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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 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."And if the German authorities intend to institute a serious and impartial inquiry, then I give them the following particulars:

FORE:Flying past they could not fully understand.

FORE:Yet I am glad to have witnessed the terrible fights near the Yser a couple of times where the German invasion was stopped, and where we may hope that soon victory may dawn on the brave Belgian army.

FORE:Lawrence modestly disclaimed the compliment. As a strong romantic writer he found a fascination in crimes of this kind; indeed, he boasted that practically all his living dramas were founded on life. He had a wonderful faculty for tracing the motive of a crime Many a useful hint had he given to Scotland Yard.

FORE:Balmayne took the bare throat of the speaker in his grip and shook Maitrank as a reed is shaken in the wind.

FORE:

FORE:Lawrence was profoundly interested in what Prout had to say. The latter had given far more information than he had imagined.

FORE:4. Mechanical drawings should be made with reference to all the processes that are required in the construction of the work, and the drawings should be responsible, not only for dimensions, but for unnecessary expense in fitting, forging, pattern-making, moulding, and so on.All houses were on fire, and every now and then walls fell down with a roar of thunder, shrouding the greater part of the street in a thick cloud of suffocating smoke and dust. Sometimes I had to run to escape from the filthy mass. On several walls an order was written in chalk directing the men to come to the market-place to assist in extinguishing the fire, and the women to stay indoors. As soon as the order had been obeyed the Germans drove the men from the market to the station, where they were packed in trucks like cattle.

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