>Only one Christian poet, Commodian of Gaza, was to be found in his library as representative of the art of the Third Century. The Carmen Apologeticum, written about 259 A.D., is a compendium of rules of conduct, tortured into acrostics, composed in rude hexameters, divided by a caesura after the fashion of heroic verse, but without any attention to quantity or the rules of hiatus and often eked out with rhymes of the kind ecclesiastical Latin later on afforded numerous examples of.
>These strained, sombre verses, with their touch of savagery, full of common, vernacular expressions, of words deflected from their original meanings, appealed to him, interested him even more than the style, over-ripe and already decadent, the historians Ammianus Marcellinus and Aurelius Victor, of the letter-writer Symmachus and the compiler and grammarian Macrobius; he even preferred them to the lines, correctly scanned, and the variegated and superbly picturesque diction of Claudian, Rutilius and Ausonius.
>These were in their day the masters of the art; they filled the dying Empire with their swan songs,--the Christian Ausonius with his Cento Nuptialis and his copious and elaborate poem on the Moselle; Rutilius, with his hymns to the glory of Rome, his anathemas against the Jews and against the Monks, his itinerary of Cisalpine Gaul, where he manages sometimes to render certain aspects of the beauties of Nature, the vague charm of landscapes reflected in water, the mirage of mists, the flying vapours about the mountain tops.
>Then there is Claudian, a kind of avatar of Lucan, who dominates all the Fourth Century with the terrific clarion of his verse--a poet who wrought a striking and sonorous hexameter, beating out, amid showers of sparks, the right epithet at a blow, attaining a certain grandeur, filling his work with a puissant breath of life. In the Western Empire falling more and more into ruin, amid the confusion of the repeated disasters that fall upon it, unchecked by the constant threat of invasion by the Barbarians now pressing in hordes at the very gates of the Empire whose bolts and bars are cracking under the strain, he revivifies Antiquity, sings of the Rape of Proserpine, lays on his brilliant colours, goes by with all his fires ablaze in the gathering gloom that is overspreading the world.
>Paganism lives again in him, sounding its last fanfare, raising its last great poet high above the Christianity that is from his day onwards utterly to submerge the language and for ever after remain absolute arbiter and master of poetry,-- with Paulinus, pupil of Ausonius, with the Spanish priest Juvenous, who paraphrases the Gospels in verse, with Victorinus, author of the Macchabæi, with Sanctus Burdigalensis, who in an Eclogue copied from Virgil makes the herdsmen Egon and Buculus deplore the maladies of their flocks.
Etc.
ibiblio.org/eldritch/jkh/r03.html