Many such symbols were not symbols when first introduced into the language, but nouns that stood for things, or beings, supposed to be perfectly real. Thus, for instance, the word “devil,” which in olden times stood for a satanic majesty, adorned with horns and tail, has now become a convenient symbol, a thing only too real, but covering such immense ground, and presenting such innumerable aspects, that a symbol expressing the whole conception is extremely convenient. Nothing is commoner than to hear a clergyman use the words “the devil” in his sermon, though it be part of his creed and of his teachings that God is so omnipresent throughout the universe that there is not a square inch for a personal devil to place his foot on. It is this kind of symbolism which Nordau is bent on crucifying as degeneration. As we have already said, there is a general tendency among artists to indulge in it, in order to produce moods and suggest emotions. Thus, for example, in the picture spoken of in our last chapter, “Dante’s Dream,” an atmosphere of love is represented by red birds, and sleep is represented by poppies strewn on the floor. In Rossetti’s picture Nordau would have taken objection to such symbols, though he seems reconciled to the symbols used by Raphael and his school, and would probably not object to those of German allegorical painters and sculptors. It is significant that the symbolism which he most vehemently holds up as a stigma of degeneration, is that of the modern French poets who have made religious symbolism their speciality. It is not difficult to see why these have been chosen as the scapegoats for the symbolism of every art and every country. It is true they boldly call themselves symbolists. But this would not be enough to elicit from Nordau a chapter of forty-five pages. Besides calling themselves symbolists, they have the audacity to be French. Their symbolism is religious, and, what is worse, is Roman Catholic, and, what is worst of all, it is antagonistic to science. Though the now prevailing love for symbols does not always manifest itself in a religious way, it is natural for it to find its widest application in speeches and writings on religion. Religion avowedly deals with things not of this earth, is based not on knowledge and investigation, but on faith, and appeals not to our intellect, but to our emotional nature.