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TWO:Strains suggest special arrangement, which is quite a distinct matter from general arrangement, the latter being governed mainly by the convenience of manipulation. Special arrangement deals with and determines the shape of framing, following the strains throughout a machine. In the present case we have a cutting strain which may be assumed as equal to one ton, exerted between the bracket or jaws which support the work, and the crank-shaft. It follows that between these two points the metal in the framing should be disposed in as direct a line as possible, and provision be made to resist flexion by deep sections parallel with the cutting motion.

TWO:Apart, however, from abstract speculation, the ideal156 method seems to have exercised an immediate and powerful influence on Art, an influence which was anticipated by Socrates himself. In two conversations reported by Xenophon,102 he impresses on Parrhasius, the painter, and Cleito, the sculptor, the importance of so animating the faces and figures which they represented as to make them express human feelings, energies, and dispositions, particularly those of the most interesting and elevated type. And such, in fact, was the direction followed by imitative art after Pheidias, though not without degenerating into a sensationalism which Socrates would have severely condemned. Another and still more remarkable proof of the influence exercised on plastic representation by ideal philosophy was, perhaps, not foreseen by its founder. We allude to the substitution of abstract and generic for historical subjects by Greek sculpture in its later stages, and not by sculpture only, but by dramatic poetry as well. For early art, whether it addressed itself to the eye or to the imagination, and whether its subjects were taken from history or from fiction, had always been historical in this sense, that it exhibited the performance of particular actions by particular persons in a given place and at a given time; the mode of presentment most natural to those whose ideas are mainly determined by contiguous association. The schools which came after Socrates let fall the limitations of concrete reality, and found the unifying principle of their works in association by resemblance, making their figures the personification of a single attribute or group of attributes, and bringing together forms distinguished by the community of their characteristics or the convergence of their functions. Thus Aphrodit�� no longer figured as the lover of Ar��s or Anchis��s, but as the personification of female beauty; while her statues were grouped together with images of the still more transparent abstractions, Love, Longing, and Desire. Similarly Apollo became a personification of musical enthusiasm, and Dionysus157 of Bacchic inspiration. So also dramatic art, once completely historical, even with Aristophanes, now chose for its subjects such constantly-recurring types as the ardent lover, the stern father, the artful slave, the boastful soldier, and the fawning parasite.103

TWO:The time in which the contraction takes place is as the temperature of the bath and the cross section of the piece; in other words the heat passes off gradually from the surface to the centre.Henceforth, whatever our philosopher says about Matter will apply to extension and to extension alone. It cannot be apprehended by sight, nor by hearing, nor by smell, nor by taste, for it is neither colour, nor sound, nor odour, nor juice. Neither can it be touched, for it is not a body, but it becomes corporeal on being blended with sensible qualities. And, in a later essay, he describes it as receiving all things and letting them depart again without retaining the slightest trace of their presence.483 Why then, it may be asked, if Plotinus meant extension, could he not say so at once, and save us all this trouble in hunting out his meaning? There were very good reasons why he should not. In the first place, he wished to express himself, so far as possible, in Aristotelian phraseology, and this was incompatible with the reduction of Matter to extension. In the next place, the idea of an infinite void had been already appropriated by the Epicureans, to whose system he was bitterly opposed. And, finally, the extension of ordinary327 experience had not the absolute generality which was needed in order to bring Matter into relation with that ultimate abstraction whence, like everything else, it has now to be derived.

TWO:Group after group went by, and I heard French and Netherland, the Maastricht vernacular and sweet Flemish spoken, all sorts of tongues and modes of utterance. The men were bare-headed, and each let his rosary slip through his fingers. Soon after the head of the procession reached Our Lady Square the huge church was packed, and those who could not find room inside stood in the square, which also very soon was full with these thousands of people in a dense mass, like so many blades of grass in a meadow."It's not fair, sir," he said. "It's giving me too great an advantage. If you take my advice, you'll go at once and explain the position to some smart solicitor--Ely Place for choice."

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.

TWO:"Indeed, he has, Mr. Prout," Leona said coolly. "Will you come in? We have been having a pleasant conversation with some pleasing confessions. Have you come for me?"

TWO:In the last chapter we dealt at length with the theories of art, and especially of tragic poetry, propounded in Aristotle��s Poetics. For the sake of formal completeness, it may be mentioned here that those theories are adapted to the general scheme of his systematic philosophy. The plot or plan of a work answers to the formal or rational element in Nature, and this is why Aristotle so immensely over-estimates its importance. And, just as in his moral philosophy, the ethical element, represented by character-drawing, is strictly subordinated to it. The centre of equilibrium is, however, not supplied by virtue, but by exact imitation of Nature, so that the characters must not deviate very far from mediocrity in the direction either of heroism or of wickedness.

TWO:Bruce bowed again. He would have given a good deal to know what the other was driving at. Was there any real meaning in the chatter, or was it all for the purpose of delay? Bruce hinted that it was late.