ONE:I do not refer to questions of mechanical construction, although the remark might be true if applied in this sense, but to the kind of devices that may be best employed in certain cases.
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ONE:
FORE:A short time after the destruction I was even obliged to accept it for a whole week, as on the same day on which I arrived in Louvain for another visit there was renewed fighting round the town. The Belgians had advanced as far as Rotselair, where the next day they held their ground against overwhelmingly superior numbers; but at last they had to retire, leaving a great many dead behind. The Belgians had even got on to the road Tirlemont-Louvain, and blown up the railway line in two places.
FORE: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 Ars or Anchiss, 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
FORE:
FORE:The people had been in deadly terror, and women and old men, fearing that they would be killed, had fallen on their knees beseeching the soldiers to spare them. At present many women and old men,69 and even strong men, were laid up with violent feverish attacks of nerves.
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