To lay stress on the fact that Mr. Disraeli was of Hebrew birth is not, though some of his political antagonists stooped so to use it, to cast any reproach upon him: it is only to note a fact of the utmost importance for a proper comprehension of his position. The Jews were at the beginning of the nineteenth century still foreigners in England, not only on account of their religion, with its mass of ancient rites and usages, but also because they were filled with the memory of centuries of persecution, and perceived that in some parts of Europe the old spirit of hatred had not died out. The antiquity of their race, their sense of its long-suffering and isolation, their pride in the intellectual achievements of those ancestors whose blood, not largely mixed with that of any other race, flows in their veins, lead the stronger or more reflective spirits to revenge themselves by a kind of scorn upon the upstart Western peoples among whom their lot is cast. The mockery one finds in Heinrich Heine could not have come from a Teuton. Even while imitating, as the wealthier of them have latterly begun to imitate, the manners and luxury of those nominal Christians among whom they live, they retain their feeling of detachment, and are apt to regard with a coldly observant curiosity the beliefs, prejudices, enthusiasms of the nations of Europe. The same passionate intensity which makes the grandeur of the ancient Hebrew literature still lives among them, though often narrowed by ages of oppression, and gives them the peculiar effectiveness that comes from turning all the powers of the mind, imaginative as well as reasoning, into a single channel, be that channel what it may. They produce, in proportion to their numbers, an unusually large number of able and successful men, as any one may prove by recounting the eminent Jews of the last seventy years. This success has most often been won in practical life, in commerce, or at the bar, or in the press (which over the European continent they so largely control); yet often also in the higher walks of literature or science, less frequently in art, most frequently in music.