[Footnote 1: Sainte-Beuve.] Like ourselves, Augustin, brought up by a Christian mother, knew it only through literature, and, so to speak, æsthetically. Recollections of school, the emotions and admirations of a cultivated man--there is what the old religion meant for him. Nevertheless, he had one great advantage over us for knowing it well: the sight of the pagan customs and superstitions was still under his eyes. That the lascivious, romantic, and poetic adventures of the ancient gods, their statues, their temples, and all the arts arising from their religion, had beguiled him and filled him with enthusiasm before his conversion, is only too certain. But all this mythology and plastic art were looked upon as secondary things then, even by pagans. The serious, the essential part of the religion was not in that. Paganism, a religion of Beauty, is an invention of our modern æsthetes; it was hardly thought of in that way in Augustin's time. Long before this, the Roman Varro, the great compiler of the religious antiquities of paganism, made a threefold distinction of the doctrine concerning the gods. The first--that of the theatre, as he calls it, or fabulous mythology, adapted to poets, dramatists, sculptors, and jesters. Invented by these, it is only a fantasy, a play of imagination, an ornament of life. The third is civil theology, serious and solid, which claims the respect and piety of all. "It is that which men in cities, and chiefly the priests, _ought to be_ cunning in. It teaches which gods to worship in public, and with what ceremonies and sacrifices each one must be served." Finally, the second, physical or metaphysical theology, is reserved for philosophers and exceptional minds; it is altogether theoretical. The only important and truly religious one, which puts an obligation on the believer, is the third--the civil theology. Now, we never take account of this. What we persist in regarding as paganism is what Varro himself called "a religion for the theatre"--matter of opera, pretext for ballets, for scenery, and for dance postures. Transposed into another key by our poets, this mythology is inflated now and then by mysticism, or by a vague symbolism. Playthings of our pretty wits! The living paganism, which Augustin struggled against, which crowds defended at the price of their blood, in which the poor believed and the wisest statesmen deemed indispensable as a safeguard of cities--that paganism is quite another matter. Like all religions which are possible, it implied and it _enforced_ not only beliefs, but ritual, sacrifices, festivals. And this is what Augustin, with the other Christians of that time, spurned with disgust and declared to be unbearable.