l to tell of the soul's anguish an
obvious development of the 'Confessions'?"

"In like manner I trace the origin of the ballad, most particularly the
English ballad, to Prudentius, a contemporary of Claudian."

"You don't mean to say that you trace back our north-country ballads
to, what do you call him?"

"Prudentius. I show that there is much in his hymns that recalls the
English ballads."

"In his hymns?"

"Yes; in the poems that come under such denomination. I confess it is
not a little puzzling to find a narrative poem of some five hundred
lines or more included under the heading of hymns; it would seem that
nearly all lyric poetry of an essentially Christian character was so
designated, to separate it from secular or pagan poetry. In Prudentius'
first published work, 'Liber Cathemerinon,' we find hymns composed
absolutely after the manner of St Ambrose, in the same or in similar
metres, but with this difference, the hymns of Prudentius are three,
four, and sometimes seven times longer than those of St Ambrose. The
Spanish poet did not consider, or he lost sight of, the practical usages
of poetry. He sang more from an artistic than a religious impulse. That
he delighted in the song for the song's own sake is manifest; and this
is shown in the variety of his treatment, and the delicate sense of
music which determined his choice of metre. His descriptive writing is
full of picturesque expression. The fifth hymn, 'Ad Incensum Lucernae,'
is glorious with passionate colour and felicitous cadence, be he
describing with precious solicitude for Christian archaeology the
different means of artistic lighting, flambeaux, candles, lamps, or
dreaming with all the rapture of a southern dream of the balmy garden
of Paradise.

"But his best book to my thinking is by far, 'Peristephanon,' that is
to say, the hymns celebrating the glory of the martyrs.

"I was saying just now that the hymns of Prudentius, by the dramatic
rapidity of the narrative, by the composition of the strophe, and by
their wit, remind me very forcibly of our English ballads. Let us take
the story of St Laurence, written in iambics, in verses of four lines
each. In the time of the persecutions of Valerian, the Roman prefect,
devoured by greed, summoned St Laurence, the treasurer of the church,
before him, and on the plea that parents were making away with their
fortunes to the detriment of their children, demanded that the sacred
vessels should be give