colour of the picture-the beautiful sonority and luminosity of the French is all gone. Nevertheless, I am sure that the more you study the original the more you will see how fine it is. Here also is a Japanese colour print. We see the figure of the horseman on the shore, in the light of dawn; behind him the still dark sky of night; before him the crimson dawn, and Fuji white against the red sky. And in the open fan, with its red sun, we have a grim suggestion of the day of blood that is about to be; that is all. But whoever reads that sonnet will never forget it; it burns into the memory. So, indeed, does everything that Heredia writes. Unfortunately he has not yet written anything more about Japan.

I have quoted Heredia because I think that no other poet has even approached him in the attempt to make a Japanese picture-though many others have tried; and the French, nearly always, have done much better than the English, because they are more naturally artists. Indeed one must be something of an artist to write anything in the way of good poetry on a Japanese subject. If you look at the collection "Poems of Places," in the library, you will see how poorly Japan is there represented; the only respectable piece of foreign work being by Longfellow, and that is only about Japanese vases. But since then some English poems have appeared which are at least worthy of Japanese notice.

CHAPTER VI

THE BIBLE IN ENGLISH LITERATURE

IT IS no exaggeration to say that the English Bible is, next to Shakespeare, the greatest work in English literature, and that it will have much more influence than even Shakespeare upon the written and spoken language of the English race. For this reason, to study English literature without some general knowledge of the relation of the Bible to that literature would be to leave one's literary education very incomplete. It is not necessary to consider the work from a religious point of view at all; indeed, to so consider it would be rather a hindrance to the understanding of its literary excellence. Some persons have ventured to say that it is only since Englishmen ceased to believe in the Bible that they began to discover how beautiful it was. This is not altogether true; but it is partly true. For it is one thing to consider every word of a book as the word of God or gods, and another thing to consider it simply as the work of men like ourselves. Naturally we should think it our duty to suppose the work of a divine being perfect in itself, and to imagine beauty and truth where neither really exists. The wonder of

the English Bible can really be best appreciated by those who, knowing it to be the work of men much less educated and cultivated than the scholars of the nineteenth century, nevertheless perceive that those men were able to do in literature what no man of our own day could possibly do.

Of course in considering the work of the translators, we must remember the magnificence of the original. I should not like to say that the Bible is the greatest of all religious books. From the moral point of view it contains very much that we can not to-day approve of; and what is good in it can be found in the sacred books of other nations. Its ethics can not even claim to be absolutely original. The ancient Egyptian scriptures contain beauties almost superior in moral exaltation to anything contained in the Old Testament; and the sacred books of other Eastern nations, notably the sacred books of India, surpass the Hebrew scriptures in the highest qualities of imagination and of profound thought. It is only of late years that Europe, through through the labour of Sanskrit and Pali scholars, has become acquainted with the astonishing beauty of thought and feeling which Indian scholars enshrined in scriptures much more voluminous than the Hebrew Bible; and it is not impossible that this faroff literature will some day influence European thought quite as much as the Jewish Bible. Everywhere to-day in Europe and America the study of

Buddhist and Sanskrit literature is being pursued not only with eagerness but with enthusiasm-an enthusiasm which sometimes reaches to curious extremes. I might mention, in example, the case of a rich man who recently visited Japan on his way from India. He had in New Zealand a valuable property; he was a man of high culture, and of considerable social influence. One day he happened to read an English translation of the "Bhagavad-Gita." Almost immediately he resolved to devote the rest of his life to religious study in India, in a monastery among the mountains; and he gave up wealth, friends, society, everything that Western civilization could offer him, in order to seek truth in a strange country. Certainly this is not the only instance of the kind; and while such incidents can happen, we may feel sure that the influence of religious literature is not likely to die for centuries to come.

But every great scripture, whether Hebrew, Indian, Persian, or Chinese, apart from its religious value will be found to have some rare and special beauty of its own; and in this respect the original Bible stands very high as a monument of sublime poetry and of artistic prose. If it is not the greatest of religious books as a literary creation, it is at all events one of the greatest; and the proof is to be found in the inspiration which millions and hundreds of millions, dead and living, have obtained from its utterances. The Semitic

races have always possessed in a very high degree the genius of poetry, especially poetry in which imagination plays a great part; and the Bible is the monument of Semitic genius in this regard. Something in the serious, stern, and reverential spirit of the genius referred to made a particular appeal to Western races having certain characteristics of the same kind. Themselves uncultivated in the time that the Bible was first made known to them, they found in it almost everything that they thought and felt, expressed in a much better way than they could have expressed it. Accordingly the Northern races of Europe found their inspiration in the Bible; and the enthusiasm for it has not yet quite faded away.

But the value of the original, be it observed, did not make the value of the English Bible. Certainly it was an inspiring force; but it was nothing more. The English Bible is perhaps a much greater piece of fine literature, altogether considered, than the Hebrew Bible. It was so for a particular reason which it is very necessary for the student to understand. The English Bible is a product of literary evolution.

In studying English criticisms upon different authors, I think that you must have sometimes felt impatient with the critics who told you, for example, that Tennyson was partly inspired by Wordsworth and partly by Keats and partly by Coleridge; and that Coleridge was partly inspired