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s written in hexameters, composed on a system which wavers between the quantitative and accentual treatment. These are almost evenly balanced. The poem is thus a document of great importance in the history of the development of mediaeval out of classical poetry. Though not, of course, without his barbarisms, Commodianus was obviously neither ignorant nor careless of the rules of classical versification, some of which--for instance, the strong caesura in the middle of the third foot--he retains with great strictness. His peculiar prosody is plainly deliberate. Only a very few lines are wholly quantitative, and none are wholly accentual, except where accent and quantity happen to coincide. Much of the pronunciation of modern Italian may be traced in his remarkable accentuation of some words; like Italian, he both throws back the accent off a long syllable and slides it forward upon a short one. Assonance is used freely, but there is not more rhyming than is usual in the poetry of the late empire. Not only in pronunciation, but in grammatical inflexion, the beginnings of Italian here and there appear. The case-forms of the different declensions are beginning to run into one another: the plural, for example, of insignis is no longer insignes, but, as in Italian, insigni; and the case-inflexions themselves are dwindling away before the free use of prepositions, which was already beginning to show itself in the Pervigilium Veneris.
Popular poetry was now definitely asserting itself alongside of book- poetry formed on the classical model. But authors who kept up a high literary standard in prose continued to do so in verse also. The poem _De Ave Phoenice_, found in early mediaeval collections under the name of Lactantius, and accepted as his by recent critics, is written in accurate and graceful elegiac couplets, which are quite in accordance with the admiration Lactantius, in his work On the Wrath of God, expresses for Ovid. It is perhaps the earliest instance outside