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FORE:The latter seems a plausible theory, and perhaps a correct one; but there are two facts in connection with the operation of reaction water-wheels which seem to controvert the latter and favour the first theory, namely, that reaction wheels in actual practice seldom utilise more than forty per cent. of useful effect from the water, and that their speed may exceed the initial velocity of the water. With this the subject is left as one for argument or investigation on the part of the reader.

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FORE:The invention is now complete, and as the principles are all within the scope of practical mechanism, there is nothing left to do but to devise such mechanical expedients as will carry out the principles laid down. This mechanical scheming is a second, and in some sense an independent part of machine improvement, and should always be subservient to principles; in fact, to separate mechanical scheming from principles, generally constitutes what has been called chance invention.

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FORE:Turning from sense to reason, Carneades attacks the syllogistic process on grounds already specified in connexion150 with the earlier Sceptics; and also on the plea that to prove the possibility of syllogism is itself to syllogise, and thus involves either a petitio principii or a regress ad infinitum.235 Such a method is, of course, suicidal, for it disproves the possibility of the alleged disproof, a consideration which the Stoics did not fail to urge, and which the later Sceptics could only meet by extending the rule of suspense to their own arguments against argument.236 Nevertheless the sceptical analysis detected some difficulties in the ordinary theory of logic, which have been revived in modern times, and have not yet received any satisfactory solution. Sextus Empiricus, probably copying an earlier authority, it may be Carneades himself, observes that, as the major premise of every syllogism virtually contains the minor, it is either superfluous, or assumes the proposition to be proved. Thus we argue that Socrates is an animal because he is a man, and all men are animals. But if we do not know this latter proposition to be true in the case of Socrates, we cannot be sure that it is true in any case; while if we know it to be true in his case, we do not need to begin by stating it in general terms. And he also attempts to show the impossibility of a valid induction by the consideration, since so often urged, that to generalise from a limited number of instances to a whole class is unsafe, for some of the unknown instances may be contradictory, while the infinite, or at least indefinite multiplicity of individuals precludes the possibility of their exhaustive enumeration.237

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FORE:Perseverance is an important trait to be cultivated in first efforts at designing; it takes a certain amount of study to understand any branch of mechanism, no matter what natural capacity may be possessed by a learner. Mechanical operations are not learned intuitively, but are always surrounded by many peculiar conditions which must be learned seriatim, and it is only by an untiring perseverance at one thing that there can be any hope of improving it by new designs.

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FORE:Bruce forced a smile to his lips.Characters, then, are not introduced that they may perform actions; but actions are represented for the sake of the characters who do them, or who suffer by them. It is not so much a ghostly apparition or a murder which interests us as the fact that the ghost appears to Hamlet, and that the murder303 is committed by Macbeth. And the same is true of the Greek drama, though not perhaps to the same extent. We may care for Oedipus chiefly on account of his adventures; but we care far more for what Prometheus or Clytemnestra, Antigone or Ajax, say about themselves than for what they suffer or what they do. Thus, and thus only, are we enabled to understand the tragic element in poetry, the production of pleasure by the spectacle of pain. It is not the satisfaction caused by seeing a skilful imitation of reality, for few have witnessed such awful events in real life as on the stage; nor is it pain, as such, which interests us, for the scenes of torture exhibited in some Spanish and Bolognese paintings do not gratify, they revolt and disgust an educated taste. The true tragic emotion is produced, not by the suffering itself, but by the reaction of the characters against it; for this gives, more than anything else, the idea of a force with which we can synergise, because it is purely mental; or by the helpless submission of the victims whom we wish to assist because they are lovable, and whom we love still more from our inability to assist them, through the transformation of arrested action into feeling, accompanied by the enjoyment proper to tender emotion. Hence the peculiar importance of the female parts in dramatic poetry. Aristotle tells us that it is bad art to represent women as nobler and braver than men, because they are not so in reality.185 Nevertheless, he should have noticed that on the tragic stage of Athens women first competed with men, then equalled, and finally far surpassed them in loftiness of character.186 But with his philosophy he could not see that, if heroines did not exist, it would be necessary to create them. For, if women are conceived as reacting against outward circumstances at all, their very helplessness will lead to the304 storing of a greater mental tension in the shape of excited thought and feeling debarred from any manifestation except in words; and it is exactly with this mental tension that the spectator can most easily synergise. The wrath of Orestes is not interesting, because it is entirely absorbed into the premeditation and execution of his vengeance. The passion of Electra is profoundly interesting, because it has no outlet but impotent denunciations of her oppressors, and abortive schemes for her deliverance from their yoke. Hence, also, Shakspeare produces some of his greatest effects by placing his male characters, to some extent, in the position of women, either through their natural weakness and indecision, as with Hamlet, and Brutus, and Macbeth, or through the paralysis of unproved suspicion, as with Othello; while the greatest of all his heroines, Lady Macbeth, is so because she has the intellect and will to frame resolutions of dauntless ambition, and eloquence to force them on her husband, without either the physical or the moral force to execute them herself. In all these cases it is the arrest of an electric current which produces the most intense heat, or the most brilliant illumination. Again, by their extreme sensitiveness, and by the natural desire felt to help them, women excite more pity, which, as we have said, means more love, than men; and this in the highest degree when their sufferings are undeserved. We see, then, how wide Aristotle went of the mark when he made it a rule that the sufferings of tragic characters should be partly brought on by their own fault, and that, speaking generally, they should not be distinguished for justice or virtue, nor yet for extreme wickedness.187 The ��immoderate moderation�� of the Stagirite was never more infelicitously exhibited. For, in order to produce truly tragic effects, excess of every kind not only may, but must, be employed. It is by the reaction of heroic fortitude, either against unmerited outrage, or against the whole pressure of social law, that our synergetic interest is wound up305 to the intensest pitch. It is when we see a beautiful soul requited with evil for good that our eyes are filled with the noblest tears. Yet so absolutely perverted have men��s minds been by the Aristotelian dictum that Gervinus, the great Shakspearian critic, actually tries to prove that Duncan, to some extent, deserved his fate by imprudently trusting himself to the hospitality of Macbeth; that Desdemona was very imprudent in interceding for Cassio; and that it was treasonable for Cordelia to bring a French army into England! The Greek drama might have supplied Aristotle with several decisive contradictions of his canons. He should have seen that the Prometheus, the Antigone, and the Hippolytus are affecting in proportion to the pre-eminent virtue of their protagonists. The further fallacy of excluding very guilty characters is, of course, most decisively refuted by Shakspeare, whose Richard III., whose Iago, and whose Macbeth excite keen interest by their association of extraordinary villainy with extraordinary intellectual gifts.

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FORE:

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