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ALONG THE MEUSE TO HUY, ANDENNE, AND NAMUR
ONE: TWO:And now the explanation? During the night the Germans had started house-to-house searches, and wherever the doors were not opened quickly enough, the soldiers began to shoot. The inhabitants were then driven into the street amid loud screams and cries. It was also said that some persons had been shot.A ripple of excitement followed. A reporter rose and held up his hand.

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ONE:As often as I went on tour to collect news on the scene of war, I got dozens of messages and letters, which alarmed people sent to the editor of De Tijd, with the request that they should be handed to me for further transmission to relatives. I took hundreds of them to and from Louvain.

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THREE:"Ren Lalage. As you are interested, and as you came here to assist me, madame, I don't mind going so far as to show you the picture. It came from a weekly paper----"ON THE WAY TO LIGE

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THREE:In the end and in despair I accepted an aspirin tablet which he had pressed on me a hundred times, and although I do not know whether it was owing to that, or in spite of it, it was a fact that I felt somewhat better."A glass of beer, madame."

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THREE:"Will you kindly step out?" he suggested politely.

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THREE:"But I should recognize him anywhere," Hetty protested.

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THREE:

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THREE:"His face, unshaven since ever so long, is quite emaciated, and presents all the symptoms of nervous exhaustion. Once more twenty German soldiers are being nursed in his college, where only once a German doctor came to see them. He (Dr. Goffin) and a couple of Sisters have to manage everything by themselves, and the Germans do not even dream of providing food for their own wounded, although the college is so inadequately provisioned that the Head and the Sisters have to deny themselves the necessary nourishment that they may feed the wounded.

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ONE:221

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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.The history of the destruction of Vis affords also interesting support to my opinion, as previously expressed, that the violent actions of the Germans took place according to a fully thought-out design.Lets go have a look at it, suggested Dick.The inhabitants had already had a variety of experiences. On Tuesday, August 4th, the first German troops arrived before the little town. The gendarmes stationed there offered resistance to the invading enemy, but, being hopelessly outnumbered, they were all shot down. As they were lying on the ground, badly wounded, Dr. Frits Goffin, head of St. Hadelin College, came in great haste as soon as he heard the shooting.
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