We are here in presence of a phenomenon like that to which attention was invited in an early chapter of this work.[371] The belief in immortality, entertained under a gloomy and repulsive form by the uneducated, is taken up by the higher classes, brought into contact with their more generous ideas, broadened, deepened, purified, and finally made the basis of a new religion. Nevertheless, in the present instance at least, all was not clear gain; and the faith which smiles on us from storied sarcophagus and mural relief, or pleads for our sympathy in epitaphs more enduring than the hope which they enshrine, had also its grotesque and hideous side, for an expression of which we must turn to literature again. Once credited with a continued existence, the departed spirit would not remain in the Hades or the Elysium provided for it by the justice or the piety, of the survivor, but persisted in returning to this world and manifesting a most uncomfortable interest in its affairs; or, even if willing to remain at rest, it was liable to be dragged back by incantations, and compelled to reveal the secrets of futurity at the bidding of an unprincipled magician. What science and good feeling combined have proved unable to keep down among ourselves, naturally raged with unmitigated virulence at a time when the primitive barbarism and superstition were only covered over by a crust of culture which at many points was growing thinner every day. Among Latin writers, the younger Pliny, Suetonius, and Apuleius, among Greek writers, Plutarch, Pausanias, Maximus Tyrius, Philostratus, and Dion Cassius, afford unequivocal evidence of their belief and the belief of their contemporaries in ghostly apparitions; and Lucian, while rejecting ghost-stories on his own account, speaks as if they were implicitly accepted even in philosophical circles.[372] Still more abundant is the evidence proving the frequency of attempts made to evoke spirits by means of magical incantations. Horace’s Canidia boasts that she can raise the dead even after their bodies have been burned.[373] Lucan describes the process of conjuring up a ghost at length; and it is thought that he inserted the whole scene in his poem as a satire on the emperor Nero, who is known to have been addicted to such practices, as were also his successors, Didius Julianus, Caracalla, and Elagabalus. And that the same art was cultivated by private persons is clear from the allusions made to it by Quintilian, Apuleius, Tertullian, and Heliodôrus.[374] VIII.