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THREE:Not only had they given in. Jeff, it appeared, had given up. In thickening mist the risks were too great."And what happened after that?"

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THREE:"And what do you want to write about?""I'll go and look at the gas meter," said Prout.

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THREE:In a few words the story was told. Balmayne listened moodily. With his further knowledge of facts he saw the danger."Seems pretty bad," said the policeman gruffly, as he flashed his lantern down on the white still face. "This here's a job for the ambulance."

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THREE:"Near Maastricht. You know where Maastricht is?"So far Aristotle gives us a purely superficial and sensational view of the drama. Yet he could not help seeing that there was a moral element in tragedy, and he was anxious to show, as against Plato, that it exercised an improving effect on the audience. The result is his famous theory of the Catharsis, so long misunderstood, and not certainly understood even now. The object of Tragedy, he tells us, is to purify (or purge away) pity and terror by means of those emotions themselves. The Poetics seems originally to have contained an explanation of this mysterious utterance, now lost, and critics have endeavoured to supply the gap by writing eighty treatises on the subject. The result has been at least to show what Aristotle did not mean. The popular version of his dictum, which is that tragedy purges the passions by pity and terror, is clearly inconsistent with the wording of the original text. Pity and terror are both the object and the instrument of purification. Nor yet does he mean, as was once supposed,306 that each of these emotions is to counterbalance and moderate the other; for this would imply that they are opposed to one another, whereas in the Rhetoric he speaks of them as being akin; while a parallel passage in the Politics188 shows him to have believed that the passions are susceptible of homoeopathic treatment. Violent enthusiasm, he tells us, is to be soothed and carried off by a strain of exciting, impassioned music. But whence come the pity and terror which are to be dealt with by tragic poetry? Not, apparently, from the piece itself, for to inoculate the patient with a new disease, merely for the sake of curing it, could do him no imaginable good. To judge from the passage in the Politics already referred to, he believes that pity and terror are always present in the minds of all, to a certain extent; and the theory apparently is, that tragedy brings them to the surface, and enables them to be thrown off with an accompaniment of pleasurable feeling. Now, of course, we have a constant capacity for experiencing every passion to which human nature is liable; but to say that in the absence of its appropriate external stimulus we are ever perceptibly and painfully affected by any passion, is to assert what is not true of any sane mind. And, even were it so, were we constantly haunted by vague presentiments of evil to ourselves or others, it is anything but clear that fictitious representations of calamity would be the appropriate means for enabling us to get rid of them. Zeller explains that it is the insight into universal laws controlling our destiny, the association of misfortune with a divine justice, which, according to Aristotle, produces the purifying effect;189 but this would be the purgation of pity and terror, not by themselves, but by the intellectual framework in which they are set, the concatenation of events, the workings of character, or the reference of everything to an eternal cause. The truth is that Aristotle��s explanation of the moral effect produced by tragedy is307 irrational, because his whole conception of tragedy is mistaken. The emotions excited by its highest forms are not terror and pity, but admiration and love, which, in their ideal exercise, are too holy for purification, too high for restriction, and too delightful for relief.

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THREE:"I have come to have a chat with you," she said with her most brilliant smile, "on the subject of the Corner House. They tell me you have made an arrest that by a wonderful chance will have an important bearing on the case."

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THREE:

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THREE:They yelled and shouted and said that Bilsen and the whole district must be burned down, that the major was far too kind, that they were cowardly soldiers who hid themselves in houses and dared not fight an honest fight in the open, that civilians189 had also been shooting, and so on. I pointed out that the firing did not come from the house, but from the shrubbery near the house; that nobody could have seen a civilian shooting. As they insisted, I said with a laugh that they had seen ghosts. That excited them so, that they came on to me in a rage, and asked whether this was a laughing matter? And they would surely have used violence had not the sergeant intervened."After having protested their peaceful sentiments the inhabitants of Andenne made a treacherous attack on our troops.

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THREE:There was no sign of fear or dismay or anything else about the woman in white with the long black hair streaming over her shoulders. Yet she was annoyed, and her brains were working quickly. It was quiet in the corridor, save the little fretful whine from the child for something to drink."Accompany you. Presently, but not quite in the way you imagine. I have made my confession in a way that Mr. Lawrence thoroughly appreciates. It was I who murdered Leon Lalage, my husband, in this house; it was I who palmed those notes off on Dr. Bruce. No reason to tell you why now. And it was I in this very house who robbed my late mistress of her jewels and forged the letter from her husband that caused her to take poison. After that I have no more to say. Gentlemen, I am much obliged by your kind attention, and I say farewell to you, thus."

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THREE:The Destruction of Dinant

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