What Coleridge claims for the Bible may be claimed for all imaginative and passionate literature. Æschylus, Lucretius, Dante, Milton; how does the Bible excel these in that respect? When we come to Shakespeare we find a sublimity which transcends that of Isaiah, Ezekiel, and Job, with a pathos, a humor, and a wit, such as no Hebrew writer ever imagined. And Shakepeare's superb style triumphs easily in all these fields. Coleridge recommends the Bible as an antidote to vulgarity. I would recommend Milton as much, Dante more, and Shakespeare beyond all. "Our version of the Bible," Coleridge elsewhere says, "has preserved a purity of meaning to many terms of natural objects. Without this holdfast, our vitiated imaginations would refine away language to mere abstractions." This is merely saying that our Bible, designed for common people centuries ago, is a monument of Saxon English. Clearly that is an accident of our translation, and not an essence of the Bible itself. As much may be said for all our ancient standards. Coleridge admits that our New Testament is less elegant and correct than the Old, and contains "slovenly phrases which would never have come from Ben Jonson, or any other good prose writer of the day." Yet our New Testament, according to Mr. Swinburne (and there is no better judge), is translated from canine Greek into divine English. The truth is, the _style_ of our Bible is owing to the translators. They lived before the hurry of our cheap periodical press, when men wrote leisurely for leisured readers. There was also no great accumulation of native literature, and scholars studied almost exclusively the masterpieces of Greece and Rome. Their sense of style was therefore superior. Read the Dedication to King James in our authorised version, then the introduction to our revised version, and see what an immense difference there is between the styles. Or read Paul's noble praise of charity in the two versions. By substituting _love_ for _charity_, the revisers have vitiated the sense, and destroyed the balance of the style. Their mincing monosyllable is too weak to bear the structural weight of the clauses. A closer analysis shows that they have spoiled the passage throughout. They had no ear: in other words, no style. The old translators _had_ ears, and knew other people had. Their work was meant to be read aloud, and it bears the test. That test is the supreme one, and goes deeper than hearing. Flaubert, a great master of style, always read his manuscript aloud; holding that phrases are right when they correspond to all the necessities of respiration, while ill-written phrases oppress the chest, disturb the beatings of the heart, and contravene the conditions of life. Shakespeare bears this test triumphantly. In his great passages, respiration is easy and pronunciation simple; the language is a splendid and mellifluous stream.