Leaving out problems of mechanism in forging machines, the adaptation of pressing or percussive processes is governed mainly by the size and consequent inertia of the pieces acted upon. In order to produce a proper effect, that is, to start the particles of a piece throughout its whole depth at each blow, a certain proportion between a hammer and the piece acted upon must be maintained. For heavy forging, this principle has led to the construction of enormous hammers for the performance of such work as no pressing machinery can be made strong enough to execute, although the action of such machinery in other respects would best suit the conditions of the work. The greater share of forging processes may be performed by either blows or compression, and no doubt the latter process is the best in most cases. Yet, as before explained, machinery to act by pressure is much more complicated and expensive than hammers and drops. The tendency in practice is, however, to a more extensive employment of press-forging processes.
Director
The first impressions an apprentice forms of the smith-shop as a department of an engineering establishment is that it is a black, sooty, dirty place, where a kind of rough unskilled labour is performeda department which does not demand much attention. How far this estimate is wrong will appear in after years, when experience has demonstrated the intricacies and difficulties of forging, and when he finds the skill in this department is more difficult to obtain, and costs more relatively than in any other. Forging as a branch of work requires, in fact, the highest skill, and is one where the operation continually depends upon the judgment of the workman, which neither power nor machines can to any extent supplant. Dirt, hard labour, and heat deter men from learning to forge, and create a preference for the finishing shop, which in most places makes a disproportion between the [102] number of smiths and finishers."2. That all who are in possession of any arms, of whatever description, or any munition must at once deliver everything at the town-hall."Lock your door as a precaution," Balmayne whispered. "I'm going now.""You are pleased to say so," Balmayne said smoothly.Another and profounder characteristic of Plato, as distinguished from Aristotle, is his thorough-going opposition of reality to appearance; his distrust of sensuous perception, imagination, and opinion; his continual appeal to a hidden world of absolute truth and justice. We find this profounder principle also grasped and applied to poetical purposes in our Elizabethan literature, not only by Spenser, but by a still greater masterShakespeare. It is by no means unlikely that Shakespeare may have looked into a translation of the Dialogues; at any rate, the intellectual atmosphere he breathed was so saturated with their spirit that he could easily absorb enough of it to inspire him with the theory of existence which alone gives consistency to his dramatic work from first to last. For the essence of his comedies is that they represent the ordinary world of sensible experience as a scene of bewilderment and delusion, where there is nothing fixed, nothing satisfying, nothing true; as something which, because of its very unreality, is best represented by the drama,371 but a drama that is not without mysterious intimations of a reality behind the veil. In them we have the