literary essay, such as those charming ones in the Essays on Criticism, did not seem to satisfy him. His writings on education had perhaps led him to desire to try to express himself on the living questions of the day. Not the questions of passing politics and social reform, but the deeper and broader questions of life and the permanent welfare of man. In this book, his aim is to bring out and to enforce the value of culture, which he defines as "a harmonious expansion of all the powers which make the beauty and worth of human nature." It is interesting to note that this is also Fichte's definition, and that Theodore Parker borrowed it from him as a definition of religion.

Arnold's characteristics as an author are to be seen in full measure in this little book. It is, first of all, a work of the higher criticism, having a distinct purpose in view toward the correction of human faults and the establishment of a better life. It also develops his habit of continued repetition, and of using a stilted, artificial manner of dealing with his subject. Another of his striking peculiarities, perhaps that which is most often connected with his name, was given strong expression in this work. In the preface to his Poems of 1853, he had used the phrase "grand style" of the Greeks; and, in his essay on Heinrich Heine, those who oppose culture were called "Philistines." Culture and Anarchy has a rich development of these striking words, words that carry a full-grown argument in them, and clinch the thought in the hearer's mind they were designed to convey. Arnold has used some of these phrases a little too long and constantly, but they have done him effective service. In Culture and Anarchy, we first learn of "sweetness and light," "Barbarians, Philistines, and Populace," and other phrases, which are used so energetically by him.

Arnold next took up the subject of religion in his St. Paul and Protestantism, published in 1870. This book is a defence of Paul on the side of his having taught a broader and sweeter religion than that which is generally attributed to him. He shows that Paul's theology was not hard and

dogmatic, but poetical and spiritual. Arnold himself defines religion as "that which binds and holds to the practice of righteousness." Many of the ideas which he afterward expanded in his larger works are briefly stated here, and here are many of the phrases so often used in Literature and Dogma. He tells us that "the God of Calvinism is a magnified and non-natural man," and that the true God is "that stream of tendency by which all things strive to fulfil the law of their being." This conception of God is so much like that which Hegel gave to the world that we should regard it as taken from the study of that philosopher, did not Arnold's other teachings make his doctrine so much more nearly that presented by Fichte. He sees in God simply that stream of movement which tends toward righteousness, and which gives a moral direction to the world. Fichte has made this conception more eloquently beautiful than Arnold or any other.

A not very interesting book, and not at all suited to Arnold's genius, is his Friendship's Garland, published in 1871. It was followed in 1872 by A Bible-reading for Schools, from the words of the second Isaiah, with notes and a long preface on the value of literature as a means of education. The same work was republished in 1857, with the prophecies to which it is allied. This little book is one of much interest, and of not a little value to the general Bible student.

His studies in religion at last took shape in his most important work, published in 1873. This was his Literature and Dogma, which at once attracted great attention and the warmest discussion of the problems suggested. A book so well known needs no commendation or analysis here, but it should be said that it is one of the most valuable contributions made toward the right apprehension of the Bible in these days of continual Bible study. It is all the more val uable, because it is written from an independent attitude, that of literature rather than that of theology. As a book of suggestion and stimulus, it is of the highest rank; as a book of theology or philosophy, it is of much less impor

tance. While it shows very clearly what the Bible is, aud what is the best spirit in which to read and understand it, there is wanting in the book any positive system of religious thought on which to base a constructive interpretation of spiritual things. Its religious teachings are most vague and unsatisfactory. There is needed amid them the stirring life of distinct conviction.

It is pleasant to know that Literature and Dogma has just been reprinted in London, by Smith, Elder & Co., at a low price, for circulation among the people. The book is condensed in this edition, and some of those phrases which have given most offence have been omitted. Among these omissions is that famous illustration which compared the Deity to a magnified Lord Shaftesbury,- an illustration calculated to hurt many persons, and yet very apt and powerful. This popular edition also contains a new and long preface, for Matthew Arnold has a wonderful facility in putting prefaces to his books. In this special preface, his aim is to show that, while the belief in miracles is going, and must completely go in the end, yet genuine faith in Christianity remains. He remarks that it was the merit of the reformers to care enough for Christianity to deal sincerely with themselves in regard to it and the clericalism and tradition which had usurped its place. Concerning the purpose of Literature and Dogma, he has this to say, which is worthy of attention on the part of religious teachers :

Its real concern is not with miracles, but with the natural truth of Christianity. It is after this that, among the more serious races of the world, the hearts of men are really feeling; and what really furthers them is to establish it. At present, reformers in religion are far too negative, spending their labor, some of them, in inveighing against false beliefs which are doomed; others, in contending about matters of discipline and ritual which are indifferent. Popular Christianity derived its power from the characters of certainty and of grandeur which it wore. These characters do actually belong to Christianity in its natural truth.

