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A similar vein of thought runs through the moral and religious philosophy of Lucretius. If we look on him as a reformer, we shall say that his object was to free life from the delusions with which it had been disfigured by ignorance and passion. If we look on him as an artist, we shall say that he instinctively sought to represent life in the pure and perfect beauty of its naked form. If we look on him as a poet, we shall say that he exhibits all the objects of false belief no longer in the independence of their fancied reality, but in their place among other vital phenomena, and in due subordination112 to the human consciousness whose power, even when it is bound by them, they reveal. But while the first alternative leaves him in the position of a mere imitator or expositor who brings home no lessons that Epicurus had not already enforced with far greater success, the other two, and above all the last, restore him to the position of an original genius, who, instead of deriving his intuitions from the Epicurean system, adopts just so much of that system as is necessary to give them coherence and shape. It may, no doubt, be urged, that were life reduced to the simple expression, the state of almost vegetative repose, demanded by Lucretius, denuded of love, of ambition, of artistic luxury, of that aspiration towards belief in and union with some central soul of things, which all religions, more or less distinctly embody, its value for imaginative purposes would be destroyed; and that the deepest lesson taught by his poem would not be how to enjoy existence with the greatest intensity, but how to abandon it with the least regret. Now it is just here that the wonderful power of poetry comes in, and does for once, under the form of a general exposition, what it has to do again and again under the easier conditions of individual presentation. For poetry is essentially tragic, and almost always excites the activity of our imagination, not by giving it the assured possession of realities, but by the strain resulting from their actual or their expected eclipse. If Homer and the Attic tragedians show us what is life, and what are the goods of life, it is not through experience of the things themselves, but through the form of the void and the outline of the shadow which their removal or obscuration has produced. So also in the universal tragedy of the Roman poet, where the actors are not persons, but ideas. Every belief is felt with more poignant intensity at the moment of its overthrow, and the world of illusion is compensated for intellectual extinction by imaginative persistence as a conscious creation, a memory, or a dream. There is no mythological picture so splendidly painted as those in which Lucretius has shown us Mavors113 pillowed on the lap of Venus, or led before us the Idaean mother in her triumphal car. No redeemer, credited with supernatural powers, has ever enjoyed such an apotheosis as that bestowed by his worshipper on the apostle of unbelief. Nowhere have the terrible and mysterious suggestions of mortality been marshalled with such effect as in the argument showing that death no more admits of experience than of escape. What love-inspired poet has ever followed the storm and stress of passion with such tenderness of sympathy or such audacity of disclosure, as he to whom its objects were disrobed of their divinity, for whom its fancied satisfaction was but the kindling to insaner effort of a fatally unquenchable desire? Instead of being ��compelled to teach a truth he would not learn,�� Lucretius was enabled by the spirit of his own incomparable art to seize and fix for ever, in bold reversal of light and shade, those visions on which the killing light of truth had long before him already dawned.

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In the end these stories of the soldiers convinced even the inhabitants that there had been francs-tireurs, but never in the place where they lived, always somewhere else. They could not believe that the Germans could be so cruel and wreck so much property if nothing at all had happened; and when at length the time came that they themselves were obliged to fly, many of them believed that their compatriots who elsewhere acted as francs-tireurs were to blame for all the dire calamities. But if they had had my opportunity to go "elsewhere" and gather information there, they would have been convinced of the untruth, and probably would have heard the name of their own village as90 the scene of the occurrence. That was how rumours and reports got about.

ONE:Well, I did not quite fancy the prospect of being shot like a dog, and as I had not yet come into touch with the Germans, it was difficult to say whether these people exaggerated or not. But just opposite was Eysden, and I made up my mind to go there for further information.

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ONE:In that he was beaten by only a hundred feet.

TWO:"Is that the woman by any chance?" he asked."I have not used the word 'steal' at all, but let me explain the matter."

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THREE:

FORE:Acting as a ground crew, Dick righted the craft by thrusting up the wing which was evidently not seriously damaged, while Sandy, as the motor went into its full-throated drone, shook the tail to lift the skid out of the clogging sand. His eyes shielded from the sand, blasted back by the propeller wash, he leaped sidewise and backward as the elevators lifted the tail and the amphibian shook itself in its forward lunge, lifted, flew within two inches of the sand, and then began to roar skyward.Bruce forced a smile to his lips.

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FORE:A mortal soul: since neither manBefore parting with the Poetics we must add that it contains one excellent piece of advice to dramatists, which is, to imagine themselves present at the scenes which they are supposing to happen, and also at the representation of their own play. This, however, is an exception which proves the rule, for Aristotle��s exclusively theoretic standpoint here, as will sometimes happen, coincides with the truly practical standpoint.

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FORE:It is evident, then, that Aristotle cannot be approached with the same perfect dispassionateness as the other great thinkers of antiquity. He is, if not a living force, still a force which must be reckoned with in contemporary controversy. His admirers persist in making an authority of him, or at least of quoting him in behalf of their own favourite convictions. We are, therefore, bound to sift his claims with a severity which would not be altogether gracious in a purely historical review. At the same time it is hoped that historical justice will not lose, but gain, by such a procedure. We shall be the better able to understand what Aristotle was, after first showing what he neither was nor could be. And the utility of our investigations will be still further enhanced if we can show that he represents a fixed type regularly recurring in the revolutions of thought.

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