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(1.) Name some of the principal points to be kept in view in preparing designs?(2.) Why should attempts at designing be confined to one class of machinery?(3.) What objection exists to examining references when preparing designs?

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"I am a Netherland jour...."
THREE:On earth there is nothing great but man,On turning to Aristotles Rhetoric we find that, from a practical point of view, his failure here is, if possible, still more complete. This treatise contains, as we have already observed, an immense mass of more or less valuable information on the subject of psychology, ethics, and dialectic, but gives exceedingly little advice about the very essence of rhetoric as an art, which is to say whatever you have to say in the most telling manner, by the arrangement of topics and arguments, by the use of illustrations, and by the choice of language; and that little is to be found in the third book, the genuineness of which is open to very grave suspicion. It may be doubted whether any orator or critic of oratory was ever benefited in the slightest degree by the study of Aristotles rules. His collections of scientific data add nothing to our knowledge, but only throw common experience into abstract formulas; and even as a body of memoranda they would be useless, for no memory could contain them, or if any man could remember them he would have intellect enough not to require them.184 The professional teachers whom300 Aristotle so heartily despised seem to have followed a much more effectual method than his; they gave their pupils ready-made speeches to analyse and learn by heart, rightly trusting to the imitative instinct to do the rest. He compares them to a master who should teach his apprentices how to make shoes by supplying them with a great variety of ready-made pairs. But this would be a much better plan than to give them an elaborate lecture on the anatomy of the foot, with a full enumeration of its bones, muscles, tendons, nerves, and blood-vessels, which is the most appropriate parallel to his system of instruction.

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THREE:The engineering apprentice, as a rule, has a desire to make drawings as soon as he begins his studies or his work, and there is not the least objection to his doing so; in fact, there is a great deal gained by illustrating movements and the details of machinery at the same time of studying the principles. Drawings if made should always be finished, carefully inked in, and memoranda made on the margin of the sheets, with the date and the conditions under which the drawings were made. The sheets should be of uniform size, not too large for a portfolio, and carefully preserved, no matter how imperfect they may be. An apprentice who will preserve his first drawings in this manner will some day find himself in possession of a souvenir that no consideration would cause him to part with.As they spoke these last words they aimed their rifles at the unfortunate, bleeding, helpless, and hungry creatures. Others spat on their clothes and in their faces, and the enraged Germans foamed at the mouth.

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THREE:Of Bacchus they discovered, and the earth,

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FORE:Into the murky folds of the thick mist dived the seaplane.

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FORE:"Give me gold for these," she cried. "Gold, red gold, two hundred sovereigns. Now, we will see whether fortune is still going to spite me."Lawrence stretched out his hand for a cigarette as if he had said the most natural thing in the world. A less clever man would have shown something like triumph. But Lawrence had thought this all out as carefully as if it were really a new melodrama he was writing. The time had come when matters must be forced into the channel to suit himself. Already he had laid the lines carefully.

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FORE:

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THREE:My request to allow the child to stay at the caf for half an hour was granted, and I went through the village towards the place whence the German batteries sent their destructive fire. At last I got as far as the top of a hill, from which I could see two forts shrouded in a cloud of smoke, which was also the case with the German batteries.

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THREE:Once the Ideas had been brought into mutual relation and shown to be compounded with one another, the task of connecting them with the external world became considerably easier; and the same intermediary which before had linked them to it as a participant in the nature of both, was now raised to a higher position and became the efficient cause of their intimate union. Such is the standpoint of the Philbus, where all existence is divided into four classes, the limit, the unlimited, the union of both, and the cause of their union. Mind belongs to the last and matter to the second class. There can hardly be a doubt that the first class is either identical with the Ideas or fills the place once occupied by them. The third class is the world of experience, the Cosmos of early Greek thought, which Plato had now come to look on as a worthy object of study. In the Timaeus, also a very late Dialogue, he goes further, and gives us a complete cosmogony, the general conception of which is clear enough, although the details are avowedly conjectural and figurative; nor do they seem to have exercised any influence or subsequent speculation until the time of Descartes. We are told that the world was created by God, who is absolutely good, and, being without jealousy, wished that all things should be like himself. He makes it to consist266 of a soul and a body, the former constructed in imitation of the eternal archetypal ideas which now seem to be reduced to threeExistence, Sameness, and Difference.157 The soul of the world is formed by mixing these three elements together, and the body is an image of the soul. Sameness is represented by the starry sphere rotating on its own axis; Difference by the inclination of the ecliptic to the equator; Existence, perhaps, by the everlasting duration of the heavens. The same analogy extends to the human figure, of which the head is the most essential part, all the rest of the body being merely designed for its support. Plato seems to regard the material world as a sort of machinery designed to meet the necessities of sight and touch, by which the human soul arrives at a knowledge of the eternal order without;a direct reversal of his earlier theories, according to which matter and sense were mere encumbrances impeding the soul in her efforts after truth.Ren Lalage raced up the stairs. The house was not familiar to him, but he quite understood the meaning of what Leona had said about the ladder. As to the woman herself, she was quite at home there. She slipped into the back drawing-room, and thence across the hall into the drawing-room. The window catch was unfastened, as she had looked forward to this way out, and an instant later she was in the cool air. She could hear the shouts and yells in the house; presently she heard the cry of a policeman far overhead. Ren's means of escape had been discovered, and he was being pursued over the housetops.
TWO: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 poets 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
THREE:

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Almost immediately the seaplane began to get off the water.Instantly he corrected himself.Beppo crept to the door. He came back presently followed by two men. The latter one was dressed in superior fashion to the rest. With a yell Lalage flew across the room and turned the key in the lock.
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