Importance of the subject—Its Divisions. First Period: origin of the religious feeling—Primitive notions of the Infinite (Max Müller); Ancestor-worship (H. Spencer)—Fetichism, animism; Predominance of fear—Practical, utilitarian, social, but not moral character—Second period: (1) Intellectual evolution; Conception of a Cosmic Order first physical, then moral—Function of increasing generalisation; its stages; (2) Emotional evolution; Predominance of love; addition of the moral sentiment—Third Period: Supremacy of the rational element; Transformation into religious philosophy; Effacement of the emotional element—Religious emotion is a complete emotion—Manifold physiological states accompanying it; ritual, a special form of the expression of emotion—The religious sentiment as a passion—Pathology—Depressive forms: religious melancholy, demonomania—Exalted forms: ecstasy, theomania. CHAPTER X. THE ÆSTHETIC SENTIMENT 328 Its origin: the theory of play, and its variants—Æsthetic activity is the play of the creative imagination in its disinterested form. Its instinctive nature—Transition from simple play to aesthetic play: primitive art of pantomimic dancing—Derivation of the arts in motion; of the arts at rest—Why was æsthetic activity evolved?—Art had, in the beginning, a social utility—Evolution of the æsthetic sentiment—Its sociological aspect: progression from the strictly social character towards individualism in the different arts—Its anthropological aspect: progress from strictly human character towards beings and things as a whole—The feeling for nature—The feeling for the sublime only partially belongs to æsthetics—Its evolution: it is not æsthetic in its origin, but becomes so—Why there are not two æsthetic senses—The sense of the comic—Psychology of laughter—It has more than one cause—Theory of superiority. Theory of discord—These correspond to two distinct stages, one of which is foreign to æsthetics—Physiology of laughter. Theory of nervous derivation—Theory of tickling—Pathology. Are there cases of complete æsthetic insensibility? Difficulties and transpositions of the subject—Pathological function of emotion: pessimistic tendencies, megalomania, influence of unconscious activity—Pathological aspects of the creative imagination; its degrees—Reason why the intense image, in artists, does not pass into action; ways in which it is modified—Cause of this deviation; its advantages. CHAPTER XI. THE INTELLECTUAL SENTIMENT 368