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THREE:Characters, then, are not introduced that they may perform actions; but actions are represented for the sake of the characters who do them, or who suffer by them. It is not so much a ghostly apparition or a murder which interests us as the fact that the ghost appears to Hamlet, and that the murder303 is committed by Macbeth. And the same is true of the Greek drama, though not perhaps to the same extent. We may care for Oedipus chiefly on account of his adventures; but we care far more for what Prometheus or Clytemnestra, Antigone or Ajax, say about themselves than for what they suffer or what they do. Thus, and thus only, are we enabled to understand the tragic element in poetry, the production of pleasure by the spectacle of pain. It is not the satisfaction caused by seeing a skilful imitation of reality, for few have witnessed such awful events in real life as on the stage; nor is it pain, as such, which interests us, for the scenes of torture exhibited in some Spanish and Bolognese paintings do not gratify, they revolt and disgust an educated taste. The true tragic emotion is produced, not by the suffering itself, but by the reaction of the characters against it; for this gives, more than anything else, the idea of a force with which we can synergise, because it is purely mental; or by the helpless submission of the victims whom we wish to assist because they are lovable, and whom we love still more from our inability to assist them, through the transformation of arrested action into feeling, accompanied by the enjoyment proper to tender emotion. Hence the peculiar importance of the female parts in dramatic poetry. Aristotle tells us that it is bad art to represent women as nobler and braver than men, because they are not so in reality.185 Nevertheless, he should have noticed that on the tragic stage of Athens women first competed with men, then equalled, and finally far surpassed them in loftiness of character.186 But with his philosophy he could not see that, if heroines did not exist, it would be necessary to create them. For, if women are conceived as reacting against outward circumstances at all, their very helplessness will lead to the304 storing of a greater mental tension in the shape of excited thought and feeling debarred from any manifestation except in words; and it is exactly with this mental tension that the spectator can most easily synergise. The wrath of Orestes is not interesting, because it is entirely absorbed into the premeditation and execution of his vengeance. The passion of Electra is profoundly interesting, because it has no outlet but impotent denunciations of her oppressors, and abortive schemes for her deliverance from their yoke. Hence, also, Shakspeare produces some of his greatest effects by placing his male characters, to some extent, in the position of women, either through their natural weakness and indecision, as with Hamlet, and Brutus, and Macbeth, or through the paralysis of unproved suspicion, as with Othello; while the greatest of all his heroines, Lady Macbeth, is so because she has the intellect and will to frame resolutions of dauntless ambition, and eloquence to force them on her husband, without either the physical or the moral force to execute them herself. In all these cases it is the arrest of an electric current which produces the most intense heat, or the most brilliant illumination. Again, by their extreme sensitiveness, and by the natural desire felt to help them, women excite more pity, which, as we have said, means more love, than men; and this in the highest degree when their sufferings are undeserved. We see, then, how wide Aristotle went of the mark when he made it a rule that the sufferings of tragic characters should be partly brought on by their own fault, and that, speaking generally, they should not be distinguished for justice or virtue, nor yet for extreme wickedness.187 The ��immoderate moderation�� of the Stagirite was never more infelicitously exhibited. For, in order to produce truly tragic effects, excess of every kind not only may, but must, be employed. It is by the reaction of heroic fortitude, either against unmerited outrage, or against the whole pressure of social law, that our synergetic interest is wound up305 to the intensest pitch. It is when we see a beautiful soul requited with evil for good that our eyes are filled with the noblest tears. Yet so absolutely perverted have men��s minds been by the Aristotelian dictum that Gervinus, the great Shakspearian critic, actually tries to prove that Duncan, to some extent, deserved his fate by imprudently trusting himself to the hospitality of Macbeth; that Desdemona was very imprudent in interceding for Cassio; and that it was treasonable for Cordelia to bring a French army into England! The Greek drama might have supplied Aristotle with several decisive contradictions of his canons. He should have seen that the Prometheus, the Antigone, and the Hippolytus are affecting in proportion to the pre-eminent virtue of their protagonists. The further fallacy of excluding very guilty characters is, of course, most decisively refuted by Shakspeare, whose Richard III., whose Iago, and whose Macbeth excite keen interest by their association of extraordinary villainy with extraordinary intellectual gifts.The unconscious form of Maitrank was cast carelessly on the grass. Balmayne wiped his heated forehead. The moon came out from behind a ragged bank of cloud and fell on the face of the sleeping capitalist It was so white and still that he might have been dead already.

THREE:To get rid of superstitious beliefs was, no doubt, a highly meritorious achievement, but it had been far more effectually57 performed by the great pre-Socratic thinkers, Heracleitus, Empedocles, Anaxagoras, and Democritus. These men or their followers had, besides, got hold of a most important principle��the vital principle of all science��which was the reign of law, the universality and indefeasibility of physical causation. Now, Epicurus expressly refused to accept such a doctrine, declaring that it was even worse than believing in the gods, since they could be propitiated, whereas fate could not.119 Again, Greek physical philosophy, under the guidance of Plato, had been tending more and more to seek for its foundation in mathematics. Mathematical reasoning was seen to be the type of all demonstration; and the best hopes of progress were staked on the extension of mathematical methods to every field of enquiry in turn. How much might be done by following up this clue was quickly seen not only in the triumphs of geometry, but in the brilliant astronomical discoveries by which the shape of the earth, the phases of the moon, and the cause of eclipses were finally cleared up and placed altogether outside the sphere of conjecture. Nor was a knowledge of these truths confined to specialists: they were familiar alike to the older Academy, to the Peripatetic, and to the Stoic schools; so that, with the exception of those who doubted every proposition, we may assume them to have been then, as now, the common property of all educated men. Epicurus, on the other hand, seems to have known nothing of mathematics, or only enough to dispute their validity, for we are told that his disciple Polyaenus, who had previously been eminent in that department, was persuaded, on joining the school, to reject the whole of geometry as untrue;120 while, in astronomy, he pronounced the heavenly bodies to be no larger than they appear to our senses, denied the existence of Antipodes, and put the crudest guesses of early philosophy on the same footing with the best-authenticated results of later observation. It is no wonder, then, that during the whole58 continuance of his school no man of science ever accepted its teaching, with the single exception of Asclepiades, who was perhaps a Democritean rather than a disciple of the Garden, and who, at any rate, as a physiologist, would not be brought into contact with its more flagrant absurdities.For set squares, or triangles, as they are sometimes called, no material is so good as ebonite; such squares are hard, smooth, impervious to moisture, and contrast with the paper in colour; besides they wear longer than those made of wood. For instruments, it is best to avoid everything of an elaborate or fancy kind; such sets are for amateurs, not engineers. It is best to procure only such instruments at first as are really required, of the best quality, and then to add others as necessity may demand; in this way, experience will often suggest modifications of size or arrangement that will add to the convenience of a set.

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