Apart from this fundamental inquiry, there is another, no less important in its way, to which the study of religion and magic opens up a path.
This is the problem how reflection manages as it were to double human experience, by setting up beside the outer world of sense an inner world of thought-relations.

Now constructive imagination is the queen of those mental functions which meet in what we loosely term "thought"; and imagination is ever most active where, on the outer fringe of the mind's routine work, our inarticulate questionings radiate into the unknown.

When the genius has his vision, almost invariably, among the ruder peoples, it is accepted by himself and his society as something supernormal and sacred, whether its fruit be an act of leadership or an edict, a practical invention or a work of art, a story of the past or a prophecy, a cure or a devastating curse.

Moreover, social 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.