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ONE:As a result of the foregoing criticism, Aristotle distinguishes four different causes or principles by which all things are determined to be what they are��Matter, Form, Agent, and Purpose.226 If, for example, we take a saw, the matter is steel; the form, a toothed blade; the agent or cause of its assuming that shape, a smith; the purpose, to divide wood or stone. When we have enumerated these four principles, we have told everything that can be known about a saw. But Aristotle could not keep the last three separate; he gradually extended the definition of form until it absorbed, or became identified with, agent and purpose.227 It was what we should call the idea of function that facilitated the transition. If the very essence or nature of a saw implies use, activity, movement, how can we define it without telling its purpose? The toothed blade is only intelligible as a cutting, dividing instrument. Again, how came the saw into being? What shaped the steel into that particular form? We have said that it was the smith. But surely that is too vague. The smith is a man, and may be able to exercise other trades as well. Suppose him to be a musician, did he make the saw in that capacity? No; and here comes in a distinction which plays an immense part in Aristotle��s metaphysics, whence it has passed into our every-day speech. He does not make the saw qua musician but qua smith. He can, however, in the exercise of his trade as smith make many other tools��knives, axes, and so forth. Nevertheless, had he only learned to make saws it would be enough. Therefore, he does not make335 the saw qua axe-maker, he makes it qua saw-maker. Nor, again, does he make it with his whole mind and body, but only with just those thoughts and movements required to give the steel that particular shape. Now, what are these thoughts but the idea of a saw present in his mind and passing through his eyes and hands, till it fixes itself on the steel? The immaterial form of a saw creates the real saw which we use. Let us apply the preceding analogies to a natural object; for example, a man. What is the Form, the definition of a man? Not a being possessing a certain outward shape, for then a marble statue would be a man, which it is not; nor yet a certain assemblage of organs, for then a corpse would be a man, which, according to Aristotle, criticising Democritus, it is not; but a living, feeling, and reasoning being, the end of whose existence is to fulfil all the functions involved in this definition. So, also, the creative cause of a man is another man, who directly impresses the human form on the material supplied by the female organism. In the same way, every definite individual aggregate becomes what it is through the agency of another individual representing the same type in its perfect manifestation.228It is also necessary to learn as soon as possible the technicalities pertaining to lathe work, and still more important to learn the conventional modes of performing various operations. Although lathe work includes a large range of operations which are continually varied, yet there are certain plans of performing each that has by long custom become conventional; to gain an acquaintance with these an apprentice should watch the practice of the best workmen, and follow their plans as near as he can, not risking any innovation or change until it has been very carefully considered. Any attempt to introduce new methods, modes of chucking work, setting and grinding tools, or other of the ordinary operations in turning, may not only lead to awkward mistakes, but will at once put a stop to useful information that might otherwise be gained from others. The technical terms employed in describing lathe work are soon learned, generally sooner than they are needed, and are often misapplied, which is worse than to be ignorant of them.