Encyclopedia Britannica (1911): Sedulius

SEDULIUS, COELIUS or Caelius (a praenomen of doubtful authenticity), a Christian poet of the first half of the 5th century, is termed a presbyter by Isidore of Seville and in the Gelasian Decree.

(He must not be confused with Sedulius the Irish-Scot grammarian of the 9th century).

His fame rests mainly upon a long poem, Carmen Paschale, based on the four gospels. In style a bombastic imitator of Virgil, he shows, nevertheless, a certain freedom in the handling of the Biblical story, and the poem soon became a quarry for the minor poets.

A hymn by Sedulius in honour of Christ, consisting of twenty-three quatrains of iambic dimeters, has partly passed into the liturgy, the first seven quatrains forming the Christmas hymn A solis ortus cardine, and some later ones the Epiphany hymn, Hostis Herodes impie. A Veteris et novi Testamenti collatio in elegiac couplets has also come down, but we have Rio grounds for ascribing to him the Virgilian cento, De verbi incarnatione.

Sedulius's works were edited by F. Arevalo (Rome, 1794), reprinted in J. P. Migne's Patrol. Lat. vol. xix.; and finally by J. Huemer (Vienna, 1885). See J. Huemer, De Sedulii poetae vita et scriptis commentatio (Vienna, 1878); M. Manitius, Geschichte der christlich-lateinischen Poesie (Stuttgart, 1891); Teuffel-Schwabe, Hist. of Roman Lit. (Eng. trans.), 473; Herzog-Hauck, Realencyklopadie fur protestantische Theologie, xviii. (Leipzig, 1906); Smith and Wace, Dictionary of Christian Biography (1887).

- 1911 Encyclopedia Britannica

Catholic Encyclopedia: Sedulius

All our information regarding his personal history comes from two sources. Isidore of Seville in his "De viris illustribus" assigns Sedulius the seventh place, before Possidius, while Avitus and Dracontius have respectively the twenty-third and twenty-fourth places.

On the other hand, some manuscripts of Sedulius contain a biographical notice which may have been written by Gennadius. This account represents Sedulius as a Layman, who lived at first in Italy and was devoted to the study of philosophy; consequently he probably wrote his works in Achaia during the reign of Theodosius II the Younger (reigned 408-450 A.D.) and of Valentinian III (reigned 425-455 A.D.).

The Carmen Paschale

The principal work of Sedulius is a poem in five books called Carmen Paschale. The first book contains a summary of the Old Testament; the four others a summary of the New Testament. A prose introduction dedicates the work to a priest named Macedonius. The author says that he had given himself at first to secular studies and to the "barren diversions" of secular poetry.

The poem is skilfully written and is more original than that of Juvencus. Sedulius takes for granted a knowledge of the story of the Gospels, and this enables him to treat his subject more freely. He gives his attention chiefly to the thoughts and sentiments which wouldnaturally arise from meditations on the sacred writings. He pays, however, less care to uniting the various parts and making of them a coherent recital.

He follows usually theGospel of St. Matthew. His ordinary method of exegesis consists of allegory and symbolism. Thus the four Evangelists correspond to the four seasons, the twelve Apostles to the twelve hours of the day and the twelve months, the four arms of the cross to the four cardinal points.

The style is a skilful imitation and shows evidences of an extensive reading of Terence, Tibullus, Ovid, Lucan, and above all of Virgil.

At times the rhetoric is unfortunately influenced by what he has read, as in the ten lines (V, 59-68) of invective against Judas.

The Opus Paschale

It is, however, in the prose paraphrase of the "Carmen", the Opus Paschale, that the most unfortunate impression is produced. In the poem the language of Sedulius is dignified and almost classic, in the prose version it becomes diffuse, pretentious, and incorrect.

The prose version, the Opus Paschale was written at the request of the priest Macedonius in order, as it appears, to fill up the gaps of the poem. Facts scarcely indicated in the "Carmen" are treated at length in the "Opus", and the expressions borrowed from the Bible give the work a more ecclesiastical character.

Sedulius also wrote two hymns. ...

