The reader who is a Christian will remind me that Jesus was a pacifist, he was meek and gentle. To this I answer, the early social revolutionists were likewise Utopians, appealing to love and brotherhood. At the time the New Testament became fixed in its present form, the Christians had never held power in any part of the world. When they took power under the Emperor Constantine, they behaved like every government in history--that is, they kept their power, using as much force as necessary for the purpose. If the reader is shocked by the fact that the Soviet government of Russia fought for two years a defensive war on twenty-six fronts against its enemies, I invite him to consider the Christian crusades, two centuries of offensive propaganda warfare. If he is shocked by stories he has read about the Tcheka and its torturing of prisoners, I invite him to consult Lea’s “History of the Spanish Inquisition.” Considering the series of religious wars which made of Europe a shambles for more than a thousand years, it is safe to assert that for every human life sacrificed by the Soviet revolution in Russia, a hundred thousand lives have been taken in the name of the gentle and lowly Jesus. But these are questions which will not be settled in a generation, nor in a century; therefore we pass on, and take up the question of the New Testament as literature. It has been generally so recognized, and we may doubt if any writing ever collected in one volume has exercised as great an influence upon the human race. And let it be noted that this literature is propaganda, pure and simple; we may defy anyone to find a single line in the Gospels, the Acts, the Epistles, or the Book of Revelations which was not produced as conscious and deliberate propaganda. A critic highly regarded by the academic authorities when I was a student in college was George Henry Lewes. I read his “Life of Goethe,” and made note of his argument on behalf of “realist” as opposed to “idealist” art. Goethe and Shakespeare are his examples of the former type; and how obvious is their superiority to those “subjective” artists, who “seek in realities only visible illustrations of a deeper existence!” The critic takes as his test the production of “the grandest generalizations and the most elevated types”; but it was evident to me, even in my student days, that he reached his conclusion by the simple device of overlooking the evidence on the other side. I introduce to you four “idealist” artists who bear the names--perhaps pen-names--of Matthew, Mark, Luke and John. Will anyone maintain that the works of Shakespeare and Goethe contain “grander generalizations” or “more elevated types” than the Four Gospels? We set Jesus against Shakespeare, and Buddha against Goethe, and leave it for the common sense of mankind to decide. CHAPTER XV MRS. PRESTONIA ORDERS PLUMBING