But this theory, although much superior to the preceding, is no more exact. Its defect consists in confounding the moral effect of art with its real aim. This confusion has inconveniences which do not appear at the first glance. Let care be taken, meanwhile, lest, in thus assigning to art a foreign aim, it be not robbed of its liberty, which is its essence, and without which it has no inspiration—that thereby it be not prevented from producing the effects which are to be expected from it. Between religion, morals and art, there exists an eternal and intimate harmony; but they are, none the less, essentially diverse forms of truth, and, while preserving entire the bonds which unite them, they claim a complete independence. Art has its peculiar laws, methods and jurisdiction; though it ought not to wound the moral sense, yet it is the sense of the Beautiful to which it is addressed. When its works are pure, its effect on the soul is salutary, but its direct and immediate aim is not this result. Seeking it, it risks losing it, and does lose its own end. Suppose, indeed, that the aim of art should be to instruct, under the veil of allegory; the idea, the abstract and general thought, must be present in the spirit of the artist at the very moment of composition. It seeks, then, a form which is adapted to that idea, and furnishes drapery for it. Who does not see that this procedure is the very opposite of inspiration? There can be born of it only frigid and lifeless works; its effect will thus be neither moral nor religious; it will produce only _ennui_. Another consequence of the opinion which makes moral perfection the object of art and its creations, is that this end is imposed so completely upon art, and controls it to such a degree, that it has no longer even a choice of subjects. The severe moralist would have it represent moral subjects alone. Art is then undone. This system led Plato to banish poets from his republic. If, then, it is necessary to maintain the agreement of morality and art, and the harmony of their laws, their distinct bases and independence must also be recognized. In order to understand thoroughly this distinction between morals and art, it is necessary to have solved the moral problem. Morality is the realization of the “ought” by the free will; it is the conflict between passion and reason, inclination and law, the flesh and the spirit. It hinges upon an opposition. Antagonism is, indeed, the very law of the physical and moral universe. But this opposition ought to be cancelled. This is the destiny of beings who by their development and progress continually realize themselves.