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THREE:We may also suspect that Plato was dissatisfied not only with the positive results obtained by Socrates, but also with the Socratic method of constructing general definitions. To rise from the part to the whole, from particular instances to general notions, was a popular rather than a scientific process; and sometimes it only amounted to taking the current explanations and modifying them to suit the exigencies of ordinary experience. The resulting definitions could never be more than tentative, and a skilful dialectician could always upset them by producing an unlooked-for exception, or by discovering an ambiguity in the terms by which they were conveyed.��Honour and wisdom are but empty names

FORE:So far Aristotle gives us a purely superficial and sensational view of the drama. Yet he could not help seeing that there was a moral element in tragedy, and he was anxious to show, as against Plato, that it exercised an improving effect on the audience. The result is his famous theory of the Catharsis, so long misunderstood, and not certainly understood even now. The object of Tragedy, he tells us, is to purify (or purge away) pity and terror by means of those emotions themselves. The Poetics seems originally to have contained an explanation of this mysterious utterance, now lost, and critics have endeavoured to supply the gap by writing eighty treatises on the subject. The result has been at least to show what Aristotle did not mean. The popular version of his dictum, which is that tragedy purges the passions by pity and terror, is clearly inconsistent with the wording of the original text. Pity and terror are both the object and the instrument of purification. Nor yet does he mean, as was once supposed,306 that each of these emotions is to counterbalance and moderate the other; for this would imply that they are opposed to one another, whereas in the Rhetoric he speaks of them as being akin; while a parallel passage in the Politics188 shows him to have believed that the passions are susceptible of homoeopathic treatment. Violent enthusiasm, he tells us, is to be soothed and carried off by a strain of exciting, impassioned music. But whence come the pity and terror which are to be dealt with by tragic poetry? Not, apparently, from the piece itself, for to inoculate the patient with a new disease, merely for the sake of curing it, could do him no imaginable good. To judge from the passage in the Politics already referred to, he believes that pity and terror are always present in the minds of all, to a certain extent; and the theory apparently is, that tragedy brings them to the surface, and enables them to be thrown off with an accompaniment of pleasurable feeling. Now, of course, we have a constant capacity for experiencing every passion to which human nature is liable; but to say that in the absence of its appropriate external stimulus we are ever perceptibly and painfully affected by any passion, is to assert what is not true of any sane mind. And, even were it so, were we constantly haunted by vague presentiments of evil to ourselves or others, it is anything but clear that fictitious representations of calamity would be the appropriate means for enabling us to get rid of them. Zeller explains that it is the insight into universal laws controlling our destiny, the association of misfortune with a divine justice, which, according to Aristotle, produces the purifying effect;189 but this would be the purgation of pity and terror, not by themselves, but by the intellectual framework in which they are set, the concatenation of events, the workings of character, or the reference of everything to an eternal cause. The truth is that Aristotle��s explanation of the moral effect produced by tragedy is307 irrational, because his whole conception of tragedy is mistaken. The emotions excited by its highest forms are not terror and pity, but admiration and love, which, in their ideal exercise, are too holy for purification, too high for restriction, and too delightful for relief.He was an efficient officer in his way, only, like most members of the force, he lacked imagination. Give him something to work on, and there was not a more efficient detective in New Scotland Yard. But there was no clue here, so he had to fall back on the old familiar methods. FORE:"Don't do that," she said, in the same strained whisper. "If you only knew how I cared for you, how I love you. There is nothing I would not do for you! I am rich and powerful, and men who know say I am beautiful. Take me away, make me your wife, and you shall never know a moment's pain. Your good name is gone, Gordon--but what does that matter. If----"CHAPTER XLI. WORKSHOP EXPERIENCE.