There is little attempt made to discriminate between the penalties accorded to different kinds of guilt. Heaven is described in the same rhapsodical style as in the _Fis Adamnáin_, the _Félire Oengusa_, etc. Another moral treatise is the _Dá Brón Flatha Nime_, ‘The Two Sorrows of the Kingdom of Heaven,’ _i.e._ the two sorrows referred to ch. 33 of the _Fis Adamnáin_. Here, too, Elias is represented as standing in Paradise, the Gospels in his hand, and he preaching to the birds that perch on the Tree of Life, eating its berries.[154] 5. THE FIS ADAMNÁIN The general plan of the _Fis Adamnáin_ is distinguished from that of the other similar writings that have come down to us by an architectonic character to which they can make no claim. The structure proper to the _Imram_ was, in great measure, that of a framework into which a greater or less number of incidents could be fitted, according to the author’s taste, without impairing the general effect; the same, in a somewhat less degree, may be said of the _Echtra_, which are more nearly akin to the romance of adventure than to the epic. The early Christian writers, again, solely intent upon edification, and being for the most part men of little culture--for this species of composition, after all, was but a by-way of ecclesiastical literature--were usually content to repeat a few topics belonging to the common stock of ideas prevalent in their day, and paid but little heed to literary effect, or even to the clear conception, or orderly presentment, of their subject.[155] Thus, in the _Fis Adamnáin_, we have the first serious attempt made between the Vision of Enoch and the _Commedia_ of Dante, either to think the subject thoroughly out, or to treat it in a literary spirit: an attempt on the part of the author to construct in his own mind some distinct idea of the Otherworld, and to present his conception to his readers in a coherent form. In some respects, indeed, the construction of it is superior to that of its early predecessor, for, with due allowance made for the topographical minuteness displayed by the author of the Book of Enoch in his reproduction, in the description of Hell, of the details of his model, the _Fis_ manifests a more complete grasp of the subject as a whole, while it gains by the omission of the voluminous discussion of things celestial and sublunary, in which the older writer indulges, and which can only encumber a work conceived with less breadth and executed with less power than Dante, and he alone, has brought to the task. All the same, it cannot be denied that these architectonic qualities are still at a rudimentary stage, and the very fact that so moderate an exercise of constructive power should suffice to set this work, as a literary achievement, so far above all other precursors of Dante, does but enhance our appreciation of the height at which the stately edifice of his creation towers above all previous efforts.