of religious conceptions. Like the metaphor, of which it may be regarded as an expansion, it suggests the True by means of the Untrue. It is an acknowledged necessity of religious teaching. In the infancy of language there is no other means of expressing spiritual verities than by physical symbols--in other words by myth and metaphor. And even when a language has acquired some capacity for the direct expression of spiritual facts, it is found that the old methods must still be resorted to in order to excite the interest and impress the imagination of the ignorant multitude. It is not to be supposed that the makers of such myths believed that they were true in their natural physical acceptation. Take for example the parable of the prodigal son. There is no reason to believe that the "far country," "the husks that the swine did eat," "the fatted calf," and the prodigal himself were not figments of Our Lord's imagination. Nor if the story had been true in all its details would this circumstance have added one whit to the value of the lesson taught by it. I believe that the author of the Mosaic story of the Fall of Man would be much surprised to know that his drama, which deals so forcibly in concrete form with temptation, sin, and its punishment, had been taken by the world for many centuries as a narrative of actual fact. Some high authorities apply a different measure to pagan and savage myth. Dr. Pfleiderer, in his 'Philosophy of Religion,' says that "it must be carefully borne in mind that the religious phantasy, in producing such poetic symbolical legends, is not in the habit of distinguishing, nor can distinguish between the ideal truth and its sensible investment." The late Mr. Fiske held substantially the same view. He goes so far as to apply it to Dante, whose "Charon beating the lagging shades with his oar," "Satan crushing in his monstrous jaws the arch-traitors Judas, Brutus, and Cassius," "Bertrand de Born looking at his own dissevered head," he regards as "in the minds of Dante and his readers living, terrible realities." True it is that a stern reality underlies these grotesque fancies. But it is not of the physical order. No one knew better than Dante the virtue of the _altro intende_ in such matters. We may be quite sure that he did not believe in a real inscription over the gate of Hell, in Italian _terza rima_, and composed by himself. It is a mistake, I submit, to imagine him, "like Katerfelto, with his hair on end at his own wonders." When Dickens tells us that he decidedly looked on his heroes as living persons we must take this statement _cum grano salis_. We know what would have happened if some one had offered him, by way of payment, a cheque bearing the signature of Mr. Boffin, Dombey & Son, or the Brothers Cheeryble.