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A learner should, in fact, consider the application and operative conditions of gearing as one of the main parts of the subject, and the geometry or even the construction of wheels as subsidiary; in this way attention will be directed to that which is most difficult to learn, and a part for which facilities are frequently wanting. Gearing may be classed into five modifications��spur wheels, bevel wheels, tangent wheels, spiral wheels, and chain wheels; the last I include among gearing because the nature of their operation is analogous to tooth wheels, although at first thought chains seem to correspond more to belts than gearing. The motion imparted by chains meshing over the teeth of wheels is positive, and not frictional as with belts; the speed at which such chains may run, with other conditions, correspond to gearing.

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135The 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.The cry that rose to her lips was stifled, a firm hand grasped her arm, another was laid tightly over her mouth.

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TWO:"If I was only out of the house," she said. "If I was only out of that house."

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TWO:"My poor boy," she whispered. "My poor boy! But it is not going to last. The truth is bound to come out before long. And then it will be like one of those queer bank panics--only weather the storm, and you will be more sought after than ever."

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TWO:Lawrence was profoundly interested in what Prout had to say. The latter had given far more information than he had imagined.

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TWO:"I refuse to sell 'bikes' to Germans."I.

THREE:"No!""Take them," she said hoarsely; "take them and write me a receipt at once before I repent. Better do anything than come between a woman and her jewels. There, a glass of wine. To your speedy ruin and destruction."

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THREE:"I have been robbed!" he cried, "robbed of those diamonds! Ah, tell me what is this new trick you have played on me! Help! Help!"