Again, it was the Bible which determined Charlemagne to use force against the Saxons in order to bring them to baptism and Christian faith. Saint Augustine had discovered the passage in the Lord's parable of the great supper, where the servant is told to go out into the highways and hedges and "constrain" them to come in. This _coge intrare_, he explained, might excuse the using of secular power for the purpose of bringing heretics back to the church or of causing pagans to join the church. Charlemagne knew no better than to suppose that this was the true meaning of the saying of our Lord, and so he felt in conscience bound to use military force and the full strength of the law in christianising the Saxons. But it was the Bible itself and not Charlemagne's sharp sword and his cruel law which brought over the wild Saxon tribes into Christendom. They had among themselves a poet who had the gift of singing the gospel into their hearts. Charlemagne himself was fond of the national songs; he loved his German language as much as he esteemed Latin. He was convinced that a man ought to pray to God in his native tongue. There are not only three sacred languages, he says, in which to pray and to praise God--Hebrew, Greek, Latin--you may praise him in your German as well. Therefore he arranged that a priest should translate the Biblical lessons and the sermon to the people who did not understand Latin. He would probably have approved a German translation of the Bible; but the clergy were not prepared to do this. They took Latin as the basis of civilisation, and only a few of them had any regard for the uncultivated people. There are preserved some few attempts at translating parts of the Bible into German; they attest what might have come out of this Carolingian movement if the bigotry and narrowness of Charlemagne's son Louis had not stopped it. Among the Saxons a fresh and vigorous spirit was still alive. Having been introduced to Christianity by brute force of war, they embraced the gospel, trying to make it their own by putting it into the form of their national song. We do not know the name of the poet; he seems to have been a clergyman, instructed in the best commentaries of his time, such as were available at the monastery of Fulda. For the framework he used a Gospel harmony which is contained in the famous Codex Fuldensis of the Vulgate, originating at Capua (in south Italy) and brought probably by Boniface himself from England to Fulda. This Gospel harmony he translated freely into some six thousand Saxon verses. His poem is one of the finest assimilations of the Gospel history to national German feeling, to be compared only with Dürer's engravings and Eduard von Gebhardt's paintings. Christ is the heavenly king; the apostles are his loyal kinsmen; he wanders with them through the Saxon wood; he stops at a native spring; all Oriental character has gone, but the gospel has lost nothing. It is as fresh and as real as it ever had been.