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THREE:Its speed accelerated at the start by the engine the airplane picked up speed rapidly because its nose was steadily going down.

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THREE:��Why, go out to the Everdail estate, under my direction, and watch.��Now what distinguishes Spenser from Dante is that, while he also disposes his inventions according to an extremely artificial and abstract schematism, with him, as with Plato, abstractions acquire a separate individual existence, being, in fact, embodied as so many persons; while Dante, following Aristotle, never separates his from the concrete data of experience. And it may be noted that, in this respect at least, English literature has not deserted the philosophy which presided over its second birth. It has ever since been more prone to realise abstractions than any other literature, whether under the form of allegories, parables, or mere casual illustrations drawn from material objects. Even at this day, English writers crowd their pages with dazzling metaphors, which to Continental readers must have sometimes a rather barbaric effect.

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THREE:GEORGE I.Here Plotinus avowedly follows the teaching of Plato, who, in the Timaeus, describes Being or Substance as composed by mingling the indivisible and unchanging with the divisible and corporeal principle.448 And, although there is no express reference, we know that in placing soul between the two, he303 was equally following Plato. It is otherwise in the next essay, which undertakes to give a more explicit analysis of psychical phenomena.449 The soul, we are told, consists, like external objects, of two elements related to one another as Form and Matter. These are reason and sense. The office of the former is, primarily, to enlighten and control the latter. Plato had already pointed to such a distinction; but Aristotle was the first to work it out clearly, and to make it the hinge of his whole system. It is, accordingly, under the guidance of Aristotle that Plotinus proceeds in what he has next to say. Just as there is a soul of the world corresponding to our soul, so also, he argues, there must be a universal objective Reason outside and above the world. In speaking of this Reason, we shall, for clearness�� sake, in general call it by its Greek name, Nous. Nous, according to Aristotle, is the faculty by which we apprehend abstract ideas; it is self-thinking thought; and, as such, it is the prime mover of Nature. Plotinus adopts the first two positions unreservedly, and the third to a certain extent; while he brings all three into combination with the Platonic theory of ideas. It had always been an insuperable difficulty in the way of Plato��s teaching that it necessitated, or seemed to necessitate, the unintelligible notion of ideas existing without any mind to think them. For a disciple of Aristotle, the difficulty ceases to exist if the archetypal essences assumed by Plato are conceived as residing in an eternal Nous. But, on the other hand, how are we to reconcile such an accommodation with Aristotle��s principle, that the Supreme Intelligence can think nothing but itself? Simply by generalising from the same master��s doctrine that the human Nous is identical with the ideas which it contemplates. Thought and its object are everywhere one. Thus, according to Plotinus, the absolute Nous embraces the totality of archetypes or forms which we see reflected and embodied in the material universe. In thinking them, it thinks itself,304 not passing from one to the other as in discursive reasoning, nor bringing them into existence by the act of thought, but apprehending them as simultaneously present realities.

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THREE:Whilst Louis lay ill at Metz, France received an unexpected relief. Prince Charles was hastily recalled to cope with Frederick of Prussia, who had now joined France in the counter-league of Frankfort, and burst into the territories of Maria Theresa. He found in Prague a garrison of fifteen thousand men, yet by the 15th of September he had reduced the place, after a ten days' siege. At the same time Marshal Seckendorf, the Imperial general, entered Bavaria, which was defended only by a small force, and quickly reinstated[88] Charles on the throne of Munich. Vienna itself was in the greatest alarm, lest the enemies uniting should pay it a visit. But this danger was averted by the rapid return of Prince Charles of Lorraine from before Strasburg. He had to pass the very front of the French army; nevertheless, he conducted his forces safely and expeditiously to the frontiers of Bohemia, himself hastening to Vienna to consult on the best plan of operations. Maria Theresa again betook herself to her heroic Hungarians, who, at her appeal, once more rushed to her standard; and Frederick, in his turn alarmed, called loudly on the French for their promises of assistance, but called in vain. The French had no desire for another campaign in the heart of Austria. The Prussian invader, therefore, soon found himself menaced on all sides by Austrians, Croatians, and Hungarian troops, who harassed him day and night, cut off his supplies and his forages, and made him glad to retrace his steps in haste.Henry Purcell (b. 1658; d. 1695) produced the bulk of his works in William's reign. He composed the music to "The Tempest," "Dioclesian," "King Arthur," "Don Quixote," "Bonduca," and "Orpheus Britannicus." Many parts of these, and his sonatas, anthems, catches, rounds, glees, etc., are as much enjoyed now as in his own day. The music to Davenant's "Circe," by Banister, of Shadwell's "Psyche," by Lock, and of Dryden's "Albion and Albanius," by Grabut, had increased in England the liking for the lyrical drama; but Purcell's compositions wonderfully strengthened it, and from "King Arthur" may properly be dated the introduction of the English opera. Gay's "Beggar's Opera," six-and-thirty years after, however, was the first complete and avowed opera, and this did not establish that kind of entertainment in England. The wonderful success of this production, which was performed for sixty-two nights (not consecutive), was chiefly derived from the wit and satire of the composition itself, the abundance of popular airs introduced, and the party feeling which it gratified. The airs were selected and adapted by Dr. Pepusch, a German, who settled in London, and became celebrated there. He also furnished the overture, and wrote accompaniments to the airs. Eleven years after, Milton's "Comus" was adapted to the stage by the Rev. Dr. Dalton, with music by Dr. Arne, who afterwards composed the music for "Artaxerxes," and thence derived a high reputation.

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