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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 mens 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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Up, and still climbing, the airplane continued through the fog."I shall find some way out of it," she said. "Now go back to your work. Courage, dearest."
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ONE:The three comrades were busy from then on. TWO:"I wonder who Herr Max Kronin is?" he muttered. "Ask the gentleman in."


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THREE:"Captain Count Von Schwerin, 19. 10.'14."

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THREE:VIII.

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THREE:Bruce fell in with this suggestion, and sat down to lunch with what appetite he could. He was terribly disturbed and uneasy. He was dining that night with Countess Lalage, who was giving one of her brilliant little parties. There would be a chance of a cosy little chat with Hetty afterwards, but all the same as Bruce dressed he wished that he was not going."You have overdone yourself," he said with his cool hand on the fevered pulse. "Few men could stand the strain of your present life. You must go away at once to some very quiet place and be in the open air all day----"

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THREE:Maitrank nodded breathlessly. He did not lack pluck, but he was an old man and the rapidity of events dazed him. All the glittering electrics in the room were whirling like a wheel.These and similar questions were asked after a superficial examination of my papers, and, having answered them, I was allowed to go on. But at a certain moment an officer appeared, who summoned me to dismount, and asked for my papers. After a short examination he ordered a soldier to take me to the commanding officer at Riemst.
THREE:Theyre getting aheadgetting away from us! cried Sandy.
THREE:Of all existing constitutions that of Sparta approached nearest to the ideal of Plato, or, rather, he regarded it as the least degraded. He liked the conservatism of the Spartans, their rigid discipline, their haughty courage, the participation of their daughters in gymnastic exercises, the austerity of their manners, and their respect for old age; but he found much to censure both in their ancient customs and in the characteristics which the possession of empire had recently developed among them. He speaks with disapproval of their exclusively military organisation, of their contempt for philosophy, and of the open sanction which they gave to practices barely tolerated at Athens. And he also comments on their covetousness, their harshness to inferiors, and their haste to throw off the restraints of the law whenever detection could be evaded.124
THREE:"Do enlighten us a little," Hetty pleaded.
THREE:Maitrank grinned in sinister fashion.
THREE:

ONE:On turning to Aristotles Rhetoric we find that, from a practical point of view, his failure here is, if possible, still more complete. This treatise contains, as we have already observed, an immense mass of more or less valuable information on the subject of psychology, ethics, and dialectic, but gives exceedingly little advice about the very essence of rhetoric as an art, which is to say whatever you have to say in the most telling manner, by the arrangement of topics and arguments, by the use of illustrations, and by the choice of language; and that little is to be found in the third book, the genuineness of which is open to very grave suspicion. It may be doubted whether any orator or critic of oratory was ever benefited in the slightest degree by the study of Aristotles rules. His collections of scientific data add nothing to our knowledge, but only throw common experience into abstract formulas; and even as a body of memoranda they would be useless, for no memory could contain them, or if any man could remember them he would have intellect enough not to require them.184 The professional teachers whom300 Aristotle so heartily despised seem to have followed a much more effectual method than his; they gave their pupils ready-made speeches to analyse and learn by heart, rightly trusting to the imitative instinct to do the rest. He compares them to a master who should teach his apprentices how to make shoes by supplying them with a great variety of ready-made pairs. But this would be a much better plan than to give them an elaborate lecture on the anatomy of the foot, with a full enumeration of its bones, muscles, tendons, nerves, and blood-vessels, which is the most appropriate parallel to his system of instruction.

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ONE:"Because my desperate woman hides by the scene of her crime. I was a little dubious about you because that comes out in my plot. Perhaps you counted upon that, and the fact I should not look for you here, after all. It was a game of subtle cross-purposes. But I did look for you here, and I found you. It is a rather long story that I have had to tell, but it has been necessary. And if I repeated it in a court of law I am afraid it would cause you serious inconvenience."
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TWO:There was something about the corner house mystery that gripped the public imagination. There was about it both the realism and the romance that always go to make up a popular sensation.

