These spiritual dramas of the prophets are occupied with that fundamental topic of Hebrew thought which is expressed by the word 'judgment': the eternal contest between good and evil, and the Divine overthrow of wrong. They are dramas which no actual theatre could ever express, for their action covers all space and all time. Their personages include not only the prophet and the nation of Israel, but also God himself and the celestial hosts. The working of events towards the judgment is brought out before us with the general impression of dramatic movement; but the means by which this movement is realised go beyond the machinery of drama: not only dialogue and monologue, but song and even discourse are made to bear their part in the total effect. The grand example of rhapsody which covers the latter part of our Book of Isaiah can be represented in the present volume only by its prelude and one of its seven acts or 'visions.' But some of the shorter, and hardly less splendid, rhapsodies are given in full; and the selections further illustrate how a prophecy may set out as a simple discourse, and suddenly rise to the level of rhapsodic presentation. I believe few people realise what an immense addition has been made to the literary patrimony of the English reader by the Revised Version of the Bible, and such other presentations of the sacred Scriptures as this Revised Version has made possible. The language of Biblical writers, and the sentences of which their writings are made up, have long been familiar through the earlier versions; the Revisers, by the attention they have given to connectedness of thought, have carried forward translated language into translated literature. It is thus open to a person of average culture to add to his other mental possessions the whole expression of itself which a great people has made in poetry and prose throughout all the periods of its development. With the exception of humorous writing, which is foreign to the genius of the ancient Hebrews, the whole range of literary production is here illustrated; and varieties of literary form are presented to which classic Greek or modern European writers furnish no parallel. It is a literature numbering among its authors some who--by critics entirely outside the ranks of theologians--have been classed with the greatest names in the world's roll of honour. More than this, the English reader who gives attention to the literary side of the Bible is studying what is to him ancestral literature. The Hebrew writers of the Old Testament, and their followers the Christian Hebrews of the New Testament, have been the inspiration of those who have inspired our own writers: their style has largely leavened the style of modern English, their thought has become so closely interwoven with English thought of the last three centuries that it is impossible to sever the two. And, if the question be of what is higher than literary impressions, no reader need fear that the more