perhaps preferable, for the alternative term Imitative or Mimetic
suggests, if it does not imply, a conscious agent who imitates,
thereby limiting the scope of magic too narrowly. For the same
principles which the magician applies in the practice of his art
are implicitly believed by him to regulate the operations of
inanimate nature; in other words, he tacitly assumes that the Laws
of Similarity and Contact are of universal application and are not
limited to human actions. In short, magic is a spurious system of
natural law as well as a fallacious guide of conduct; it is a false
science as well as an abortive art. Regarded as a system of natural
law, that is, as a statement of the rules which determine the
sequence of events throughout the world, it may be called
Theoretical Magic: regarded as a set of precepts which human beings
observe in order to compass their ends, it may be called Practical
Magic. At the same time it is to be borne in mind that the
primitive magician knows magic only on its practical side; he never
analyses the mental processes on which his practice is based, never
reflects on the abstract principles involved in his actions. With
him, as with the vast majority of men, logic is implicit, not
explicit: he reasons just as he digests his food in complete
ignorance of the intellectual and physiological processes which are
essential to the one operation and to the other. In short, to him
magic is always an art, never a science; the very idea of science
is lacking in his undeveloped mind. It is for the philosophic
student to trace the train of thought which underlies the
magician's practice; to draw out the few simple threads of
which the tangled skein is composed; to disengage the abstract
principles from their concrete applications; in short, to discern
the spurious science behind the bastard art.