Many objections were made to Literature and Dogma, and it received a diligent and searching investigation at the hands of the critics. This led to the writing of a reply to

the objections raised against it, and God and the Bible was published in 1875. It enters more fully upon theological questions than the previous book had done, especially discussing the author's conception of the nature of God. Being more controversial, it is of less interest and value than Literature and Dogma.

Matthew Arnold's later work has mostly been of a miscellaneous character, the greater part of it having been originally contributed to the magazines and reviews. From these writings, he has published Last Essays on Church and Religion, in 1877; Mixed Essays, in 1880; and Irish Essays, in 1882. In the Last Essays, he has continued his advocacy of an established Church; and they are affected by the same aristocratic and almost supercilious spirit which has pervaded his other writings on these subjects. His reasons for a State Church are such as can have force only with those out of whose hearts the living fire of faith has died away. Arnold's charming literary taste and fine judgment appear at their highest in the Mixed Essays, while there is also a touch of political discussion. A mixture of literary criticism and politics appears in the Irish Essays, though here the political criticism is in the ascendency. To this volume are added the delightful essays with which he prefaced his first volumes of Poems. His last work, published in 1883, is his Isaiah of Jerusalem, a reprint of the authorized English version, with an introduction, corrections and notes.

Not unimportant is the editorial work which Matthew Arnold has done in the last few years. He has selected and edited the best poems of Wordsworth and Byron, the best six lives from Johnson's Poets, and Burke's writings on Irish affairs. To each of these volumes, he has added a preface, always worth reading, and complete in itself. He also wrote the "General Introduction" to Ward's English Poets, and for that work he prepared the essays on Gray and Keats. The "General Introduction" is an admirable essay on the province and influence of poetry.

Matthew Arnold comes of a literary family. His father's mind was widely open to the influence of literature on life

and religion, and this tendency gave the strongly liberal cast to his theology which so plainly marked it. William Delafield Arnold, alluded to in Matthew Arnold's poem entitled "A Southern Night," was one of his brothers. He wrote Oakfield; or, Fellowship in the East, and various historical works. Another brother is Arthur Arnold, the editor of the Echo newspaper, and the author of two novels entitled Hever Court and Ralph, as well as of Letters from the Levant and Through Persia by Caravan. Still another brother is Thomas Arnold, who wrote the article on English literature in the Encyclopædia Britannica, and a volume of literary criticism entitled From Chaucer to Wordsworth.

It is as a literary interpreter of life Matthew Arnold presents himself to us. He is not content with what science has to say in regard to the meaning of life, but he prefers to trust to those results which have come to the world through its literary masters. There can be no doubt that the scientific interpretation is too formal, or that it misses the essential truth in its process of analysis. Literature may be less precise; but it is also nearer to life itself, and in more harmonious sympathy with the world. In presenting the claims of literature and in keeping before men the high functions and value of letters, Matthew Arnold has done his generation an important service. He has made us realize what the great literatures of the past have been to the world, and that they still bring to us the ripest culture and the noblest insights into religion. His has been a strong voice, protesting against the narrowness and limitations of science, and in a broadly generous spirit. Life is very wide, and we must look at it from all sides. The side of literature, which is the side of emotion and sentiment and high ideals, can we least of all afford to neglect. It must not be cast into shade by any other truth or experience.

Here is the merit of Matthew Arnold,- that he has looked at life and religion, morality and politics, from the side of literature, kept before us what that side is, and made us realize its force and depth and value. In this direction, his work is very great, and deserves the highest commendation.

GEORGE WILLIS COOKE.

5