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 part of what he was about, but without that conscious and distinct intention of composing a literary work with which ordinary men sit down to write a book. Flowing from the depths of religious feeling, they were the reflection of the age that brought them forth. Generations past and present, nations, communities, brotherhoods of believers, spoke in them and through them. They were not only the work of him who first uttered them or wrote them; others worked with him, thought with him, spoke with him; they were not merely the voice of an individual, but the voice of an epoch and of a people. Hence the utter absence of any apparent and palpable authorship, the disappearance of the individual in the grandeur of the subject. This phenomenon is not indeed quite peculiar to Sacred Books. It belongs also to those great national epics which likewise express the feelings of whole races and communities of men; to the Mahabharata, to the Ramayana, to the Iliad and the Odyssey, to the Volsungen and Nibelungen Sagas, to the Eddas, to the legends of King Arthur and his knights. These poems, or these poetical tales, are anonymous, and they occupy in the veneration of the people a rank which is second only to that of books actually sacred. In some other respects they bear a resemblance to Sacred Books, but these books differ from them in one important particular, which of itself suffices to place them in a different category. What that particular is must now be explained.

4. If I were to describe it by a single word, I should call it their formlessness. The term is an awkward one, but I know of no other which so exactly describes this most peculiar feature of Sacred Books. Like the earth in its chaotic condition before creation, they are "without form." That artistic finish, that construction, combination of parts into a well-defined edifice, that arrangement of the whole work upon an apparent plan, subservient to a distinct object, which marks every other class of the productions of the human mind, is entirely wanting to them. They read not unfrequently as if they had been carelessly jotted down without the smallest regard to order, or the least attention to the effect to be produced on the mind of the reader. Sometimes they may even be said to have neither beginning, middle, nor end. We might open them anywhere and close them anywhere without material difference. Sometimes