FORE:"You hear that?" Lalage went on. "You are going to die. Your life has been given over to me to do as I please with. There is one way to save your delicate skin, one way to freedom if you choose to take it."A pattern-maker no sooner sees a casting than he imagines the kind of pattern employed in moulding it; a moulder will imagine the plan of moulding and casting a piece; while an engineer will criticise the arrangement, proportions, adaptation, and general design, and if skilled, as he ought to be, will also detect at a glance any useless expense in patterns or moulding.
FORE:"I have been to Lytton Avenue," she said, "to get that address I told you of. And then I made a discovery. Uncle, how long has there been a caretaker on those premises, who boils a kettle by the ingenious expedient of holding it over the gas until it is hot enough?" We believe, then, that the whole heaven is one and everlasting, without beginning or end through all eternity, but holding infinite time within its orb; not, as some say, created or capable of being destroyed. We believe it on account of the grounds already stated, and also on account of the consequences resulting from a different hypothesis. For, it must add great weight to our assurance of its immortality and everlasting duration that this opinion may, while the contrary opinion cannot possibly, be true. Wherefore, we may trust the traditions of old time, and especially of our own race, when they tell us that there is something deathless and divine about the things which, although moving, have a movement that is not bounded, but is itself the universal bound, a perfect circle enclosing in its revolutions the imperfect motions that are subject to restraint and arrest; while this, being without beginning or end or rest through infinite time, is the one from which all others originate, and into which they disappear. That heaven which antiquity assigned to the gods as an immortal abode, is shown by the present argument to be uncreated and indestructible, exempt alike from mortal weakness and from the weariness of subjection to a force acting in opposition to its natural inclination; for in proportion to its everlasting continuance such a compulsion would be laborious, and unparticipant in the highest perfection of design. We must not, then, believe with the old mythologists that an Atlas is needed to uphold it; for they, like some in more recent times, fancied that the heavens were made of heavy earthy matter, and so fabled an animated necessity for their support; nor yet that, as Empedocles says, they will last only so long as their own proper momentum is exceeded by the whirling motion of which they partake.255 Nor, again, is it likely that their everlasting revolution can be kept up by the exercise of a conscious will;358 for no soul could lead a happy and blessed existence that was engaged in such a task, necessitating, as it would, an unceasing struggle with their native tendency to move in a different direction, without even the mental relaxation and bodily rest which mortals gain by sleep, but doomed to the eternal torment of an Ixions wheel. Our explanation, on the other hand, is, as we say, not only more consistent with the eternity of the heavens, but also can alone be reconciled with the acknowledged vaticinations of religious faith.256
FORE: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.
FORE:In treating of machinery for transport, as a class, the subject, as far as noticed here, will be confined to moving and handling material as one of the processes of manufacturing, and especially in connection with machine construction. If the amount of time, expense, labour, and machinery devoted to handling material in machine shops is estimated, it becomes a matter of astonishment to as many as have not previously investigated the subject; as an item of expense the handling, often exceeds the fitting on large pieces, and in the heavier class of work demands the most careful attention to secure economical manipulation.
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