erefore, not allowed, but that
Aristophanes did it in jest, or was authorized by custom, would be to
trifle with the difficulty, and not to clear it. Though the Athenians
loved merriment, it is not likely that, if Aristophanes had professed
atheism, they would have spared him more than Socrates, who had as much
life and pleasantry in his discourses, as the poet in his comedies. The
pungent raillery of Aristophanes, and the fondness of the Athenians for
it, are, therefore, not the true reason why the poet was spared, when
Socrates was condemned. I shall now solve the question with great
brevity.

The true answer to this question is given by Plutarch in his treatise of
reading of the poets. Plutarch attempts to prove, that youth is not to
be prohibited the reading of the poets, but to be cautioned against such
parts as may have bad effects. They are first to be prepossessed with
this leading principle, that poetry is false and fabulous. He then
enumerates, at length, the fables which Homer and other poets have
invented about their deities, and concludes thus: "When, therefore,
there is found in poetical compositions any thing strange and shocking,
with respect to gods or demi-gods, or concerning the virtue of any
excellent and renowned characters, he that should receive these fictions
as truth, would be corrupted by an erroneous opinion; but he that always
keeps in his mind the fables and allusions, which it is the business of
poetry to contrive, will not be injured by these stories, nor receive
any ill impressions upon his thoughts, but will be ready to censure
himself, if, at any time, he happens to be afraid, lest Neptune, in his
rage, should split the earth, and lay open the infernal regions." Some
pages afterwards, he tells us, "that religion is a thing difficult of
comprehension, and above the understanding of poets; which it is," says
he, "necessary to have in mind when we read their fables."

The pagans, therefore, had their fables, which they distinguished from
their religion; for no one can be persuaded that Ovid intended his
Metamorphoses, as a true representation of the religion of the Romans.
The poets were allowed their imaginations about their gods, as things
which have no regard to the publick worship. Upon this principle, I say,
as I said before, there was, amongst the pagans, two sorts of religion;
one a poetical, and the other a real religion; one practical, the other
theatrical; a mythology for the po