Such conditions formed an environment ideal for the permanent establishment and rooting of Jewish power, and for the organization of a Jewish base.
The political situation reflected itself, as it always does, in literature. The Jew began to appear in English fiction as an exalted character, quite specially removed to his advantage from the mass of mankind. He is already a hero in Sir Walter Scott, but the full development was much later. You could still have a Jewish villain as late as Oliver Twist, but with writers as different as Charles Reade and George Eliot we reach a time where the Jew is impeccable. The worst any writer dares do at the end of the process is to be silent. The best is to flatter the Jewish type out of all knowledge. This singular interlude was in part due to the divorce between literature and popular feeling in the middle and latter part of the nineteenth century; at least, it was permitted by that divorce. But the active cause of it was the reflection of the Jew's political position upon the mind of the educated class as expressed in its literary art.
At the same time a parallel movement appeared on the historical side of literature. A convention arose that in the clash between the Jews and the English of the Middle Ages the Jews were invariably right and the English invariably wrong. Where the struggle was between the Jew and the non-Jew abroad, the historian exceeded all bounds. The European hostile to the Jew was a senseless monster, and the Jew hostile to the European was a holy victim.
The whole story of Europe and of this country, in so far as it was affected by this very considerable factor, was distorted through suppression, and false emphasis and quite exceptional lying.
The general reader of history neither knew what part the Jewish question had played nor the claims that could be advanced for his own race in the conflict. And as historians live by copying one another, the legend was established in every school and college.