But the Bible is not sufficient. The real Bible of modern Europe is the whole body of great literature in which the inspiration and revelation of Hebrew Scripture has been continued to the present day. Nietzsche's Thus Spake Zoroaster is less comforting to the ill and unhappy than the Psalms; but it is much truer, subtler, and more edifying. The pleasure we get from the rhetoric of the book of Job and its tragic picture of a bewildered soul cannot disguise the ignoble irrelevance of the retort of God with which it closes, or supply the need of such modern revelations as Shelley's Prometheus or The Niblung's Ring of Richard Wagner. There is nothing in the Bible greater in inspiration than Beethoven's ninth symphony; and the power of modern music to convey that inspiration to a modern man is far greater than that of Elizabethan English, which is, except for people steeped in the Bible from childhood like Sir Walter Scott and Ruskin, a dead language.
Besides, many who have no ear for literature or for music are accessible to architecture, to pictures, to statues, to dresses, and to the arts of the stage. Every device of art should be brought to bear on the young; so that they may discover some form of it that delights them naturally; for there will come to all of them that period between dawning adolescence and full maturity when the pleasures and emotions of art will have to satisfy cravings which, if starved or insulted, may become morbid and seek disgraceful satisfactions, and, if prematurely gratified otherwise than poetically, may destroy the stamina of the race. And it must be borne in mind that the most dangerous art for this necessary purpose is the art that presents itself as religious ecstasy. Young people are ripe for love long before they are ripe for religion. Only a very foolish person would substitute the Imitation of Christ for Treasure Island as a present for a boy or girl, or for Byron's Don Juan as a present for a swain or lass. Pickwick is the safest saint for us in our nonage. Flaubert's Temptation of St Anthony is an excellent book for a man of fifty, perhaps the best within reach as a healthy study of visionary ecstasy; but for the purposes of a boy of fifteen Ivanhoe and the Templar make a much better saint and devil. And the boy of fifteen will find this out for himself if he is allowed to wander in a well-stocked literary garden, and hear bands and see pictures and spend his pennies on cinematograph shows. His choice may often be rather disgusting to his elders when they want him to choose the best before he is ready for it. The greatest Protestant Manifesto ever written, as far as I know, is Houston Chamberlain's Foundations of the Nineteenth Century: everybody capable of it should read it. Probably the History of Maria Monk is at the opposite extreme of merit (this is a guess: I have never read it); but it is certain that a boy let loose in a library would go for Maria Monk and have no use whatever for Mr Chamberlain. I should probably have read Maria Monk myself if I had not had the Arabian Nights and their like to occupy me better. In art, children, like adults, will find their level if they are left free to find it, and not restricted to what adults think good for them. Just at present our young people are going mad over ragtimes, apparently because syncopated rhythms are new to them. If they had learnt what can be done with syncopation from Beethoven's third Leonora overture, they would enjoy the ragtimes all the more; but they would put them in their proper place as amusing vulgarities.