TWO: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.

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TWO:On the road from Borgloon to Thienen I had a chat with an old crone, who stood weeping by the ruins of her miserable little cottage, which she refused to leave. This little house, which strenuous zeal had enabled her to buy, was all she possessed on earth besides her two sons, both fallen through the murderous lead of those barbarians, and buried in the little garden at the back of their ruined home. Of another family, living close by, the father and two sons were murdered in the same way."Of course, I've noticed that," said Lawrence thoughtfully. "For instance, I once was exceedingly fond of the smell of tuberose, but----"

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TWO:The next step was to create a method for determining the particular configuration on which any given property of matter depends. If such a problem could be solved at all, it would be by some new system of practical analysis. Bacon did not see this because he was a Schoolman, emancipated, indeed,377 from ecclesiastical authority, but retaining a blind faith in the power of logic. Aristotle��s Organon had been the great storehouse of aids to verbal disputation; it should now be turned into an instrument for the more successful prosecution of physical researches. What definitions were to the one, that Forms should be to the other; and both were to be determined by much the same process. Now Aristotle himself had emphatically declared that the concepts out of which propositions are constructed were discoverable by induction and by induction alone. With him, induction meant comparing a number of instances, and abstracting the one circumstance, if any, in which they agreed. When the object is to establish a proposition inductively, he has recourse to a method of elimination, and bids us search for instances which, differing in everything else, agree in the association of two particular marks.541 In the Topics he goes still further and supplies us with a variety of tests for ascertaining the relation between a given predicate and a given subject. Among these, Mill��s Methods of Difference, Residues, and Concomitant Variations are very clearly stated.542 But he does not call such modes of reasoning Induction. So far as he has any general name for them at all, it is Dialectic, that is, Syllogism of which the premises are not absolutely certain; and, as a matter of nomenclature, he seems to be right. There is, undoubtedly, a process by which we arrive at general conclusions from the comparison of particular instances; but this process in its purity is nothing more nor less than induction by simple enumeration. All other reasoning requires the aid of universal propositions, and is therefore, to that extent, deductive. The methods of elimination or, as they are now called, of experiment, involve at every step the assumption of378 general principles duly specified in the chapter of Mill��s Logic where they are analysed. And wherever we can rise immediately from, a single instance to a general law, it is because the examination of that single instance has been preceded by a chain of deductive reasoning.The passionate despair of the tones touched Ren��. It did not seem possible to the man that this woman was acting.

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