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TWO:A second point to be noticed in hammers of this class is the nature of the connection with the driving power. In all cases there will be found an equivalent for the elastic helve of the trip-hammereither air cylinders, deflecting springs, or other yielding attachments,interposed between the crank and the hammer-head, also a slipping frictional belt or frictional clutches for driving, as in the case of trip-hammers.
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TWO:Looking ahead into the future, the apprentice can see a field for the mechanical engineer widening on every side. As the construction of permanent works becomes more settled and uniform, the application of power becomes more diversified, and develops problems of greater intricacy. No sooner has some great improvement, like railway and steam navigation, settled into system and regularity than new enterprises begin. To offset the undertaking of so great a work as the study of mechanical engineering, there is the very important advantage of the exclusiveness of the callinga condition that arises out of its difficulties. If there is a great deal to learn, there is also much to be gained in learning it. It is seldom, indeed, that an efficient mechanical engineer fails to command a place of trust and honour, or to accumulate a competency by means of his calling.Upon entering the shop, a learner will generally, to use a shop phrase, "be introduced to a hammer and chisel;" he will, perhaps, regard these hand tools with a kind of contempt. Seeing other operations carried on by power, and the machines in charge of skilled men, he is likely to esteem chipping and filing as of but little importance and mainly intended for keeping apprentices employed. But long after, when a score of years has been added to his experience, the hammer, chisel, and file, will remain the most crucial test of his hand skill, and after learning to manipulate power tools of all kinds in the most thorough manner, a few blows with a chipping hammer, or a half-dozen strokes with a file, will not only be a more difficult test of skill, but one most likely to be met with.
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TWO:A similar vein of thought runs through the moral and religious philosophy of Lucretius. If we look on him as a reformer, we shall say that his object was to free life from the delusions with which it had been disfigured by ignorance and passion. If we look on him as an artist, we shall say that he instinctively sought to represent life in the pure and perfect beauty of its naked form. If we look on him as a poet, we shall say that he exhibits all the objects of false belief no longer in the independence of their fancied reality, but in their place among other vital phenomena, and in due subordination112 to the human consciousness whose power, even when it is bound by them, they reveal. But while the first alternative leaves him in the position of a mere imitator or expositor who brings home no lessons that Epicurus had not already enforced with far greater success, the other two, and above all the last, restore him to the position of an original genius, who, instead of deriving his intuitions from the Epicurean system, adopts just so much of that system as is necessary to give them coherence and shape. It may, no doubt, be urged, that were life reduced to the simple expression, the state of almost vegetative repose, demanded by Lucretius, denuded of love, of ambition, of artistic luxury, of that aspiration towards belief in and union with some central soul of things, which all religions, more or less distinctly embody, its value for imaginative purposes would be destroyed; and that the deepest lesson taught by his poem would not be how to enjoy existence with the greatest intensity, but how to abandon it with the least regret. Now it is just here that the wonderful power of poetry comes in, and does for once, under the form of a general exposition, what it has to do again and again under the easier conditions of individual presentation. For poetry is essentially tragic, and almost always excites the activity of our imagination, not by giving it the assured possession of realities, but by the strain resulting from their actual or their expected eclipse. If Homer and the Attic tragedians show us what is life, and what are the goods of life, it is not through experience of the things themselves, but through the form of the void and the outline of the shadow which their removal or obscuration has produced. So also in the universal tragedy of the Roman poet, where the actors are not persons, but ideas. Every belief is felt with more poignant intensity at the moment of its overthrow, and the world of illusion is compensated for intellectual extinction by imaginative persistence as a conscious creation, a memory, or a dream. There is no mythological picture so splendidly painted as those in which Lucretius has shown us Mavors113 pillowed on the lap of Venus, or led before us the Idaean mother in her triumphal car. No redeemer, credited with supernatural powers, has ever enjoyed such an apotheosis as that bestowed by his worshipper on the apostle of unbelief. Nowhere have the terrible and mysterious suggestions of mortality been marshalled with such effect as in the argument showing that death no more admits of experience than of escape. What love-inspired poet has ever followed the storm and stress of passion with such tenderness of sympathy or such audacity of disclosure, as he to whom its objects were disrobed of their divinity, for whom its fancied satisfaction was but the kindling to insaner effort of a fatally unquenchable desire? Instead of being compelled to teach a truth he would not learn, Lucretius was enabled by the spirit of his own incomparable art to seize and fix for ever, in bold reversal of light and shade, those visions on which the killing light of truth had long before him already dawned.
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