anarchy of the third century, that was perhaps in any case irrecoverable. The Church, on its side, drew away in the persons of its leaders from its earlier tradition, with all that it involved in the growth of a wholly new thought and art, and armed or hampered itself with that classicalism from which it never again got quite free. It is in the century before Constantine, therefore, when old and new were in the sharpest antagonism, and yet