Perhaps a history of art would not square with the repugnance one feels toward such censorship. Conformance to the religious beliefs of his time certainly does not seem to have handicapped Homer or Dante, to say nothing of the preeminent men in other fields of art, Phidias, Michael Angelo, Raphael, etc. Yet in the modern consciousness, the theory of art for art's sake has become so far established that we feel that any compromise of the purely aesthetic standard is a loss to the artist. The deity of the artist and the churchman may be in some measure the same, since absolute beauty and absolute goodness are regarded both by poets and theologians as identical, but there is reason to believe that the poet may not go so far astray if he cleaves to his own immediate apprehension of absolute beauty as he will if he fashions his beliefs upon another man's stereotyped conception of the absolute good. Then, too, it is not unlikely that part of the poet's reluctance to embrace the creed of his contemporaries arises from the fact that he, in his secret heart, still hankers for his old title of priest. He knows that it is the imaginative faculty of the poet that has been largely instrumental in building up every religious system. The system that holds sway in society is apt to be the one that he himself has just outgrown; he has, accordingly, an artist's impatience for its immaturity. There is much truth to the poet's nature in verses entitled _The Idol Maker Prays_: Grant thou, that when my art hath made thee known And others bow, I shall not worship thee, But as I pray thee now, then let me pray Some greater god,--like thee to be conceived Within my soul. [Footnote: By Arthur Guiterman.] CHAPTER VII THE PRAGMATIC ISSUE