It is true that one of the positions I discussed--that of the school of Weiss--is not "new." But in that case the reason for selection was not merely that it was one of the efforts to reach something less neutral than the "two-documents hypothesis," but that it is in substance the position of some of the most recent and most virulent English critics of the myth-theory. It is in fact the gist of the polemic of Dr. Conybeare. I have shown, accordingly, that the thesis of a primary biography is psychologically absurd in itself; and, further, that like all the other documentary hypotheses it has been left high and dry by the latest German exegetes, who, expressly assuming the historicity of a Jesus, and founding on the gospels for their case, reduce these to a minimum of tradition at which M. Loisy must stand aghast. It is in England, in short, that the biographical school, as represented by Dean Inge and Dr. Conybeare, is seen to be most entirely out of touch with the movement of rational criticism. It is in England, too, that we find the most uncritical reliance put upon the "impression of a personality" said to be set up by the gospels. This argument is still used without any attempt at psychological self-analysis, any effort to find out what an impression is worth. A generation or two ago, exactly the same position was taken up in regard to the fourth gospel: both the Arnolds, for instance, were confident that the vision of Jesus there given was peculiarly real. Critical study has since forced all save the sworn traditionalists and the mere compromisers to the conclusion that it cannot be real if there is any substantial truth in the presentment of the synoptics. Slowly it has been realized that the methods which produce a vivid impression of "personality" are methods open to fictive art, and differ only in detail from the methods of the Bhagavat Gîta or the methods of Homer. If a strong impression of a personality be a certificate of historicity, what of Zeus and Hêrê, Athênê and Achilles, Ulysses and Nestor? Most critics who handle the problem seem to work in vacuo, without regard to the phenomena and the machinery of fictive literature in general, even when they are moved to accept a hypothesis of fiction. The vision presented in the fourth gospel is prima facie more lifelike than that of the synoptics, because its main author is more of an artist than his predecessors. It has been justly affirmed by Professor W. B. Smith that