ONE:
TWO:By examining the history of great achievements in the mechanic arts, it will be seen that success has been mainly dependent upon predicting future wants, as well as upon an ability to supply such wants, and that the commercial value of mechanical improvements is often measured by conditions that the improvements themselves anticipate. The invention of machine-made drills, for example, was but a small matter; but the demand that has grown up since, and because of their existence, has rendered this improvement one of great value. Moulded bearings for shafts were also a trifling improvement when first made, but it has since influenced machine construction in America in a way that has given great importance to the invention."Oh yes, the Netherlanders are our friends; they remain neutral. And that is the best, for otherwise the whole lot would be smashed up, exactly as here in Belgium."
ONE:The Poetics of Aristotle contains some hints on the subject of composition which entitle it to be mentioned in the present connexion. The deficiencies, even from a purely theoretical point of view, of this work, once pronounced infallible, have at last become so obvious that elaborate hypotheses have been constructed, according to which the recension handed down to us is a mere mutilated extract from the original treatise. Enough, however, remains to convince us that poetry was not, any more than eloquence, a subject with which Aristotle was fitted to cope. He begins by defining it, in common with all other art, as an imitation. Here, we at once recognise the spirit of a philosophy, the whole power and interest of which lay in knowledge; and, in fact, he tells us that the love of art is derived from the love of knowledge. But the truth seems to be that aesthetic enjoyment is due to an ideal exercise of our faculties, among which the power of perceiving identities is sometimes, though not always, included. That the materials of which every artistic creation is composed are taken from the world of our experience makes no difference; for it is by the new forms in which they are arranged that we are interested, not because we remember having met them in301 some natural combination already. Aristotle could not help seeing that this was true in the case of music at least; and he can only save his principle by treating musical effects as representations of passions in the soul. To say, however, that musical pleasure arises from a perception of resemblance between certain sounds and the emotions with which they are associated, would be an extremely forced interpretation; the pleasure is due rather to a sympathetic participation in the emotion itself. And when Aristotle goes on to tell us that the characters imitated in epic and dramatic poetry may be either better or worse than in ordinary life, he is obviously admitting other aesthetic motives not accounted for by his general theory. If, on the other hand, we start with ideal energising as the secret of aesthetic emotion, we can easily understand how an imaginary exaltation of our faculties is yielded by the spectacle of something either rising above, or falling below, the level on which we stand. In the one case we become momentarily invested with the strength put into action before our eyes; in the other, the consciousness of our own superiority amounts to a fund of reserve power, which not being put into action, is entirely available for ideal enjoyment. And, if this be the correct view, it will follow that Aristotle was quite wrong when he declared the plot to be more important than the characters of a drama. The reason given for his preference is, even on the principles of his own philosophy, a bad one. He says that there can be plot without character-drawing, but never character-drawing without plot. Yet he has taught us elsewhere that the human soul is of more value than the physical organism on which its existence depends. This very parallel suggests itself to him in his Poetics; but, by an almost inconceivable misjudgment, it is the plot which he likens to the soul of the piece, whereas in truth it should be compared to the body. The practice and preference of his own time may have helped to mislead him, for he argues (rather inconsistently, by the way) that plot302 must be more indispensable, as young writers are able to construct good stories before they are able to portray character; and more artistic, as it was developed much later in the historical evolution of tragedy. Fortunately for us, the Alexandrian critics were guided by other canons of taste, or the structurally faulty pieces of Aeschylus might have been neglected, and the ingeniously constructed pieces of Agathon preserved in their place.
TWO:"And if I refuse your offer?" said Leona between her teeth.The parentage of the two ideas will further elucidate their essentially heterogeneous character. For modern Communism is an outgrowth of the democratic tendencies which Plato detested; and as such had its counterpart in ancient Athens, if we may trust the Eccl��siazusae of Aristophanes, where also it is associated with unbridled licentiousness.155 Plato, on the261 contrary, seems to have received the first suggestion of his Communism from the Pythagorean and aristocratic confraternities of Southern Italy, where the principle that friends have all things in common was an accepted maxim.
