With the Old Aryan race of India, death is Yama, the soul of the first man, departed to be the king of the subterranean realm of the subsequent dead, and returning to call after him each of his descendants in turn. To the good he is mild and lovely, but to the impious he is clad in terror and acts with severity. The purely fanciful character of this thought is obvious; for, according to it, death was before death, since Yama himself died. Yama does not really represent death, but its arbiter and messenger. He is the ruler over the dead, who himself carries the summons to each mortal to become his subject. In the Hebrew conception, death was a majestic angel, named Sammael, standing in the court of heaven, and flying thence over the earth, armed with a sword, to obey the behests of God. The Talmudists developed and dressed up the thought with many details, half sublime, half fantastic. He strides through the world at a step. From the soles of his feet to his shoulders he is full of eyes. Every person in the moment of dying sees him; and at the sight the soul retreats, running through all the limbs, as if asking permission to depart from them. From his naked sword fall three drops: one pales the countenance, one destroys the vitality, one causes the body to decay. Some Rabbins say he bears a cup from which the dying one drinks, or that he lets fall from the point of his sword a single acrid drop upon the sufferer's tongue: this is what is called "tasting the bitterness of death." Here again, we see, it is not strictly death that is personified. The embodiment is not of the mortal act, but of the decree determining that act. The Jewish angel of death is not a picture of death in itself, but of God's decree coming to the fated individual who is to die. The Greeks sometimes depicted death and sleep as twin boys, one black, one white, borne slumbering in the arms of their mother, night. In this instance the phenomenon of dissolving unconsciousness which falls on mortals, abstractly generalized in the mind, is then concretely symbolized. It is a bold and happy stroke of artistic genius; but it in no way expresses or suggests the scientific facts of actual death. There is also a classic representation of death as a winged boy with a pensive brow and an inverted torch, a butterfly at his feet. This beautiful image, with its affecting accompaniments, conveys to the beholder not the verity, nor an interpretation, of death, but the sentiments of the survivors in view of their bereavement. The sad brow denotes the grief of the mourner, the winged insect the disembodied psyche, the reversed torch the descent of the soul to the under world; but the reality of death itself is nowhere hinted.