ONE: We believe, then, that the whole heaven is one and everlasting, without beginning or end through all eternity, but holding infinite time within its orb; not, as some say, created or capable of being destroyed. We believe it on account of the grounds already stated, and also on account of the consequences resulting from a different hypothesis. For, it must add great weight to our assurance of its immortality and everlasting duration that this opinion may, while the contrary opinion cannot possibly, be true. Wherefore, we may trust the traditions of old time, and especially of our own race, when they tell us that there is something deathless and divine about the things which, although moving, have a movement that is not bounded, but is itself the universal bound, a perfect circle enclosing in its revolutions the imperfect motions that are subject to restraint and arrest; while this, being without beginning or end or rest through infinite time, is the one from which all others originate, and into which they disappear. That heaven which antiquity assigned to the gods as an immortal abode, is shown by the present argument to be uncreated and indestructible, exempt alike from mortal weakness and from the weariness of subjection to a force acting in opposition to its natural inclination; for in proportion to its everlasting continuance such a compulsion would be laborious, and unparticipant in the highest perfection of design. We must not, then, believe with the old mythologists that an Atlas is needed to uphold it; for they, like some in more recent times, fancied that the heavens were made of heavy earthy matter, and so fabled an animated necessity for their support; nor yet that, as Empedocles says, they will last only so long as their own proper momentum is exceeded by the whirling motion of which they partake.255 Nor, again, is it likely that their everlasting revolution can be kept up by the exercise of a conscious will;358 for no soul could lead a happy and blessed existence that was engaged in such a task, necessitating, as it would, an unceasing struggle with their native tendency to move in a different direction, without even the mental relaxation and bodily rest which mortals gain by sleep, but doomed to the eternal torment of an Ixions wheel. Our explanation, on the other hand, is, as we say, not only more consistent with the eternity of the heavens, but also can alone be reconciled with the acknowledged vaticinations of religious faith.256"It's like this," he said, laying the fateful notes on the table. "A man who has got to be identified is found dead--murdered, beyond a doubt, in an unoccupied house in Raven Street. All the circumstances of the case point to robbery. On searching the body we find a letter written by the deceased to a friend saying that he is forwarding some banknotes. He gives the number of those banknotes amongst others--numbers 190753 to 190793. All this is set out clearly in the letter. Now, will you please to examine those notes, doctor, and tell me the numbers?"
FORE:
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FORE:Presuming the reader to remember what was said of steam hammers in another place, and to be familiar with the uses and general construction of such hammers, let it be supposed steam-hammers, with the ordinary automatic valve action, those that give an elastic or steam-cushioned blow, are well known. Suppose further that by analysing the blows given by hammers of this kind, it is demonstrated that dead blows, such as are given when a hammer comes to a full stop in striking, are more effectual in certain kinds of work, and that steam-hammers would be improved by operating on this dead-stroke principle."A rope," Lawrence replied. "Can't you guess what that rope is for?"
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FORE:"Retire to the Continent. Tomorrow you let me have 500 as a guarantee of good faith. Then I leave you--for the present. After that you can marry the young doctor who has won your affections and be happy--for, say a week."
