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THREE:Cutting, as a process in converting material, includes the force to propel cutting edges, means to guide and control their action, and mechanism to sustain and adjust the material acted upon. In cutting with hand tools, the operator performs the two functions of propelling and guiding the tools with his hands; but in what [58] is called power operations, machines are made to perform these functions. In nearly all processes machines have supplanted hand labour, and it may be noticed in the history and development of machine tools that much has been lost in too closely imitating hand operations when machines were first applied. To be profitable, machines must either employ more force, guide tools with more accuracy, or move them at greater speed, than is attainable by hand. Increased speed may, although more seldom, be an object in the employment of machinery, as well as the guidance of implements or increased force in propelling them. The hands of workmen are not only limited as to the power that may be exerted, and unable to guide tools with accuracy, but are also limited to a slow rate of movement, so that machines can be employed with great advantage in many operations where neither the force nor guidance of tools are wanting.

THREE:Lawrence took a fountain pen from his pocket. Without the slightest hesitation and in a good dashing hand Leona Lalage appended her signature. It was a great deal more firm and true than either of the witnessing signatures.Balmayne nodded and turned. He knew only too well what that threat meant. So far as he could see there was no way out of it whatever. He had come to the end of his resources. If he could only get away from this!

THREE:

THREE:"I thought you would find a way out," she suggested.

THREE:Balmayne glanced miserably about him. He was not listening at all. He was calculating the chances of escape, of the fate that lay before him. Had this thing taken place in Corsica he would have been in no doubt for a moment. All these men were joined together by blood ties or something of that kind, and insult to one was an insult to another.

THREE: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 Aristotle��s 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.

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