We need spend little time in discussing the influence of the English Bible on Thomas Carlyle. He does not often use the Scripture for his main theme; but he is constantly making Biblical allusions. On a railway journey when I was rereading Carlyle's _Historical Sketches_, I found a direct Biblical reference for every five pages, and almost numberless allusions beside. The "Everlasting Yea," of which he says much, he gets, as you at once recognize, from the Scripture. His "Heroes and Hero Worship" is based on an idea of heroism which he learned from the Bible. He is an Old Testament prophet of present times; and, while he degenerated into a scold before he was through with it, he yet spoke with the thunderous voice of a true prophet, and much of the time in the language of the prophets. Some one said once that the only real reverence Carlyle ever had was for the person of Christ. Certainly there is no note of sneer, but of the profoundest regard for the teaching, the ideas and the history of the Scripture. The name of Charles Dickens suggests a different atmosphere. He is a New Testament prophet. Where Carlyle has caught the spirit of rugged power in the Old Testament, Dickens has caught the sense of kindly love in the New Testament. Dickens's love for the child, the fact that he could draw children as he could draw no one else and make them lovable, suggests the value to him of those frequent references which he makes to Christ setting a child in the midst of the disciples. It is notable, too, how often Dickens uses the great Scripture phrases for his most dramatic climaxes. There are not in literature many finer uses of Scripture than the scene in _Bleak House_, where the poor waif Joe is dying, and while his friend teaches him the Lord's Prayer he sees the light coming. A Christmas season without Dickens's _Christmas Carol_ would be incomplete; but there again is the Scripture idea pressed forward. George Eliot surely, if any writer, was under the spell of the Scripture. One of her critics calls her the historian of conscience. All of her heroes and heroines know the lash of the law. She knows very little about the New Testament, one would judge; but the one thing about which she has no doubt is certainly the reign of moral law. If a man will not yield to its power, it will break him. There is no such thing as breaking the moral law; there is nothing but being broken by it. Her characters are always quoting the Bible. They preach a great deal. She tells that she herself wrote Dinah Morris's sermon on the green with tears in her eyes. She meant it all. While her own religious faith was clouded, her finest characters are never clouded in their religious faith, and she grounds their faith quite invariably on their early training in the Scripture. It is an interesting fact that George Eliot has no principal story which has not in it a church, and a priest or a preacher, with all that they involve.