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FORE:��Don��t!�� Sandy spoke sharply. ��Don��t go in there!��"Yes, all right, you may go, but we only want you to tell us what you know of this man."

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FORE:CHAPTER IX JEFF ENCOUNTERS A ��JINX��

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FORE:"You won't mind?" he said.

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FORE:Answering to the first principles of demonstration in logic, if not absolutely identical with them, are what Aristotle calls causes in the nature of things. We have seen what an important part the middle term plays in Aristotle��s theory of the syllogism. It is the vital principle of demonstration, the connecting link by which the two extreme terms are attached to one another. In the theory of applied logic, whose object is to bring the order of thought into complete parallelism with the order of things, the middle term through which a fact is demonstrated answers to the cause through which it exists. According to our notions, only two terms, antecedent and consequent, are involved in the idea of causation; and causation only becomes a matter for reasoning when we perceive that the sequence is repeated in a uniform manner. But Aristotle was very far from having reached, or even suspected, this point of view. A cause is with him not a determining antecedent, but a secret nexus by which the co-existence of two phenomena is explained. Instead of preceding it intercedes; and this is why he finds its subjective counterpart in the middle term of the syllogism. Some of his own examples will make the matter clearer. Why is the moon eclipsed? Because the earth intervenes between her and the sun. Why is the bright side of the moon always turned towards the sun? Because she shines by his reflected light (here light is the middle term). Why is that person talking to the rich man? Because he wants to borrow money of him. Why are those two men friends? Because they have the same enemy.281In shading drawings, be careful not to use too deep tints, and to put the shades in the right place. Many will contend, and not without good reasons, that working drawings require no shading; yet it will do no harm to learn how and where they can be shaded: it is better to omit the shading from choice than from necessity. Sections must, of course, be shaded��not with lines, although I fear to attack so old a custom, yet it is certainly a tedious and useless one: sections with light ink shading of different colours, to indicate the kind of material, are easier to make, and look much better. By the judicious arrangement of a drawing, a large share of it may be in sections, which in almost every case are the best views to work by. The proper colouring of sections gives a good appearance to a drawing, and conveys an idea of an organised machine, or, to use the shop term, "stands out from the paper." In shading sections, leave a margin of white between the tints and the lines on the upper and left-hand sides of the section: this breaks the connection or sameness, and the effect is striking; it separates the parts, [85] and adds greatly to the clearness and general appearance of a drawing.

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