tradition treasures the memory of these revelations, and, blending
them with the contributions of humbler folk--for all of us dream our
dreams--provides in myth and legend and tale, as well as in manifold
other art-forms, a stimulus to the inspiration of future generations.
For most purposes fine art, at any rate during its more rudimentary
stages, may be studied in connection with religion.

So far as law and religion will not account for the varieties of social
behaviour, the novice may most conveniently consider them under the
head of morals. The forms of social intercourse, the fashions, the
festivities, are imposed on us by our fellows from without, and none
the less effectively because as a general rule we fall in with them
as a matter of course. The difference between manners and morals of
the higher order is due simply to the more pressing need, in the case
of our most serious duties, of a reflective sanction, a "moral sense,"
to break us in to the common service. It is no easy task to keep legal
and religious penalties or rewards out of the reckoning, when trying
to frame an estimate of what the notions of right and wrong, prevalent
in a given society, amount to in themselves; nevertheless, it is worth
doing, and valuable collections of material exist to aid the work.
The facts about education, which even amongst rude peoples is often
carried on far into manhood, throw much light on this problem. So do
the moralizings embodied the traditional lore of the folk--the
proverbs, the beast-fables, the stories of heroes.

There remains the individual to be studied in himself. If the
individual be ignored by social science, as would sometimes appear
to be the case, so much the worse for social science, which, to a
corresponding extent, falls short of being truly anthropological.
Throughout the history of man, our beginner should be on the look-out