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TWO:Dinant offered a terrible sight; it no longer existed. On foot, of course, we walked along the place where a large shop once stood, but one could not even distinguish where the road had been. Not one street was left, and the few houses that were saved are not in the centre of the town. On a slope on the left bank of the Meuse there had been two large monasteries, which had been turned into hospitals. They had been wrecked completely by gun-fire, and as if in bitter mockery at the cruel fate, the Red Cross flags flew there still undamaged.Platens as a rule run back at twice the forward or cutting movement, and as the motion is uniform throughout each stroke, it requires to be stopped at the extremes by meeting some elastic or yielding resistance which, to use a steam phrase, "cushions" or absorbs the momentum, and starts the platen back for the return stroke.

FORE:"Then you will stay again at the episcopal palace, your Eminence?"CHAPTER XXVI. STEAM-HAMMERS.

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TWO:

FORE:

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TWO:In reality, Stoicism was not, like the older Greek philosophies, a creation of individual genius. It bears the character of a compilation both on its first exposition and on its final completion. Polemo, who had been a fine gentleman before he became a philosopher, taunted Zeno with filching his opinions from every quarter, like the cunning little Phoenician trader that he was.18 And it was said that the seven hundred treatises of Chrysippus would be reduced to a blank if everything that he had borrowed from others were to be erased. He seems, indeed, to have been the father of review-writers, and to have used the reviewer��s right of transcription with more than modern license. Nearly a whole tragedy of Euripides reappeared in one of his ��articles,�� and a wit on being asked what he was reading, replied, ��the Medea of Chrysippus.��19

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.I had to repeat everything about the advance of the French and the landing of the British, whilst they followed my story on the map. But I was soon in a cold sweat, for of course I knew practically nothing, neither of the French nor of the British, and each time when one of the officers pressed for details I was in mortal fear that I might contradict myself. But I stuck to my guns until the end, and assured them that the French had crossed the Belgian frontier near Givet, and were now near Namur, whereas the British, disembarking at Ostend, had advanced as far as Ghent.

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