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THREE:29The most perfect castings for gear wheels and pulleys and other pieces which can be so moulded, are made by drawing the patterns through templates without rapping. These templates are simply plates of metal perforated so that the pattern can be forced through them by screws or levers, leaving the sand intact. Such templates are expensive to begin with, because of the accurate fitting that is required, especially around the teeth of wheels, and the mechanism that is required in drawing the patterns, but when a large number of pieces are to be made from one pattern, such as gear wheels and pulleys, the saving of labour will soon pay for the templates and machinery required, to say nothing of the saving of metal, which often amounts to ten per cent., and the increased value of the castings because of their accuracy.

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TWO:The 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.

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THREE:"Why do you foist me off with paste jewels?" Maitrank asked, coolly. "Ah you may stare with amazement! You are a very clever actress, madam."On the other hand, a theory of reasoning based on the relations of concepts, instead of on the relations of judgments, necessarily leaves out of account the whole doctrine of hypothetical and disjunctive propositions, together with that of the syllogisms based on them; since the elements of which they are composed are themselves propositions. And this inevitable omission is the more remarkable because alterna381tive and, to a less extent, hypothetical arguments form the staple of Aristotle��s own dialectic; while categorical reasoning never occurs in it at all. His constant method is to enumerate all possible views of a subject, and examine them one after the other, rejecting those which are untenable, and resting content with the remainder. In other words, he reaches his positive conclusions through a series of negative premises representing a process of gradual elimination. The First Analytics is itself an admirable instance of his favourite method. Every possible combination of terms is discussed, and the valid moods are sifted out from a much greater number of illegitimate syllogisms. The dialectic of Socrates and Plato followed the same procedure. It was essentially experimental��a method of trial, elimination, and selection. On going back still further, we find that when there is any reasoning at all in Homer, it is conducted after the same fashion. Hector, in his soliloquy before the Scaean Gate, imagines three alternative courses, together exhausting the possibilities of the situation. He may either retreat within the walls, or offer terms of peace to Achilles, or fight. The first two alternatives being rejected, nothing remains but the third. This is the most elaborate example; but on many other occasions Homer��s actors are represented as hesitating between two courses, and finally deciding on one of them.

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THREE:CHAPTER XXVIII. BAFFLED.

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THREE:It was weary work sitting there and pretending to drink, but patience has its reward at last. Gradually the shy swindlers became accustomed to the seedy shop assistant, who even went out of his way to give them hints as to credulous firms. It seemed to Prout that he knew all the gang at last save one.

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TWO:Ren�� had no intention of doing anything of the kind. A dim, blue-coated figure stood in the doorway of the dining-room. With one spring Ren�� was upon him, and carried him to the floor. There was a groan and a snarl and a snore, and the policeman lay on his back utterly oblivious for the moment.An engineer may direct and control work without a knowledge of practical fitting, but such control is merely a commercial one, and cannot of course extend to mechanical details which are generally the vital part; the obedience that may thus be enforced in controlling others is not to be confounded with the respect which a superior knowledge of work commands.

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