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THREE:If, in the philosophy of Epict��tus, physics and morality become entirely identified with religion, religion, on the other hand, remains entirely natural and moral. It is an offering245 not of prayer but of praise, a service less of ceremonies and sacrifices than of virtuous deeds, a study of conscience rather than of prophecy, a faith not so much in supernatural portents as in providential law.380 But in arriving at Marcus Aurelius, we have overstepped the line which divides rational religion from superstition. Instances of the good emperor��s astonishing credulity have already been given and need not be repeated. They are enough to show that his lavish expenditure on public worship was dictated by something more than a regard for established customs. We know, indeed, that the hecatombs with which his victories were celebrated gave occasion to profane merriment even in the society of that period. On one occasion, a petition was passed from hand to hand, purporting to be addressed to the emperor by the white oxen, and deprecating his success on the ground that if he won they were lost.381 Yet the same Marcus Aurelius, in speaking of his predecessor Antoninus, expressly specifies piety without superstition as one of the traits in his character which were most deserving of imitation.382 And, undoubtedly, the mental condition of those who were continually in an agony of fear lest they should incur the divine displeasure by some purely arbitrary act or omission, or who supposed that the gods might be bribed into furthering their iniquitous enterprises, was beyond all comparison further removed from true wisdom than the condition of those who believed themselves to be favoured by particular manifestations of the divine beneficence, perhaps as a recompense for their earnest attempts to lead a just and holy life. We may conclude, then, that philosophy, while injuriously affected by the supernaturalist movement, still protected its disciples against the more virulent forms of superstition, and by entering into combination with the popular belief, raised it to a higher level of feeling and of thought. It was not, however, by Stoicism that the final reconciliation of ancient religion with philosophy could be246 accomplished, but by certain older forms of speculation which we now proceed to study.The Poetics of Aristotle contains some hints on the subject of composition which entitle it to be mentioned in the present connexion. The deficiencies, even from a purely theoretical point of view, of this work, once pronounced infallible, have at last become so obvious that elaborate hypotheses have been constructed, according to which the recension handed down to us is a mere mutilated extract from the original treatise. Enough, however, remains to convince us that poetry was not, any more than eloquence, a subject with which Aristotle was fitted to cope. He begins by defining it, in common with all other art, as an imitation. Here, we at once recognise the spirit of a philosophy, the whole power and interest of which lay in knowledge; and, in fact, he tells us that the love of art is derived from the love of knowledge. But the truth seems to be that aesthetic enjoyment is due to an ideal exercise of our faculties, among which the power of perceiving identities is sometimes, though not always, included. That the materials of which every artistic creation is composed are taken from the world of our experience makes no difference; for it is by the new forms in which they are arranged that we are interested, not because we remember having met them in301 some natural combination already. Aristotle could not help seeing that this was true in the case of music at least; and he can only save his principle by treating musical effects as representations of passions in the soul. To say, however, that musical pleasure arises from a perception of resemblance between certain sounds and the emotions with which they are associated, would be an extremely forced interpretation; the pleasure is due rather to a sympathetic participation in the emotion itself. And when Aristotle goes on to tell us that the characters imitated in epic and dramatic poetry may be either better or worse than in ordinary life, he is obviously admitting other aesthetic motives not accounted for by his general theory. If, on the other hand, we start with ideal energising as the secret of aesthetic emotion, we can easily understand how an imaginary exaltation of our faculties is yielded by the spectacle of something either rising above, or falling below, the level on which we stand. In the one case we become momentarily invested with the strength put into action before our eyes; in the other, the consciousness of our own superiority amounts to a fund of reserve power, which not being put into action, is entirely available for ideal enjoyment. And, if this be the correct view, it will follow that Aristotle was quite wrong when he declared the plot to be more important than the characters of a drama. The reason given for his preference is, even on the principles of his own philosophy, a bad one. He says that there can be plot without character-drawing, but never character-drawing without plot. Yet he has taught us elsewhere that the human soul is of more value than the physical organism on which its existence depends. This very parallel suggests itself to him in his Poetics; but, by an almost inconceivable misjudgment, it is the plot which he likens to the soul of the piece, whereas in truth it should be compared to the body. The practice and preference of his own time may have helped to mislead him, for he argues (rather inconsistently, by the way) that plot302 must be more indispensable, as young writers are able to construct good stories before they are able to portray character; and more artistic, as it was developed much later in the historical evolution of tragedy. Fortunately for us, the Alexandrian critics were guided by other canons of taste, or the structurally faulty pieces of Aeschylus might have been neglected, and the ingeniously constructed pieces of Agathon preserved in their place.

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