and even of the meaning of the words: but he thought a certain need in
man would always be best satisfied by public worship and especially by
the great religious literatures of the past. He would embalm the body
that it might often be revisited by the soul--or souls. Something of the
sort has been suggested by Dr. Coit and others of the ethical societies
in our own time. But while Arnold would loosen the theological bonds of
the Church, he would not loosen the official bonds of the State. You
must not disestablish the Church: you must not even leave the Church:
you must stop inside it and think what you choose. Enemies might say
that he was simply trying to establish and endow Agnosticism. It is
fairer and truer to say that unconsciously he was trying to restore
Paganism: for this State Ritualism without theology, and without much
belief, actually was the practice of the ancient world. Arnold may have
thought that he was building an altar to the Unknown God; but he was
really building it to Divus Cæsar.

As a critic he was chiefly concerned to preserve criticism itself; to
set a measure to praise and blame and support the classics against the
fashions. It is here that it is specially true of him, if of no writer
else, that the style was the man. The most vital thing he invented was a
new style: founded on the patient unravelling of the tangled Victorian
ideas, as if they were matted hair under a comb. He did not mind how
elaborately long he made a sentence, so long as he made it clear. He
would constantly repeat whole phrases word for word in the same
sentence, rather than risk ambiguity by abbreviation. His genius showed
itself in turning this method of a laborious lucidity into a peculiarly
exasperating form of satire and controversy. Newman's strength was in a
sort of stifled passion, a dangerous patience of polite logic and then:
"Cowards! if I advanced a step you would run away: it is not you I fear.
_Di me terrent, et Jupiter hostis._" If Newman seemed suddenly to fly