Varro, whom Cicero calls the most acute and learned of writers, and whose great work in forty-one books he praises as containing the names, classes, offices, and causes of all divine and human things, divided theology into the fabulous, the natural, and the civil. In the first, he said, are many fictions unworthy of the nature and dignity of immortal beings: such as that one god sprang from the head, another from the thigh, another from drops of blood; such, again, as that gods were thieves or adulterers, or became slaves to men. In fact, this fabulous theology attributed everything to them which might happen not merely to a man, but to the most contemptible of men.(17) Let us leave what he calls natural theology, which is the discussion of philosophers concerning the physical nature of the gods, and proceed to the third, which he calls civil, and which is that which the citizens, and especially the priests of human communities, are bound to know and administer. This treats of what gods are to be worshipped, and with what rites and sacrifices. The first theology, he says, belongs to the theatre, the second to the universe, the third to the city. S. Augustine, commenting at length upon his division, proves that the first and the third, the fabulous and the civil, are, in fact, identical, since the universe is a divine work, but the theatre and the city works of men. The theatre is indeed made for the city, and the very same gods are ridiculed on the stage who are adored in the temple; the same have games exhibited in their honour and victims sacrificed to them. The images, features, ages, sexes, bearing of the gods in the one and in the other are the same. Thus this fabulous, theatrical, and scenic theology, full of everything vile and criminal, is actually a part of the civil, cohering with it as limb with limb in the same body.(18)