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So far Aristotle gives us a purely superficial and sensational view of the drama. Yet he could not help seeing that there was a moral element in tragedy, and he was anxious to show, as against Plato, that it exercised an improving effect on the audience. The result is his famous theory of the Catharsis, so long misunderstood, and not certainly understood even now. The object of Tragedy, he tells us, is to purify (or purge away) pity and terror by means of those emotions themselves. The Poetics seems originally to have contained an explanation of this mysterious utterance, now lost, and critics have endeavoured to supply the gap by writing eighty treatises on the subject. The result has been at least to show what Aristotle did not mean. The popular version of his dictum, which is that tragedy purges the passions by pity and terror, is clearly inconsistent with the wording of the original text. Pity and terror are both the object and the instrument of purification. Nor yet does he mean, as was once supposed,306 that each of these emotions is to counterbalance and moderate the other; for this would imply that they are opposed to one another, whereas in the Rhetoric he speaks of them as being akin; while a parallel passage in the Politics188 shows him to have believed that the passions are susceptible of homoeopathic treatment. Violent enthusiasm, he tells us, is to be soothed and carried off by a strain of exciting, impassioned music. But whence come the pity and terror which are to be dealt with by tragic poetry? Not, apparently, from the piece itself, for to inoculate the patient with a new disease, merely for the sake of curing it, could do him no imaginable good. To judge from the passage in the Politics already referred to, he believes that pity and terror are always present in the minds of all, to a certain extent; and the theory apparently is, that tragedy brings them to the surface, and enables them to be thrown off with an accompaniment of pleasurable feeling. Now, of course, we have a constant capacity for experiencing every passion to which human nature is liable; but to say that in the absence of its appropriate external stimulus we are ever perceptibly and painfully affected by any passion, is to assert what is not true of any sane mind. And, even were it so, were we constantly haunted by vague presentiments of evil to ourselves or others, it is anything but clear that fictitious representations of calamity would be the appropriate means for enabling us to get rid of them. Zeller explains that it is the insight into universal laws controlling our destiny, the association of misfortune with a divine justice, which, according to Aristotle, produces the purifying effect;189 but this would be the purgation of pity and terror, not by themselves, but by the intellectual framework in which they are set, the concatenation of events, the workings of character, or the reference of everything to an eternal cause. The truth is that Aristotles explanation of the moral effect produced by tragedy is307 irrational, because his whole conception of tragedy is mistaken. The emotions excited by its highest forms are not terror and pity, but admiration and love, which, in their ideal exercise, are too holy for purification, too high for restriction, and too delightful for relief."She struck me as being rather nice," Bruce replied. "And I am quite sure that she was sincere in her congratulations."
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THREE:Bruce's heart beat a little faster as he heard a scuffling on the step and the muffled rattle of a latchkey in the door. There was a breath of welcome fresh air in the stuffy place, the impact of two bodies, and Lawrence rushed upon the newcomer. There was a muttered curse and a fall. 19 August 2015, John Doe
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THREE:The mechanical engineer deals mainly with the natural forces, and their application to the conversion of material and transport. His calling involves arduous duties; he is brought in contact with what is rough and repulsive, as well as what is scientific and refined. He must include grease, dirt, manual labour, undesirable associations, and danger with apprenticeship, or else be content to remain without thoroughly understanding his profession. 19 August 2015, John Doe
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THREE:Geometrical drawing is not an artistic art so much as it is a constructive mechanical one; displaying the parts of machinery on paper, is much the same in practice, and just the same in principle, as measuring and laying out work in the shop.No one has been able to explain clearly why a sudden change of temperature hardens steel, nor why it assumes various shades of colour at different degrees of hardness; we only know the fact, and that steel fortunately has such properties. 19 August 2015, John Doe
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THREE:It was like a shadow and quite as noiseless. Lawrence pressed the slide of his repeater. The rapid little pulse beat twelve and then stopped."Go on," she whispered. "Go on, mine enemy." 19 August 2015, John Doe
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A new design should be based upon one of two suppositionseither that existing mechanism is imperfect in its construction, or that it lacks functions which a new design may supply; and if those who spend their time in making plans for novel machinery would stop to consider this from the beginning, it would save no little of the time wasted in what may be called scheming without a purpose.The corner house, the mystery--everything was now forgotten. Bruce called for hot water, he made a sign for it, he simulated the mixing of mustard in a pot. Fortunately his companion's native intelligence was equal to the strain. She vanished with a quick nod of her head.Turning back once more from art and literature to philosophy, is it not abundantly clear that if the Greeks speculated at all, they must at first have speculated according to some such method as that which history proves them to have actually followed? They must have begun by fixing their thoughts, as Thales and his successors did, on the worlds remotest past; they must have sought for a first cause of things, and conceived it, not as any spiritual power, but as a kind of natural ancestor homogeneous with the forms which issued from it, although greater and more comprehensive than they were; in short, as an elemental bodywater, air, fire, or, more vaguely, as an infinite substance. Did not the steady concatenation of cause and effect resemble the unrolling of a heroic genealogy? And did not the reabsorption of every individual existence in a larger whole translate into more general terms that subordination of personal to family and civic glory which is the diapason of Pindars music?"I know--I mean, what do I mean?" the Countess said hoarsely. "Really I don't know why I should be so interested."
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