Byron and Shelley have had more imitators and lovers than any of the poets of England of their time. We know the influence of each of them on Tennyson and Browning respectively, though the Victorians later departed from the footsteps of their masters and became conservative. But the causes that made Heine, Leonardi, De Musset and Pushkin love Byron were the same as those which drew to Shelley, the republican melodist Swinburne, James Thomson, the atheist author of the _City of Dreadful Night_, Francis Thompson, the Catholic maker of beautiful forms out of his own sufferings, and the unhappy lyricist Beddoes, who committed suicide. The later poets found Byron and Shelley singers of unconscious wishes of their own, portrayers of moods and sorrows like those they felt and constructors of means of ridding the world of such griefs by plans they largely approved. The reason for the universal appeal of the Bible is because of the variety in this library of books; there is always some chapter that expresses our unconscious wishes. The _Old Testament_, especially, satisfies our unconscious. This is due to the psalms voicing human sorrow, and the prophecies of Isaiah ringing with a passionate love for justice, to the pleasant tales that appeal to our youthful fancy like those of Joseph and his brethren, and Ruth, and the philosophical drama of Job, in whose sufferings we see our own, to the epicureanism and melancholy in Ecclesiasticus, and the military exploits of Joshua and David. The Bible appeals as literature to many who do not believe in dogma or miracles, to many who find parts of it cruel and unjust because it is a varied collection of books, and, as a result, the unconscious wishes and means of gratification of some of the writers must meet our own, separated as we are from them by thousands of years. When we read that Wordsworth soothed De Quincey and John Stuart Mill, and had a tonic effect on Arnold, so that he became a leading disciple, that Shaw based his wit and philosophy on Samuel Butler, an almost forgotten contemporary, that Brandes found an affinity in writers like Shakespeare and Ibsen, we are aware that the process is the same: the later author found some earlier one who especially expressed his unconscious wishes. Take the literary influences in literature, that of Smollet on Dickens, that of Dickens on Daudet and Dostoievsky and Bret Harte, that of Balzac on Flaubert, of Flaubert on Maupassant and Zola, of Carlyle on Ruskin and Froude, of Kipling on Jack London. All this means that the author influenced found in his master a kindred sufferer and a kindred dreamer.