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The evolution of Greek tragic poetry bears witness to the same transformation of taste. On comparing Sophocles with Aeschylus, we are struck by a change of tone analogous to that which distinguishes Thucydides from Herodotus. It has been shown in our first chapter how the elder dramatist delights in tracing events and institutions back to their first origin, and in following derivations through the steps of a genealogical sequence. Sophocles, on the other hand, limits himself to a close analysis of the action immediately represented, the motives by which his characters are in91fluenced, and the arguments by which their conduct is justified or condemned. We have already touched on the very different attitude assumed towards religion by these two great poets. Here we have only to add that while Aeschylus fills his dramas with supernatural beings, and frequently restricts his mortal actors to the interpretation or execution of a divine mandate, Sophocles, representing the spirit of Greek Humanism, only once brings a god on the stage, and dwells exclusively on the emotions of pride, ambition, revenge, terror, pity, and affection, by which men and women of a lofty type are actuated. Again (and this is one of his poetic superiorities), Aeschylus has an open sense for the external world; his imagination ranges far and wide from land to land; his pages are filled with the fire and light, the music and movement of Nature in a Southern country. He leads before us in splendid procession the starry-kirtled night; the bright rulers that bring round winter and summer; the dazzling sunshine; the forked flashes of lightning; the roaring thunder; the white-winged snow-flakes; the rain descending on thirsty flowers; the sea now rippling with infinite laughter, now moaning on the shingle, growing hoary under rough blasts, with its eastern waves dashing against the new-risen sun, or, again, lulled to waveless, windless, noonday sleep; the volcano with its volleys of fire-breathing spray and fierce jaws of devouring lava; the eddying whorls of dust; the resistless mountain-torrent; the meadow-dews; the flowers of spring and fruits of summer; the evergreen olive, and trees that give leafy shelter from dogstar heat. For all this world of wonder and beauty Sophocles offers only a few meagre allusions to the phenomena presented by sunshine and storm. No poet has ever so entirely concentrated his attention on human deeds and human passions. Only the grove of Col?nus, interwoven with his own earliest recollections, had power to draw from him, in extreme old age, a song such as the nightingale might have warbled amid those92 inviolable recesses where the ivy and laurel, the vine and olive gave a never-failing shelter against sun and wind alike. Yet even this leafy covert is but an image of the poet��s own imagination, undisturbed by outward influences, self-involved, self-protected, and self-sustained. Of course, we are only restating in different language what has long been known, that the epic element of poetry, before so prominent, was with Sophocles entirely displaced by the dramatic; but if Sophocles became the greatest dramatist of antiquity, it was precisely because no other writer could, like him, work out a catastrophe solely through the action of mind on mind, without any intervention of physical force; and if he possessed this faculty, it was because Greek thought as a whole had been turned inward; because he shared in the devotion to psychological studies equally exemplified by his younger contemporaries, Protagoras, Thucydides, and Socrates, all of whom might have taken for their motto the noble lines�� Possibly the world may move, and possibly it may be at rest. Possibly it may be round, or else it may be triangular, or have any other shape. Possibly the sun and the stars may be extinguished at setting, and be lighted afresh at their rising: it is, however, equally possible that they may only disappear under the earth and reappear again, or that their rising and setting is due to yet other causes. Possibly the waxing and waning of the moon may be caused by the moon��s revolving; or it may be due to the atmospheric change, or to an actual increase or decrease in the moon��s size, or to some other cause. Possibly the moon may shine with borrowed light, or it may shine with its own, experience supplying us with instances of bodies which give their own light, and of others which have their light borrowed. From these and such like statements it appears that questions of natural science in themselves have no value for Epicurus. Whilst granting that only one natural explanation of phenomena is generally possible, yet in any particular case it is perfectly indifferent which explanation is adopted.169

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THREE:It was the crowning glory of a wonderful woman's career. She stood smiling before her guests in a dress that had cost Worth a sleepless night. A duke was just congratulating her upon her good taste. A couple of gorgeous footmen were casting back the curtains of the supper room. Down below in the hall something like an altercation seemed to be going on."I don't quite agree with you," Lawrence said. "The man was detained again his will. Where was he detained? In the Corner House? Because his gaoler was afraid of his discretion. Now go a step further and ask who detained him yonder. You can answer that question for yourself."

TWO:No one has been able to explain clearly why a sudden change of temperature hardens steel, nor why it assumes various shades of colour at different degrees of hardness; we only know the fact, and that steel fortunately has such properties."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----"

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THREE:(1.) What peculiarity belongs to the operation of forging to distinguish it from most others?��(2.) Describe in a general way what forging operations consist in.��(3.) Name some machines having percussive action.��(4.) What may this principle of operating have to do with the framing of a machine?��(5.) If a steam-hammer were employed as a punching-machine, what changes would be required in its framing?��(6.) Explain the functions performed by a hand-hammer.

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FORE:"Vis�� is under a real reign of terror. The day before yesterday the town-crier walked the streets with his bell, and announced that within twenty-four hours everyone had to deliver his bicycle at the bridge. Anyone in whose house92 a bicycle should be found would be shot and his house set on fire. Yesterday morning the Germans announced once more that all arms, including those that were old or damaged or taken to pieces, should be handed in at the town-hall within an hour. If any arms should be found anywhere after that, they would shoot the inhabitants and burn down the town. Eatables and drinkables were requisitioned continuously under threats of firing the town, and the inhabitants are afraid of nothing so much as of the possibility that something may be required some day or other that cannot be produced." Saturday, 23/08/2014

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When I got to the house everything was in a frightful state. A pair of curtains showed traces of fire; cupboards had been emptied, and nearly all the china and glass broken; statuary lay broken on the floor; windows were smashed; bits of bricks and plaster from the ceilings, through which many shots had been fired, completed the scene of destruction. On the doorstep I picked up a cartridge-case, which I have always kept, because it is highly probable that it had contained the bullet which killed Mrs. Poswick."I am getting to be myself again," he croaked. "You have got the better of me this time, but it will never happen again. Ah, you are keen and you are clever, but the old wolf is ever wiser than the young one. I have been robbed."The terrified little sister was unable to stammer anything more, and in great fear suddenly closed the little shutter again.They waited, neither convinced nor satisfied.

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