The liberal views of the Broad Churchmen and their attitude to the Bible gradually produced some effect upon those who differed most from them; and nowadays there is probably no one who would not admit, at least, that such a passage as Genesis, Chapter XIX, might have been composed without the direct inspiration of the Deity.
During the next few years orthodox public opinion was shocked or disturbed by the appearance of several remarkable books which criticized, ignored, or defied authority—Lyell's Antiquity of Man, Seeley's Ecce Homo (which the pious Lord Shaftesbury said was "vomited from the jaws of hell"), Lecky's History of Rationalism. And a new poet of liberty arose who did not fear to sound the loudest notes of defiance against all that authority held sacred. All the great poets of the nineteenth century were more or less unorthodox; Wordsworth in the years of his highest inspiration was a pantheist; and the greatest of all, Shelley, was a declared atheist. In fearless utterance, in unfaltering zeal against the tyranny of Gods and Governments, Swinburne was like Shelley. His drama Atalanta in Calydon (1865), even though a poet is strictly not answerable for what the persons in his drama say, yet with its denunciation of "the supreme evil, God," heralded the com-
