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      "You say he remained three weeks on the back of that whale," said one of the listeners.  "Hello, in there! Lieutenant Ferry, of Ferry's scouts,"-- "Gawd," he gasped, "it's a blooming ghost."

"Here, swine!" As might be expected, the Parmenidean paradoxes provoked a considerable amount of contradiction and ridicule. The Reids and Beatties of that time drew sundry absurd consequences from the new doctrine, and offered them as a sufficient refutation of its truth. Zeno, a young friend and20 favourite of Parmenides, took up arms in his master’s defence, and sought to prove with brilliant dialectical ability that consequences still more absurd might be deduced from the opposite belief. He originated a series of famous puzzles respecting the infinite divisibility of matter and the possibility of motion, subsequently employed as a disproof of all certainty by the Sophists and Sceptics, and occasionally made to serve as arguments on behalf of agnosticism by writers of our own time. Stated generally, they may be reduced to two. A whole composed of parts and divisible ad infinitum must be either infinitely great or infinitely little; infinitely great if its parts have magnitude, infinitely little if they have not. A moving body can never come to the end of a given line, for it must first traverse half the line, then half the remainder, and so on for ever. Aristotle thought that the difficulty about motion could be solved by taking the infinite divisibility of time into account; and Coleridge, according to his custom, repeated the explanation without acknowledgment. But Zeno would have refused to admit that any infinite series could come to an end, whether it was composed of successive or of co-existent parts. So long as the abstractions of our understanding are treated as separate entities, these and similar puzzles will continue to exercise the ingenuity of metaphysicians. Our present business, however, is not to solve Zeno’s difficulties, but to show how they illustrate a leading characteristic of Greek thought, its tendency to perpetual analysis, a tendency not limited to the philosophy of the Greeks, but pervading the whole of their literature and even of their art. Homer carefully distinguishes the successive steps of every action, and leads up to every catastrophe by a series of finely graduated transitions. Like Zeno, again, he pursues a system of dichotomy, passing rapidly over the first half of his subject, and relaxes the speed of his narrative by going into ever-closer detail until the consummation is reached. Such a poem as the ‘Achilleis’ of modern critics21 would have been perfectly intolerable to a Greek, from the too rapid and uniform march of its action. Herodotus proceeds after a precisely similar fashion, advancing from a broad and free treatment of history to elaborate minuteness of detail. So, too, a Greek temple divides itself into parts so distinct, yet so closely connected, that the eye, after separating, as easily recombines them into a whole. The evolution of Greek music tells the same tale of progressive subdivision, which is also illustrated by the passage from long speeches to single lines, and from these again to half lines in the dialogue of a Greek drama. No other people could have created mathematical demonstration, for no other would have had skill and patience enough to discover the successive identities interposed between and connecting the sides of an equation. The dialectic of Socrates and Plato, the somewhat wearisome distinctions of Aristotle, and, last of all, the fine-spun series of triads inserted by Proclus between the superessential One and the fleeting world of sense,—were all products of the same fundamental tendency, alternately most fruitful and most barren in its results. It may be objected that Zeno, so far from obeying this tendency, followed a diametrically opposite principle, that of absolutely unbroken continuity. True; but the ‘Eleatic Palamedes’ fought his adversaries with a weapon wrested out of their own hands; rejecting analysis as a law of real existence, he continued to employ it as a logical artifice with greater subtlety than had ever yet been displayed in pure speculation.18 I proposed to go in without the soldiers. Impossible, it was not etiquette! I was the Rajah's guest. The Prince of Morvi and I could not mingle with the crowd, our escort was necessary to isolate us. Well, then, the soldiers must take off their shoes, and leave their belts and guns at the door! Again impossible. Where would the prestige of the uniform be?  “No human hand touched the switch that ran that door down!”

“We can prove it—come on!” “We have to go outside so I can show you what I discovered.” They all disappeared into the grove, and Jeff, coming rapidly closer, paused to listen to the sound of the pursuit. [Pg 31] She sat staring at the white glare of the opening, and listening to his foot-falls upon the sand.

"Neither," answered Si. "It's only a common, straight, every-day march out into the country. You kin count upon one a day like this for the rest o' your natural lives—I mean your service. It's part o' what you enlisted for. And this's only a beginnin'. Some days you'll have to keep this up 15 or 18 hours at a stretch."  She heard of Reuben's plan with some shrinking.

"Give her to me, child—let me look."  She opened her eyes. The people were moving. The Mockbeggar gate had been accounted for, and they rolled on towards Thornsdale. The jamb was not so alarming, for a good many revellers had been left behind, dancing round the remains of the bonfire, crowding into the public-house, or scattering in couples over the fields.  "And, my Lord de Boteler, we feel much inclined to follow your example," said Richard. "The shire of Hereford is our royal patrimony—have ye a scribe here who can draw up a charter?"www.nabto.com.cn
      
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