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FORE:The eyes fluttered open, the lips trembled.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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FORE:��All right,�� Dick agreed cheerfully. ��But don��t start in earning your nickname all over again,�� he warned.

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FORE:V."Numbers?" Prout snapped. "Which part of them?"

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FORE:By true conviction into exile driven;

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FORE:4. Proportions of the various parts, including the framing, bearing surfaces, shafts, belts, gearing, and other details.

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FORE:We have, thirdly, to consider a form of individualism249 directly opposed in character to those already specified. It is the complete withdrawal from public affairs for the sake of attending exclusively to one��s private duties or pleasures. Such individualism is the characteristic weakness of conservatives, who are, by their very nature, the party of timidity and quiescence. To them was addressed the exhortation of Cato, capessenda est respublica. The two other forms of which we have spoken are, on the contrary, diseases of liberalism. We see them exemplified when the leaders of a party are harassed by the perpetual criticism of their professed supporters; or, again, when an election is lost because the votes of the Liberal electors are divided among several candidates. But when a party��generally the Conservative party��loses an election because its voters will not go to the poll, that is owing to the lazy individualism which shuns political contests altogether. It was of this disease that the public life of Athens really perished; and, so far, Hegel is on the right track; but although its action was more obviously and immediately fatal in antiquity, we are by no means safe from a repetition of the same experience in modern society. Nor can it be said that Plato reacted against an evil which, in his eyes, was an evil only when it deprived a very few properly-qualified persons of political supremacy. With regard to all others he proposed to sanction and systematise what was already becoming a common custom��namely, entire withdrawal from the administration of affairs in peace and war. Hegel seems to forget that it is only a single class, and that the smallest, in Plato��s republic which is not allowed to have any private interests; while the industrial classes, necessarily forming a large majority of the whole population, are not only suffered to retain their property and their families, but are altogether thrown back for mental occupation on the interests arising out of these. The resulting state of things would have found its best parallel, not in old Greek city life, but in modern Europe, as it was between the Reformation and the French Revolution.

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