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be just from convention or enactment. The latter, he says, can be just only with respect to those things which by nature are indifferent. Thus when a newly reconstituted city took a living Spartan general for its eponymus, no one was bound by nature to sacrifice to Brasidas as to an ancestor, but he was bound by enactment and after all the matter was one of convention, which, in a society framed on the model of an organized kindred, required that the citizens have a common heroic ancestor, and was morally indifferent. The distinction was handed down to modern legal science by Thomas Aquinas, was embodied in Anglo-American legal thought by Blackstone, and has become staple. But it is quite out of its setting as a doctrine of mala prohibita and mala in se. An example of the distinction between law and rules of law has become the basis of an arbitrary line between the traditionally anti-social, penalized by the common law, and recently penalized infringements of newly or partially recognized s

English at the Appleton High School, Appleton, Wisconsin, and one of our very ablest members, took the first decisive step by organizing his pupils into an amateur press club, using the =United= to supplement his regular class-room work. The scholars were delighted, and many have acquired a love of good literature which will never leave them. Three or four, in particular, have become prominent in the affairs of the =United=. After demonstrating the success of his innovation, Mr. Moe described it in =The English Journal=, his article arousing much interest in educational circles, and being widely reprinted by other papers. In November, 1914, Mr. Moe addressed an assemblage of English teachers in Chicago, and there created so much enthusiasm for the =United=, that scores of instructors have subsequently joined our ranks, many of them forming school clubs on the model of the original club at Appleton. Here, then, is one definite destiny for our association: to assist the teaching of advanced English in the high

is because the finest natures remain young to the death: and for you the first thing you have to do in art (as in life) is to be quiet and firm--quiet, above everything; and modest, with this most essential modesty, that you must like the landscape you are going to draw better than you expect to like your drawing of it, however well it may succeed. If you would not rather have the real thing than your sketch of it, you are not in a right state of mind for sketching at all. If you only think of the scene, "what a nice sketch this will make!" be assured you will never make a nice sketch of it. You may think you have produced a beautiful work; nay, perhaps the public and many fair judges will agree with you; but I tell you positively, there will be no enduring value in what you have thus done. Whereas if you think of the scene, "Ah, if I could only get some shadow or scrawl of this to carry away with me, how glad I should be!"--then whatever you do will be, according to your strength, good and progressive: it m

c research will make it possible for a nation to elect by what sort of beings it will be represented not very many generations hence, much as a farmer can decide whether his byres shall be full of shorthorns or Herefords. It will be very surprising indeed if some nation does not make trial of this new power. They may make awful mistakes, but I think they will try" (S., p. 8). It is curious how the war, which had just commenced when these addresses were being delivered, has absolutely disposed, or ought to have disposed, of some of the prophecies of the President. Nothing, at any rate, seems more certain than that one result of this most disastrous struggle will be an urgent demand by all the States engaged in it for at least as many male children as the mothers of each country can supply, without special regard to their other characters, breedable or not breedable. We are even told that Germany is resorting to expedients which cannot be justified on Christian principles to fill her depleted homes. Whether thi

as present the greater part of the time.

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From the foregoing, and from additional experiments, which it is not necessary to give in detail, it appeared, that when applied to a wound made in the most sensitive parts of the integuments, the oil of tobacco, though it caused a good deal of pain, had a far less general effect than when applied to the tongue. Rats were less affected than cats. Two and sometimes three drops rubbed upon the tongue of a rat, did not kill in half an hour.

Three large drops rubbed upon the tongue of a full-sized cat, usually caused death in from three to ten minutes, and in one instance, already stated, in two minutes and forty-five seconds. One drop passed into the jugular vein of a large dog, occasioned an immediate cry, followed in a few moments by staggering, convulsive twitchings of the voluntary muscles, and vomiting.

In those cases in which full vomiting occurred, evident relief fo

THE COMIC IN GENERAL--THE COMIC ELEMENT IN FORMS AND MOVEMENTS--EXPANSIVE FORCE OF THE COMIC.

What does laughter mean? What is the basal element in the laughable?What common ground can we find between the grimace of a merry-andrew, a play upon words, an equivocal situation in a burlesque anda scene of high comedy? What method of distillation will yield usinvariably the same essence from which so many different productsborrow either their obtrusive odour or their delicate perfume? Thegreatest of thinkers, from Aristotle downwards, have

ut if you make that remark after hearing my lectures, I shall feel ashamed of you, just as I always feel humiliated when any friend of mine makes a fool of himself.

PHYSIOGNOMY is the science of external appearances. The etymology of the word signifies the knowledge of nature derived from examination or observation. We may speak of the physiognomy of a landscape, of a country, a state, a continent, or an individual, and by that we mean the external appearance, that which conveys a knowledge of the character of the object to the eye. We judge the character of the thing by its appearances; and in the relation which Physiognomy bears to character-reading, we judge the character of the man by the external appearances. We study the size and form of the body, its color, its texture, its temperament, the expression of the face and the contour of the head, all of which are physiognomical. We draw certain conclusions from this inspection of the physiognomical signs, and these conclusions are phrenological, for

ely, Plot, Character, Diction, Thought, Spectacle, Song. Two of the parts constitute the medium of imitation, one the manner, and three the objects of imitation. And these complete the list. These elements have been employed, we may say, by the poets to a man; in fact, every play contains Spectacular elements as well as Character, Plot, Diction, Song, and Thought.

But most important of all is the structure of the incidents. For Tragedy is an imitation, not of men, but of an action and of life, and life consists in action, and its end is a mode of action, not a quality. Now character determines men's qualities, but it is by their actions that they are happy or the reverse. Dramatic action, therefore, is not with a view to the representation of character: character comes in as subsidiary to the actions. Hence the incidents and the plot are the end of a tragedy; and the end is the chief thing of all. Again, without action there cannot be a tragedy; there may be without character. The tragedies of most of

ttering a legion of antiquated and house-bred notions and whims to the four winds for an airing-and so the evil cure itself.

How womankind, who are confined to the house still more than men, stand it I do not know; but I have ground to suspect that most of them do not STAND it at all. When, early in a summer afternoon, we have been shaking the dust of the village from the skirts of our garments, making haste past those houses with purely Doric or Gothic fronts, which have such an air of repose about them, my companion whispers that probably about these times their occupants are all gone to bed. Then it is that I appreciate the beauty and the glory of architecture, which itself never turns in, but forever stands out and erect, keeping watch over the slumberers.

No doubt temperament, and, above all, age, have a good deal to do with it. As a man grows older, his ability to sit still and follow indoor occupations increases. He grows vespertinal in his habits as the evening of life approaches, till a

d the ray, and that the crystal none the less remained luminous. Greatly astonished, he lifted it out of the light ray and carried it to the darkest part of the shop. It remained bright for some four or five minutes, when it slowly faded and went out. He placed it in the thin streak of daylight, and its luminousness was almost immediately restored.

So far, at least, Mr. Wace was able to verify the remarkable story of Mr. Cave. He has himself repeatedly held this crystal in a ray of light (which had to be of a less diameter than one millimetre). And in a perfect darkness, such as could be produced by velvet wrapping, the crystal did undoubtedly appear very faintly phosphorescent. It would seem, however, that the luminousness was of some exceptional sort, and not equally visible to all eyes; for Mr. Harbinger--whose name will be familiar to the scientific reader in connection with the Pasteur Institute--was quite unable to see any light whatever. And Mr. Wace's own capacity for its appreciation was out o