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So far, we have only considered belief in its relation to the re-distribution of political, social, and national forces. But behind all such forces there is a deeper and more perennial cause of intellectual revolution at work. There is now in the world an organised and ever-growing mass of scientific truths, at least a thousand times greater and a thousand times more diffused than the amount of positive knowledge possessed by mankind in the age of the Antonines. What those truths can do in the future may be inferred from what they have already done in the past. Even the elementary science of Alexandria, though it could not cope with the supernaturalist reaction of the empire, proved strong enough, some centuries later, to check the flood of Mahometan fanaticism, and for a time to lead captivity captive in the very strongholds of militant theological belief. When, long afterwards, Jesuitism and Puritanism between them threatened to reconquer all that the humanism of the Renaissance had won from superstition, when all Europe from end to end was red with the blood or blackened with the death-fires of heretics and witches, science, which had meanwhile been silently laying the foundations of265 a new kingdom, had but to appear before the eyes of men, and they left the powers of darkness to follow where she led. When the follies and excesses of the Revolution provoked another intellectual reaction, her authority reduced it to a mere mimicry and shadow of the terrible revenges by which analogous epochs in the past history of opinion had been signalised. And this was at a time when the materials of reaction existed in abundance, because the rationalistic movement of the eighteenth century had left the middle and lower classes untouched. At the present moment, Catholicism has no allies but a dispirited, half-sceptical aristocracy; and any appeal to other quarters would show that her former reserves have irrevocably passed over to the foe. What is more, she has unconsciously been playing the game of rationalism for fifteen centuries. By waging a merciless warfare on every other form of superstition, she has done her best to dry up the sources of religious belief. Those whom she calls heathens and pagans lived in an atmosphere of supernaturalism which rendered them far less apt pupils of philosophy than her own children are to-day. It was harder to renounce what she took away than it will be to renounce what she has left, when the truths of science are seen by all, as they are now seen by a few, to involve the admission that there is no object for our devotion but the welfare of sentient beings like ourselves; that there are no changes in Nature for which natural forces will not account; and that the unity of all existence has, for us, no individualisation beyond the finite and perishable consciousness of man.We may also suspect that Plato was dissatisfied not only with the positive results obtained by Socrates, but also with the Socratic method of constructing general definitions. To rise from the part to the whole, from particular instances to general notions, was a popular rather than a scientific process; and sometimes it only amounted to taking the current explanations and modifying them to suit the exigencies of ordinary experience. The resulting definitions could never be more than tentative, and a skilful dialectician could always upset them by producing an unlooked-for exception, or by discovering an ambiguity in the terms by which they were conveyed.A planing machine with a running platen occupies nearly twice as much floor space, and requires a frame at least one-third longer than if the platen were fixed and the tools performed the cutting movement. The weight which has to be traversed, including the carriage, will in nearly all cases exceed what it would be with a tool movement; so that there must exist some very strong reasons in favour of a moving platen, which I will now attempt to explain, or at least point out some of the more prominent causes which have led to the common arrangement of planing machines.The most perfect castings for gear wheels and pulleys and other pieces which can be so moulded, are made by drawing the patterns through templates without rapping. These templates are simply plates of metal perforated so that the pattern can be forced through them by screws or levers, leaving the sand intact. Such templates are expensive to begin with, because of the accurate fitting that is required, especially around the teeth of wheels, and the mechanism that is required in drawing the patterns, but when a large number of pieces are to be made from one pattern, such as gear wheels and pulleys, the saving of labour will soon pay for the templates and machinery required, to say nothing of the saving of metal, which often amounts to ten per cent., and the increased value of the castings because of their accuracy.Slackening speed, the seaplane raced along until, with a hand clinging to a brace and his body leaning far over the dancing waves, its passenger on the wing scooped up the life preserver.
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