The speech however is continued; the main doctrine of it, namely that the Christ is the Light of the World, being illustrated by the miracle of giving sight to a man "blind from his birth,"--the story being told at great length and with exceedingly minute detail, so as to cover every point of circumstance. This seems to be a critical moment in the development of the idea. The vehemence subsides for a time, and the light of the world shines gently as a shepherd's lantern showing wandering sheep the way to the true fold. But the softest word stirs up anger; the "Jews" take up stones, not to throw them, but to exhibit temper, and the act closes tranquilly like those that preceded it. The resurrection of Lazarus prepares the way for the closing scenes. That such a story, so artificially constructed, so evidently introduced for effect, told by one writer and not as much as alluded to by the others, told with so much circumstance and with so little regard for biographical probability, told for a dogmatical purpose, and fitted into the narrative at the precise juncture where a turning point was wanted, should be accepted as history by any unfettered mind; that a critic like Renan, professing a profound reverence for the character of Jesus, should have admitted it as in some sense true, and should have been driven in explanation of it to a theory utterly fatal to the moral character of the "colossal" man he celebrates, thus sacrificing the moral greatness of Jesus to a perverse sense of historical truth, proves the obstinacy of traditional prejudice. The narrative is too evidently a literary device, one would think, to deceive anybody of awakened discernment. Its manifest artifice is such that it alone would be enough to cast suspicion on all the miraculous narrations of the book.