It was in fact a kind of nuptial hymn, which, taking its start from the thought of nature as the universal mother, celebrated the preliminary pairing and mating together of all fresh things, in the hot and genial springtime—the immemorial nuptials of the soul of spring itself and the brown earth; and was full of a delighted, mystic sense of what passed between them in that fantastic marriage. That mystic burden was relieved, at intervals, by the familiar playfulness of the Latin verse-writer in dealing with mythology, which, though coming at so late a day, had still a wonderful freshness in its old age.—“Amor has put his weapons by and will keep holiday. He was bidden go without apparel, that none might be wounded by his bow and arrows. But take care! In truth he is none the less armed than usual, though he be all unclad.”
In the expression of all this Flavian seemed, while making it his chief aim to retain the opulent, many-syllabled vocabulary of the Latin genius, at some points even to have advanced beyond it, in anticipation of wholly new laws of taste as regards sound, a new range of sound itself. The peculiar resultant note, associating itself with certain other experiences of his, was to Marius like the foretaste of an entirely novel world of poetic beauty to come. Flavian had caught, indeed, something of the rhyming cadence, the sonorous organ-music of the medieval Latin, and therewithal something of its unction and mysticity of spirit. There was in his work, along with the last splendour of the classical language, a touch, almost prophetic, of that transformed life it was to have in the rhyming middle age, just about to dawn. The impression thus forced upon Marius connected itself with a feeling, the exact inverse of that, known to everyone, which seems to say, You have been just here, just thus, before!—a feeling, in his case, not reminiscent but prescient of the future, which passed over him afterwards many times, as he came across certain places and people. It was as if he detected there the process of actual change to a wholly undreamed-of and renewed condition of human body and soul: as if he saw the heavy yet decrepit old Roman architecture about him, rebuilding on an intrinsically better pattern. Could it have been actually on a new musical instrument that Flavian had first heard the novel accents of his verse? And still Marius noticed there, amid all its richness of expression and imagery, that firmness of outline he had always relished so much in the composition of Flavian. Yes! a firmness like that of some master of noble metalwork, manipulating tenacious bronze or gold. Even now that haunting refrain, with its impromptu variations, from the throats of those strong young men, came floating through the window.
Cras amet qui nunquam amavit,
Quique amavit cras amet!
—repeated Flavian, tremulously, dictating yet one stanza more.
What he was losing, his freehold of a soul and body so fortunately endowed, the mere liberty of life aboveground, “those sunny mornings in the cornfields by the sea,” as he recollected them one day, when the window was thrown open upon the early freshness—his sense of all this, was from the first singularly near and distinct, yet rather as of something he was but debarred the use of for a time than finally bidding farewell to. That was while he was still with no very grave misgivings as to the issue of his sickness, and felt the sources of life still springing essentially unadulterate within him. From time to time, indeed, Marius, labouring eagerly at the poem from his dictation, was haunted by a feeling of the triviality of such work just then. The recurrent sense of some obscure danger beyond the mere danger of death, vaguer than that and by so much the more terrible, like the menace of some shadowy adversary in the dark with whose mode of attack they had no acquaintance, disturbed him now and again through those hours of excited attention to his manuscript, and to the purely physical wants of Flavian. Still, during these three days there was much hope and cheerfulness, and even jesting. Half-consciously Marius tried to prolong one or another relieving circumstance of the day, the preparations for rest and morning refreshment, for instance; sadly making the most of the little luxury of this or that, with something of the feigned cheer of the mother who sets her last morsels before her famished child as for a feast, but really that he “may eat it and die.”
On the afternoon of the seventh day he allowed Marius finally to put aside the unfinished manuscript. For the enemy, leaving the chest quiet at length though much exhausted, had made itself felt with full power again in a painful vomiting, which seemed to shake his body asunder, with great consequent prostration. From that time the distress increased rapidly downwards. Omnia tum vero vitai claustra lababant;8 and soon the cold was mounting with sure pace from the dead feet to the head.
And now Marius began more than to suspect what the issue must be, and henceforward could but watch with a sort of agonised fascination the rapid but systematic work of the destroyer, faintly relieving a little the mere accidents of the sharper forms of suffering. Flavian himself appeared, in full consciousness at last—in clear-sighted, deliberate estimate of the actual crisis—to be doing battle with his adversary. His mind surveyed, with great distinctness, the various suggested modes of relief. He must without fail get better, he would fancy, might
