ism, and here, as there, Roman history was that of a long dying agony which lasted for centuries. Did murdered Judea, in leaving to Rome its spiritualism, wish to revenge itself on the victorious foe, as did the dying centaur who craftily left to the son of Hercules the deadly garment steeped in his own blood? Truly Rome, the Hercules among races, was so thoroughly devoured by Jewish poison that helm and harness fell from its withered limbs, and its imperial war-voice died away into the wailing cadences of monkish prayer and the soft trilling of castrated boys.
But what weakens old age strengthens youth. That spiritualism had a healthy action on the too sound and strong races of the North; the too full-blooded barbarous bodies were spiritualized by Christianity, and European civilization began. The Catholic Church has in this respect the strongest claims on our regard and admiration, for it succeeded by subduing with its great genial institutions the bestiality of Northern barbarians and by mastering brutal matter.
The Art-work of the Middle Ages manifests this mastery of mere material by mind, and it is very often its only mission. The epic poems of this period may be easily classed according to the degree of this subjection or influence. There can be no discussion here of lyrical and dramatic poems, for the latter did not exist, and the former are as like in every age as are the songs of nightingales in spring.
Although the epic poetry of the Middle Ages was divided into sacred and profane, both were altogether Christian according to their kind; for if sacred poesy sang of the Jewish race and its history, the only race which was regarded as holy, or of the heroes and legends of the Old and New Testaments, and, in brief, the Church—still all the life of the time was reflected in profane poetry with its Christian views and action. The flower of the religious poetic art in the German Middle Ages is perhaps Barlaam and Josaphat, in which the doctrine of abnegation, of ab-
