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THREE:Still more important was the antithesis between Nature and convention, which, so far as we know, originated exclusively with Hippias. We have already observed that universality and necessity were, with the Greeks, standing marks of naturalness. The customs of different countries were, on the other hand, distinguished by extreme variety, amounting sometimes to diametrical opposition. Herodotus was fond of calling attention to such contrasts; only, he drew from them the conclusion that law, to be so arbitrary, must needs possess supreme and sacred authority. According to the more plausible interpretation of Hippias, the variety, and at least in Greek democracies, the changeability of law proved that it was neither sacred nor binding. He also looked on artificial social institutions as the sole cause of division and discord among mankind. Here we already see the dawn of a cosmopolitanism afterwards preached by Cynic and82 Stoic philosophers. Furthermore, to discover the natural rule of right, he compared the laws of different nations, and selected those which were held by all in common as the basis of an ethical system.63 Now, this is precisely what was done by the Roman jurists long afterwards under the inspiration of Stoical teaching. We have it on the high authority of Sir Henry Maine that they identified the Jus Gentium, that is, the laws supposed to be observed by all nations alike, with the Jus Naturale, that is, the code by which men were governed in their primitive condition of innocence. It was by a gradual application of this ideal standard that the numerous inequalities between different classes of persons, enforced by ancient Roman law, were removed, and that contract was substituted for status. Above all, the abolition of slavery was, if not directly caused, at any rate powerfully aided, by the belief that it was against Nature. At the beginning of the fourteenth century we find Louis Hutin, King of France, assigning as a reason for the enfranchisement of his serfs, that, ��according to natural law, everybody ought to be born free,�� and although Sir H. Maine holds this to have been a mistaken interpretation of the juridical axiom ��omnes homines natura aequales sunt,�� which means not an ideal to be attained, but a primitive condition from which we have departed: nevertheless it very faithfully reproduces the theory of those Greek philosophers from whom the idea of a natural law was derived. That, in Aristotle��s time at least, a party existed who were opposed to slavery on theoretical grounds of right is perfectly evident from the language of the Politics. ��Some persons,�� says Aristotle, ��think that slave-holding is against nature, for that one man is a slave and another free by law, while by nature there is no difference between them, for which reason it is unjust as being the result of force.��64 And he proceeds to prove the contrary at length. The same doctrine of natural equality led to important political consequences, having, again according to Sir83 H. Maine, contributed both to the American Declaration of Independence and to the French Revolution.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 men��s 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.

THREE:First. By combining two or more operations in one machine, the only objects gained are a slight saving in first cost, one frame answering for two or more machines, and a saving of floor room.The characters in Homer are marked by this incredulous disposition in direct proportion to their general wisdom. When Agamemnon relates his dream to the assembled chiefs, Nestor dryly observes that if anyone of less authority had told them such a story they would have immediately rejected it as untrue. Hector��s outspoken contempt for augury is well known; and his indifference to the dying words of Patroclus is equally characteristic. In the Odyssey, Alcinous pointedly distinguishes his guest from the common run of travellers, whose words deserve no credit. That Telemachus should tell who is his father, with the uncomplimentary reservation that he has only his mother��s word for it, is128 evidently meant as a proof of the young man��s precocious shrewdness; and it is with the utmost difficulty that Penelope herself is persuaded of her husband��s identity. So in the Agamemnon of Aeschylus, nothing less than the report of an eye-witness will convince the Chorus of old men that Troy has really fallen.218 Finally, to complete the list of examples afforded independently of philosophical reflection, Herodotus repeatedly expresses disbelief in the stories told him, or, what is more remarkable, holds his judgment in suspense with regard to their veracity.

THREE:But there was nothing to be gained by going back. With the diamonds stuffed in his pocket, Balmayne returned to the dining-room. Maitrank sat on the sofa with his head between his hands moaning to himself. He had slipped off his heavy sable-lined overcoat, for the atmosphere of the room was oppressive.Balmayne's move had been a clever one, and quite worthy of a mind like his. He recognised at once that Bruce's presence there meant danger. If Maitrank, in the excitement of the moment, chose to speak out, all the delicately-laid plans would be ruined.

THREE:��I know I did��and, what��s more, here we are at a spot where nobody comes because of the ghost story��and he tells us to go into the hangar and��the door is left up a little way������And turned their savage life to civil ways;