Concerning no "race" save the Celtic has there been more unprofitable theorising than over the Semitic. One continental specialist after another[374] has explained Semitic "faculty" in terms of Semitic experience, always to the effect that a nation has a genius for becoming what it becomes, but only when it has become so, since what it does not do it has, by implication, no faculty for doing.[375] The learned Spiegel, for instance, in his work on the antiquities of Iran, inexpensively accounts for the Jewish opposition to sculpture as a matter of race taste,[376] without even asking how a practice to which the race was averse had to be forbidden under heavy penalties, or why the same course was held in Aryan Persia. Connecting sculpture with architecture, he pronounces the Semites averse to that also; and as regards the undeniable building tendencies of the Babylonians, he argues that we know not "how far entirely alien models were imitated by the Semites."[377] Only for music does he admit them to have any independent inclination; and their lack of epos and drama as such is explained, not by the virtual inclusion of their epopees and early dramatic writings in their Sacred Books, and the later tabu on secular literature, but by primordial lack of faculty for epos and drama. The vast development of imaginative fiction in the _Arabian Nights_ is credited bodily to the "Indo-Germanic" account, because it has Hindu affinities, and took place in Persia; and, of course, the Semites are denied a mythology, as by M. Renan, no question being raised as to what is redacted myth in the Sacred Books. For the rest, "the Semite" is not fitted to shine in science, being in all his branches "almost totally devoid of intellectual curiosity," so that what philosophy and science he has are not "his own"; and he is equally ill-fitted for politics, wherein, having no political idea save that of the family, he oscillates between "unlimited despotism and complete anarchy."[378] Apart from music, his one special faculty is for religion.