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In the Council, generally called _Concilium Africanum_, held A.D. 408, "stage-playes and spectacles are forbidden on the Lord's-day, Christmas-day, and other solemn Christian festivalls." Theodosius the younger, in his laws _de Spectaculis_, in 425, forbade shows or games on the Nativity, and some other feasts. And in the Council of Auxerre, in Burgundy, in 578, disguisings are again forbidden, and at another Council, in 614, it was found necessary to repeat the prohibitory canons in stronger terms, declaring it to be unlawful to make any indecent plays upon the Kalends of January, according to the profane practices of the pagans. But it is also recorded that the more devout Christians in these early times celebrated the festival without indulging in the forbidden excesses.

Nevertheless I knew that I could get it to agree with me if I could so effectually button-hole and fasten on to it as to eat it. Most men have an easy method with turtle soup, and I had no misgiving but that if I could bring my first premise to bear I should prove the better reasoner. My difficulty lay in this initial process, for I had not with me the argument that would alone compel Mr. Sweeting think that I ought to be allowed to convert the turtles--I mean I had no money in my pocket. No missionary enterprise can be carried on without any money at all, but even so small a sum as half-a-crown would, I suppose, have enabled me to bring the turtle partly round, and with many half-crowns I could in time no doubt convert the lot, for the turtle needs must go where the money drives. If, as is alleged, the world stands on a turtle, the turtle stands on money. No money no turtle. As for money, that stands on opinion, credit, trust, faith--things that, though highly material in connection with money, are still of immaterial essence.

It is, of course, quite true that no writer is bound by traditions of art, and there is no one who need consider how the thing has been done before, or follow a prescribed code. But for all that, art is not a thing of rules made and enforced by critics. All that critics can do is to determine what the laws of art are; because art has laws underlying it which are as certain as the laws of gravity, even if they are not known. The more permanent art is, the more it conforms to these laws; because the fact is that there is a vital impulse in the human mind towards the expression of beauty, and a vital discrimination too as to the form and method of that expression. Architecture, for instance, and music, are alike based upon instinctive preferences in human beings, the one for geometrical form, the other for the combination of vibrations. It is a law of music, for instance, that the human being prefers an octave in absolute unison, and not an octave of which one note is a semitone flat. That is not a rule invented by critics; it is a law of human perception and preference. Similarly there is undoubtedly a law which determines human preferences in poetry, though a far more complicated law, and not yet analysed. The new poet is not a man who breaks the law, but one who discovers a real extension of it.

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