- Catholic Encyclopedia, Sedulius

"St. Ambrose was still a living centre of influence when Sedulius reached Italy, and his works with those of Augustine and Jerome had rapidly built up a new literature. It was no longer so difficult for a classical scholar to become a Christian. It may, however, be assumed that the state of the Schools had varied little, and that, in Augustine's story we have what Sedulius might have said, with this difference, that he did not become a Manichaean.

He [Sedulius] taught philosophy in Italy, and appears to have given special attention to poetry. Macedonius [his Bishop] was his 'Ambrose'. Some suppose that Macedonius baptized him a Christian, but that is uncertain.

What is certain is that this revered friend, having apparently some position of eminence either as Bishop or as Abbot, invited Sedulius to Greece, and that Sedulius followed his counsel, established a School there -- no doubt, at Athens. It appears to have been especially renowned for the instruction given in the art of poetry: in this it differs from the rhetorical and philosophical Schools of Rome, and indicates the influence of Irish bards.

The new Eastern Empire was responsible for this revival. Three score years before, Julian the Apostate had attempted to re-build the walls of Jerusalem, and when we are told that Sedulius travelled in Asia it can scarcely be doubted that he made his way to that Holy City and the land of wondrous history around it.

He was the first pilgrim from Ireland, if not the first Jerusalem-farer from Western Europe. Life must have been more marvellous to him than one can readily conceive. Born amidst the seas, his youth spent with nature, and the aerial wonder-world of Gaelic myths he passes through stately portals into the sculptured literature of Rome and Greece - the loftiest effort of disciplined art - and then beyond this, and beyond all human things, into the sacred Orient land where, at every step, he finds memories of Divine Mysteries and hears the song of angels from the azure sky.

He pondered these matters in his heart. His ardent mind and enthusiastic nature impelled him to achieve something for his faith. Whatever his personal ambition had been, his position satisfied it. To a man of culture it must have seemed little to be set on a throne by the swords of sordid men, as culprits had been, but it was a high thing for him-a stranger from far-off Thule - to be called to teach the art and measures of poetry in the very fatherland of classic verse in the homestead of Homer!

Everything - his former fame, his present surroundings, the welcome he was sure to win-seemed to command him to continue in the ways of the great masters. But the new Christianity had touched and taken his heart; his impassioned spirit left him no rest until he had essayed to do for the True Faith what others had done for the false. The very success he had obtained would make him feel a dastard if he shrank now from devoting his acknowledged talents to divine things.

This purpose could only be entertained by a mind as original, independent, and adventurous as it was sincere. What other could conceive a revolt against the suzerainty of Homer, whose imperial sceptre has such control even now that every day tribute is brought to his feet by scholars and statesmen, proud to be his subjects? Thus came the Carmen Paschale - the "Easter Song" of the world-whose very name is a poem.

Sedulius was conscious that his work would be regarded as an audacious innovation. The fact that Juvencus (c. 340) had already produced a metrical Christian work (poem) was calculated rather to deter than to encourage, for it was little more than a versified narration of Scripture-history. It encumbered the ground, but did not occupy it. Students accustomed to the winged ways of pagan verse would not travel in its low levels.

To this subject, however, our poet does not directly refer, whilst introducing his own work to his dear old friend Macedonius. For, fortunately, we hear him still, as he excuses his boldness and explains its cause, in a grave and charming dedication. His prose style is somewhat involved, but its very elaboration adds a piquancy to the gentle humour and kindly badinage addressed to his friend. It is unnecessary and it were too long to insert a translation here where a summary may suffice to show the author's ideas:

Addressing Macedonius, our poet says, in substance,

So far Sedulius explains the origin of his great work: Then he comes to the dedication. ...'

- from The Easter Song by Sedulius
transl. by George Sigerson (London 1922)- p 59-64

Throughout the Fourth Book, the poet continues his narration of the miracles, partly told in the Third Book. The begins with a scene beside the Jordan and concludes with the entrance of our Lord into Jerusalem, amid the acclamations of the people. ...

"...The incident of the Samaritan woman who, drawing water from the well, gave Christ to drink, suggests that He is the true Fountain of the Waters of Life. The case of the Woman taken in Adultery is told in the simple language of the evangelist.
The sightless eyes of one who was born blind, his Redeemer anointed with the native clay and bade him wash in the pool of Siloam, and he beholds the day. ..."

- The Easter Song by Sedulius
transl. by George Sigerson (London 1922)- p 120-124