The first and most notable fact regarding the influence of the Bible on English literature is the remarkable extent of that influence. It is literally everywhere. If every Bible in any considerable city were destroyed, the Book could be restored in all its essential parts from the quotations on the shelves of the city public library. There are works, covering almost all the great literary writers, devoted especially to showing how much the Bible has influenced them. The literary effect of the King James version at first was less than its social effect; but in that very fact lies a striking literary influence. For a long time it formed virtually the whole literature which was readily accessible to ordinary Englishmen. We get our phrases from a thousand books. The common talk of an intelligent man shows the effect of many authors upon his thinking. Our fathers got their phrases from one great book. Their writing and their speaking show the effect of that book. It is a study by itself, and yet it is true that world literature is, as Professor Moulton puts it, the autobiography of civilization. "A national literature is a reflection of the national history." Books as books reflect their authors. As literature they reflect the public opinion which gives them indorsement. When, therefore, public opinion: keeps alive a certain group of books, there is testimony not simply to those books, but to the public opinion which has preserved them. The history of popular estimates of literature is itself most interesting. On the other hand, some writers have been amusingly overestimated. No doubt Edward Fitzgerald, who gave us the "Rubaiyat of Omar Khayyam" did some other desirable work; but Professor Moulton quotes this paragraph from a popular life of Fitzgerald, published in Dublin: "Not Greece of old in her palmiest days--the Greece of Homer and Demosthenes, of Eschylus, Euripides, and Sophocles, of Pericles, Leonidas, and Alcibiades, of Socrates, Plato, and Aristotle, of Solon and Lycurgus, of Apelles and Praxiteles--not even this Greece, prolific as she was in sages and heroes, can boast such a lengthy bead-roll as Ireland can of names immortal in history!" But "this was for Irish consumption." And popular opinion and even critical opinion has sometimes gone far astray in its destructive tendency. There were authoritative critics who declared that Wordsworth, Shelley, and Coleridge wrote "unintelligible nonsense." George Meredith's style, especially in his poetry, was counted so bad that it--was not worth reading. We are all near enough the Browning epoch to recall how the obscurity of his style impressed some and oppressed others. Alfred Austin, in 1869, said that "Mr. Tennyson has no sound pretensions to be called a great poet." Contemporary public opinion is seldom a final gauge of strength for a piece of literature. It takes the test of time. How many books we have seen come on the stage and then pass off