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FORE:Characters, then, are not introduced that they may perform actions; but actions are represented for the sake of the characters who do them, or who suffer by them. It is not so much a ghostly apparition or a murder which interests us as the fact that the ghost appears to Hamlet, and that the murder303 is committed by Macbeth. And the same is true of the Greek drama, though not perhaps to the same extent. We may care for Oedipus chiefly on account of his adventures; but we care far more for what Prometheus or Clytemnestra, Antigone or Ajax, say about themselves than for what they suffer or what they do. Thus, and thus only, are we enabled to understand the tragic element in poetry, the production of pleasure by the spectacle of pain. It is not the satisfaction caused by seeing a skilful imitation of reality, for few have witnessed such awful events in real life as on the stage; nor is it pain, as such, which interests us, for the scenes of torture exhibited in some Spanish and Bolognese paintings do not gratify, they revolt and disgust an educated taste. The true tragic emotion is produced, not by the suffering itself, but by the reaction of the characters against it; for this gives, more than anything else, the idea of a force with which we can synergise, because it is purely mental; or by the helpless submission of the victims whom we wish to assist because they are lovable, and whom we love still more from our inability to assist them, through the transformation of arrested action into feeling, accompanied by the enjoyment proper to tender emotion. Hence the peculiar importance of the female parts in dramatic poetry. Aristotle tells us that it is bad art to represent women as nobler and braver than men, because they are not so in reality.185 Nevertheless, he should have noticed that on the tragic stage of Athens women first competed with men, then equalled, and finally far surpassed them in loftiness of character.186 But with his philosophy he could not see that, if heroines did not exist, it would be necessary to create them. For, if women are conceived as reacting against outward circumstances at all, their very helplessness will lead to the304 storing of a greater mental tension in the shape of excited thought and feeling debarred from any manifestation except in words; and it is exactly with this mental tension that the spectator can most easily synergise. The wrath of Orestes is not interesting, because it is entirely absorbed into the premeditation and execution of his vengeance. The passion of Electra is profoundly interesting, because it has no outlet but impotent denunciations of her oppressors, and abortive schemes for her deliverance from their yoke. Hence, also, Shakspeare produces some of his greatest effects by placing his male characters, to some extent, in the position of women, either through their natural weakness and indecision, as with Hamlet, and Brutus, and Macbeth, or through the paralysis of unproved suspicion, as with Othello; while the greatest of all his heroines, Lady Macbeth, is so because she has the intellect and will to frame resolutions of dauntless ambition, and eloquence to force them on her husband, without either the physical or the moral force to execute them herself. In all these cases it is the arrest of an electric current which produces the most intense heat, or the most brilliant illumination. Again, by their extreme sensitiveness, and by the natural desire felt to help them, women excite more pity, which, as we have said, means more love, than men; and this in the highest degree when their sufferings are undeserved. We see, then, how wide Aristotle went of the mark when he made it a rule that the sufferings of tragic characters should be partly brought on by their own fault, and that, speaking generally, they should not be distinguished for justice or virtue, nor yet for extreme wickedness.187 The immoderate moderation of the Stagirite was never more infelicitously exhibited. For, in order to produce truly tragic effects, excess of every kind not only may, but must, be employed. It is by the reaction of heroic fortitude, either against unmerited outrage, or against the whole pressure of social law, that our synergetic interest is wound up305 to the intensest pitch. It is when we see a beautiful soul requited with evil for good that our eyes are filled with the noblest tears. Yet so absolutely perverted have mens minds been by the Aristotelian dictum that Gervinus, the great Shakspearian critic, actually tries to prove that Duncan, to some extent, deserved his fate by imprudently trusting himself to the hospitality of Macbeth; that Desdemona was very imprudent in interceding for Cassio; and that it was treasonable for Cordelia to bring a French army into England! The Greek drama might have supplied Aristotle with several decisive contradictions of his canons. He should have seen that the Prometheus, the Antigone, and the Hippolytus are affecting in proportion to the pre-eminent virtue of their protagonists. The further fallacy of excluding very guilty characters is, of course, most decisively refuted by Shakspeare, whose Richard III., whose Iago, and whose Macbeth excite keen interest by their association of extraordinary villainy with extraordinary intellectual gifts.Such were the priori elements which a historical synthesis had prepared to satisfy the want of a metaphysical Absolute. Let us now see what result would follow when the newly-recovered idea of space was subjected to a metaphysical analysis. Extension is both one and infinite. No particular area can be conceived apart from the whole which both contains and explains it. Again, extension is absolutely homogeneous; to whatever distance we may travel in imagination there will still be the same repetition of similar parts. But space, with the Cartesians, meant more than a simple juxtaposition of parts; having been made the essence of matter, it was invested with mechanical as well as with geometrical properties. The bodies into which it resolved itself were conceived as moving, and as communicating their movement to one another through an unbroken chain of causation in which each constituted a single link, determining and determined by the rest; so that, here also, each part was explained by reference to an infinite whole, reproducing its essence, while exempt from the condition of circumscribed existence. We can understand, then, that when the necessity of accounting for extension itself once became felt, the natural solution would be to conceive it as holding the same relation to some greater whole which its own subdivisions held to their sum total; in other words it should be at once a part, an emanation, and an image of the ultimate reality. This is, in fact, very nearly the relation which Matter holds to the One in the Neo-Platonic system. And we know that with Plotinus Matter is almost the same as infinite Extension.
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