Several facts strengthen this persistent moral appeal. For one thing, the Book is absolutely fair to humanity. It leaves out no line or wrinkle; but it adds none. The men with whom it deals are typical men. The facts it presents are typical facts. There are books which flatter men, make them out all good, prattle on about the essential goodness of humanity, while men who know themselves (and these are the only ones who do things) know that the story is not true. On the other hand, there are books which are depressing. Their pigments are all black. They move from the dignity of Schopenhauer's pessimism to the bedlam of Nietzsche's contempt for life and goodness. But here, also, the sane common sense of humanity comes to the rescue. The picture is not true if it is all white or all black. The Bible is absolutely fair to humanity. It moves within the circle of man's experience; and, while it deals with men, it results in a treatment of man. That is how it comes about that the Bible inspires men, and puts them at their best. No moral appeal can be successful if it fails to reach the better part of a man, and lays hold on him there. Just that it did for the English people. "No greater moral change ever passed over a nation than passed over England during the years that parted the middle of the reign of Elizabeth from the meeting of the Long Parliament. England became the people of a Book, and that Book was the Bible."[1] [1] Green, Short History of the English People. Add to that personal appeal and that absolute fairness to humanity the constant challenge of the Bible to the nobler elements of humanity. It never trifles. It is in deadly earnest. And it makes earnest men. Probably we cannot illustrate that earnestness more clearly than by a study of one element in Puritan history, which is confused in many minds. It is the matter of the three great antagonisms of Puritanism in England and America. They can never be understood by moral triflers. They may not be approved by all the morally serious, but they will be understood by them. What are those three marked antagonisms? The antagonism to the stage, to popular frivolity, and to the pleasure Sabbath.