Our remarks on the writings of Sedulius must necessarily be very brief, and for convenience sake we shall follow the order of the excellent edition by Arevalus as given in Migne's Patrology.[48] His great work was the _Carmen Paschale_, as he himself calls it, which is preceded by that dedicatory epistle to which we have already referred. It is accompanied with a prose version which he furnished at the special request of Macedonius, and which he calls the _Opus Paschale_. The prose only serves to make the poetry more intelligible for half-educated scholars, like the similar prose translations in the Delphin editions of the Latin poets. The style, too, of the explanation is wordy and laboured, quite unlike the limpid elegance of the poetry. The _Carmen Paschale_ in the MSS. is divided into five books. The first treats of the creation and fall of man as well as of the principal miracles recorded in the Old Testament; the second gives a beautiful account of the incarnation and birth of our Lord and the wonders of the Holy Childhood; the third and fourth deal with the miracles and noteworthy events of our Saviour's public mission; whilst the fifth details the passion, death, and resurrection of Christ. It is thus a poetic history of the wonders of the divine revelation as contained in the Old and New Testament. Each of the books contains from three to four hundred lines of heroic metre, in which the style and language of Virgil are as closely imitated as the nature of the subject will permit. The language is chaste, elegant, and harmonious; the verse is sweet and flowing, with scarcely a single rugged line, although sometimes one meets with a harsh or limping foot. The prosody, however, is on the whole wonderfully accurate, and the sentences are constructed with true Virgilian simplicity. The author had to deal with very many delicate topics, and he was of course greatly restricted in his choice of language by the necessities of the metre; yet in no single instance that we are aware of, has any fault been found with the poet on the score of any want of theological accuracy. The tone is generally elevated, imparting dignity by choice language even to commonplace topics, as Virgil does in the Georgics; but we cannot say that he often reaches the sublime. His muse takes few bold and daring flights, but, on the other hand, she never descends to what is mean or trivial. We would take the liberty of strongly recommending the careful perusal of this beautiful poem to priests who are anxious to read the great events of sacred history, clothed in elegant language and adorned with becoming imagery.