THREE:In respect to lathe manipulation, which is perhaps the most difficult to learn of all shop operations, the following hints are given, which may prove of service to a learner: At the beginning the form of tools should be carefully studied; this is one of the great points in lathe work; the greatest distinction between a thorough and indifferent latheman is that one knows the proper form and temper of tools and the other does not. The adjustment and presenting of tools is soon learned by experience, but the proper form of tools is a matter of greater difficulty. One of the first things to study is the shape of cutting edges, both as to clearance below the edge of the tool, and the angle of the edge, with reference to both turning and boring, because the latter is different from turning. The angle of lathe tools is clearly suggested by diagrams, and there is no better first lesson in drawing than to construct diagrams of cutting angles for plane and cylindrical surfaces.Somebody had found her out. It must be so, because all her plans were anticipated by the terrible antagonist who worked in the dark. Her case was much like that of a despairing criminal who takes one huge sum to conceal the loss of another until the inevitable crash comes.

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THREE:Charlton nodded. It had been his whim and mood after the tragic death of his wife to leave those fatal jewels where that wicked woman had dropped them. So far as he was concerned the cause of all the trouble might be at the bottom of the sea. They were gone, and only he and another person knew the secret of their hiding place. That she might come back and try to regain them he never troubled himself about. Even if it had occurred to him, he would not have moved in the matter.No subject connected with mechanics has been more thoroughly investigated than that of gearing. Text-books are replete with every kind of information pertaining to wheels, at least so far as the subject can be made a mathematical one; and to judge from the amount of matter, formul?, and diagrams, relating to the teeth of wheels that an apprentice will meet with, he will no doubt be led to believe that the main object of modern engineering is to generate wheels. It must be admitted that the teeth of wheels and the proportions of wheels is a very important matter to understand, and should be studied with the greatest care; but it is equally important to know how to produce the teeth in metal after their configuration has been defined on paper; to understand the endurance of teeth under abrasive wear when made of wrought or cast iron, brass or steel; how patterns can be constructed from which correct wheels may be cast, and how the teeth of wheels can be cut [52]by machinery, and so on.

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THREE:The Poetics of Aristotle contains some hints on the subject of composition which entitle it to be mentioned in the present connexion. The deficiencies, even from a purely theoretical point of view, of this work, once pronounced infallible, have at last become so obvious that elaborate hypotheses have been constructed, according to which the recension handed down to us is a mere mutilated extract from the original treatise. Enough, however, remains to convince us that poetry was not, any more than eloquence, a subject with which Aristotle was fitted to cope. He begins by defining it, in common with all other art, as an imitation. Here, we at once recognise the spirit of a philosophy, the whole power and interest of which lay in knowledge; and, in fact, he tells us that the love of art is derived from the love of knowledge. But the truth seems to be that aesthetic enjoyment is due to an ideal exercise of our faculties, among which the power of perceiving identities is sometimes, though not always, included. That the materials of which every artistic creation is composed are taken from the world of our experience makes no difference; for it is by the new forms in which they are arranged that we are interested, not because we remember having met them in301 some natural combination already. Aristotle could not help seeing that this was true in the case of music at least; and he can only save his principle by treating musical effects as representations of passions in the soul. To say, however, that musical pleasure arises from a perception of resemblance between certain sounds and the emotions with which they are associated, would be an extremely forced interpretation; the pleasure is due rather to a sympathetic participation in the emotion itself. And when Aristotle goes on to tell us that the characters imitated in epic and dramatic poetry may be either better or worse than in ordinary life, he is obviously admitting other aesthetic motives not accounted for by his general theory. If, on the other hand, we start with ideal energising as the secret of aesthetic emotion, we can easily understand how an imaginary exaltation of our faculties is yielded by the spectacle of something either rising above, or falling below, the level on which we stand. In the one case we become momentarily invested with the strength put into action before our eyes; in the other, the consciousness of our own superiority amounts to a fund of reserve power, which not being put into action, is entirely available for ideal enjoyment. And, if this be the correct view, it will follow that Aristotle was quite wrong when he declared the plot to be more important than the characters of a drama. The reason given for his preference is, even on the principles of his own philosophy, a bad one. He says that there can be plot without character-drawing, but never character-drawing without plot. Yet he has taught us elsewhere that the human soul is of more value than the physical organism on which its existence depends. This very parallel suggests itself to him in his Poetics; but, by an almost inconceivable misjudgment, it is the plot which he likens to the soul of the piece, whereas in truth it should be compared to the body. The practice and preference of his own time may have helped to mislead him, for he argues (rather inconsistently, by the way) that plot302 must be more indispensable, as young writers are able to construct good stories before they are able to portray character; and more artistic, as it was developed much later in the historical evolution of tragedy. Fortunately for us, the Alexandrian critics were guided by other canons of taste, or the structurally faulty pieces of Aeschylus might have been neglected, and the ingeniously constructed pieces of Agathon preserved in their place.39

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