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ONE:Then he began to come to himself and to listen to all that Felipa had to tell him of the many things she had not put in her short and labored letters. He saw[Pg 140] that she looked more beautiful and less well than when he had left her. There was a shadow of weariness on her face that gave it a soft wistfulness which was altogether becoming. He supposed it was because she had nursed him untiringly, as she had; but it did not occur to him to thank her, because she had done only what was a wife's duty, only what he would have done for her if the case had been reversed. Toward the end of the day he began to wonder that no one had been to see him, and he spoke of it.

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ONE:The influence of Aristotle has, indeed, continued to make itself felt not only through the teaching of his modern imitators, but more directly as a living tradition in literature, or through the renewed study of his writings at first hand. Even in the pure sciences, it survived until a comparatively recent period, and, so far as the French intellect goes, it is not yet entirely extinct. From Ab��lard on, Paris was the headquarters of that soberer scholasticism which took its cue from the Peripatetic logic; and the resulting direction of thought, deeply impressed as it became on the French character and the French language, was interrupted rather than permanently altered by the Cartesian revolution, and, with the fall of Cartesianism, gradually recovered its old predominance. The Aristotelian philosophy is remarkable above all others for clear definitions, full descriptions, comprehensive classifications, lucid reasoning, encyclopaedic science, and disinterested love of knowledge; along with a certain incapacity for ethical speculation,576 strong conservative leanings, and a general tendency towards the rigid demarcation rather than the fruitful commingling of ideas. And it will probably be admitted429 that these are also traits characteristic of French thinking as opposed to English or German thinking. For instance, widely different as is the M��canique C��leste from the astronomy of Aristotle��s treatise On the Heavens, both agree in being attempts to prove the eternal stability of the celestial system.577 The destructive deluges by which Aristotle supposes civilisation to be periodically interrupted, reappear on a larger scale in the theory of catastrophes still held by French geologists. Another Aristotelian dogma, the fixity of organic species, though vigorously assailed by eminent French naturalists, has, on the whole, triumphed over the opposite doctrine of transformism in France, and now impedes the acceptance of Darwin��s teaching even in circles where theological prepossessions are extinct. The accepted classifications in botany and zoology are the work of Frenchmen following in the footsteps of Aristotle, whose genius for methodical arrangement was signally exemplified in at least one of these departments; the division of animals into vertebrate and invertebrate being originally due to him. Bichat��s distinction between the animal and the vegetable functions recalls Aristotle��s distinction between the sensitive and nutritive souls; while his method of studying the tissues before the organs is prefigured in the treatise on the Parts of Animals. For a long time, the ruling of Aristotle��s Poetics was undisputed in French criticism; and if anything could disentitle Montesquieu��s Esprit des Lois to the proud motto, Prolem sine matre creatam, it would be its close relationship to the Politics of the same universal master. Finally, if it be granted that the enthusiasm for knowledge, irrespective of its utilitarian applications, exists to a greater degree among the educated classes of France than in any other modern society, we may plausibly attribute this honourable characteristic to the fostering influence of one who has430 proclaimed more eloquently than any other philosopher that theoretical activity is the highest good of human life, the ideal of all Nature, and the sole beatitude of God.

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FORE:He first published an engraving of "The Small Masquerade Ticket, or Burlington Gate," in ridicule of Lord Burlington's architecture, and of Pope's eulogiums on Burlington and satire of the Duke of Chandos. He illustrated "Hudibras," and produced a satirical plate, "The Taste of the Times," in 1724; and, some years after, "The Midnight Conversation" and "Southwark Fair." Not content with the fame which this vein, so peculiarly his own, was bringing him, he had the ambition to attempt the historical style, but this was a decided failure. In 1734, however, he came out in his full and peculiar strength in "The Harlot's Progress." The melancholy truth of this startling drama, mingled with touches of genuine humour, seized at once on the minds of all classes. It became at once immensely popular; it was put on the stage, and twelve hundred subscriptions for the engravings produced a rich harvest of profit. In the following year he produced "The Rake's Progress," which, though equally clever, had not the same recommendation of novelty. In 1744 he offered for sale the original paintings of these subjects, as well as "The Four Times of the Day," and "The Strolling Actresses Dressing in a Barn;" but here he felt the effects of the sturdy English expression of his sentiments on art, and his distributing of an engraving of "The Battle of the Pictures," as a ticket of admission, gave great offence to painters and their patrons. The whole sum received was only four hundred and twenty-seven pounds. Undaunted by his self-injuring avowal of his opinions, he offered in 1750 the pictures of "Marriage �� la Mode" for sale, but put forth an advertisement in such caustic terms, as he reflected on the result of his former auction, that he effectually kept away purchasers, and obtained only a hundred and twenty pounds for what Mr. Angerstein afterwards gave a thousand pounds for. His "March to Finchley" being sent for the royal inspection, so impressed George II. with the idea that it was a caricature of his Guards, that, though the engraving of it was dedicated to him, he ordered the picture out of his sight, with expressions of great indignation. Hogarth quietly substituted the name of the King of Prussia in the dedication, as "an encourager of the arts."��He��s comfortable, lying quiet in the fishing shack.��