ONE:When Larry rejoined Jeff, he flung the life preserver into the space behind the control seat of the amphibian, leaving it there without comment as he helped Jeff to lift and drop the still unconscious man into his own forward place.
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ONE:With Bacon, experience was the negation of mere authority, whether taking the form of natural prejudice, of individual prepossession, of hollow phrases, or of established systems. The question how we come by that knowledge which all agree to be the most certain, is left untouched in his logic; either of the current answers would have suited his system equally well; nor is there any reason for believing that he would have sided with Mill rather than with Kant respecting the origin of mathematical axioms. With Locke, experience meant the analysis of notions and judgments into the simple data of sense and self-consciousness; and the experientialists of the present day are beyond all doubt his disciples; but the parentage of his philosophy, so far as it is simply a denial of innate ideas, must be sought, not in the Novum Organum, nor in any other modern work, but in the old Organon of Aristotle, or in the comments of the396 Schoolmen who followed Aristotle in protesting against the Platonism of their time, just as Locke protested against the Platonism of Descartes and Malebranche."Return that knife at once!"
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ONE:"Of course you will," Lalage laughed. "Heaven be praised you are no countryman of mine? Oh you dog, you gutter cur, you slimy reptile, to betray a mere woman like this! And not even to make a good fight of it. But whilst I revile you and try to get the blood into your white cowardly cheeks it is good that you should obey. I spare your life because it will not be for long.""I must see further into this," Hetty told herself. "When this honoured guest comes I will creep downstairs and listen. It's not a very nice thing to do, but if ever the end justifies the means, surely this is a case in point."
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ONE: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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ONE:The next day at Maastricht I tried to cure the evil results of that night on the damp floor in Louvain by eating great quantities of rice and drinking much cocoa with liberal doses of cinnamon, but as it was of no avail, I started again the next morning.
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