THREE:Details and sketches, when made on a separate sheet, should be to a larger scale than elevations. By changing from one scale to another the mind is schooled in proportion, and the conception of sizes and dimensions is more apt to follow the finished work to which the drawings relate.
THREE:That runs the motor, Larry agreed. The cable must have slipped on the drum and let the door go down
THREE:To an experienced mechanic a single glance at the tools on a lathe is a sufficient clue to the skill of the operator. If the tools are ground ready to use, of the proper shape, and placed in order so as to be reached without delay, the latheman may at once be set down as having two of the main qualifications of a first-class workman, which are order, and a knowledge of tools; while on the contrary, a lathe board piled full of old waste, clamp bolts, and broken tools, shows a want of that system and order, without which no amount of hand skill can make an efficient workman.Slowly Leona Lalage took the speaker in from head to foot. Her face had grown deadly pale. But she could make nothing of Lawrence's face. All the same, it was quite evident that he meant every word that he said.
THREE:Steam and other machinery applied to the transport of material and travel, in navigation and by railways, comprises the greater share of what may be called engineering products; and when we consider that this vast interest of steam transport is less than a century old, and estimate its present and possible future influence on human affairs, we may realise the relation that mechanical science bears to modern civilisation.
THREE:Professor Noyons took me all over the hospital, and if I should describe all I saw and heard there, that story alone would fill volumes. He took me, for example, to a boy of eight years old, whose shoulder was shattered by rifle-shots. His father and140 mother, four little brothers and a sister, had been murdered. The boy himself was saved because they thought that he was dead, whereas he was only unconscious. When I asked for his parents, brothers and sister, he put up his one hand and, counting by his little fingers, he mentioned their names.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.
THREE:The latter seems a plausible theory, and perhaps a correct one; but there are two facts in connection with the operation of reaction water-wheels which seem to controvert the latter and favour the first theory, namely, that reaction wheels in actual practice seldom utilise more than forty per cent. of useful effect from the water, and that their speed may exceed the initial velocity of the water. With this the subject is left as one for argument or investigation on the part of the reader.(1.) To what general object are all pursuits directed?(2.) What besides wealth may be objects in the practice of engineering pursuits?(3.) Name some of the most common among the causes which reduce the cost of production.(4.) Name five of the main elements which go to make up the cost of engineering products.(5.) Why is commercial success generally a true test of the skill connected with engineering-works?
THREE:"My darling," he whispered, "what does it all mean?"
THREE:"I always heard that there was only a foot or two of water in there," the Countess said. "It was never used in my time--people don't care to drink well water in London. Still, it is a slice of luck, as you say.""Hullo!" I said, "but in those days I was in and about Maastricht, but I never noticed anything of it."