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FORE:Next in order are strains. As the cutting action is the source of strains, and as the resistance offered by the cutting tools is as the length or width of the edges, it will be found in the present case that while other conditions thus far have pointed to small proportions, there is now a new one which calls for large proportions. In displacing the metal between teeth of three-quarters of an inch pitch, the cutting edge or the amount of surface acted upon is equal to a width of one inch and a half. It is true, the displacement may be small at each cut, but the strain is rather to be based upon the breadth of the acting edge than the actual displacement of metal, and we find here strains equal to the average duty of a large planing machine. This strain radiates from the cutting point as from a centre, falling on the supports of the work with a tendency to force it from the framing. Between the rack and the crank-shaft bearing, through the medium of the tool, cutter bar, connection, and crank pin, and in various directions and degrees, this strain may be followed by means of a simple diagram. Besides this cutting strain, there are none of importance; the tension of the belt, the side thrust in bearings, the strain from the angular thrust of the crank, and the end thrust of the tool, although not to be lost sight of, need not have much to do with problems of strength, proportion, and arrangement.Still more impressive, if we consider the writings of Plotinus on their personal side, and as a revelation of their author��s mind, is the high and sustained purity, the absolute detachment and disinterestedness by which they are characterised throughout. No trace of angry passion, no dallying with images of evil, interferes to mar their exalted spirituality from first to last. While the western world was passing through a period of horror and degradation such as had never been known before, the philosopher took refuge in an ideal sphere, and looked down on it all with no more disturbance to his serenity than if he had been the spectator of a mimic performance on the stage.504 This, indeed, is one of340 the reasons why the Enneads are so much less interesting, from a literary point of view, than the works of the Roman Stoics. It is not only that we fail to find in them any allusions even of the faintest kind to contemporary events or to contemporary life and manners, such as abound in Seneca and Epict��tus, but there is not the slightest reference to the existence of such a thing as the Roman empire at all. One or two political illustrations occur, but they are drawn from old Greek city life, and were probably suggested by Plato or Aristotle.505 But this tremendous blank is so perfectly in keeping with the whole spirit of Neo-Platonism as to heighten instead of lowering its aesthetic effect. In studying the philosophy of the preceding centuries, to whatever school it may belong, we have the image of death always before our eyes; and to fortify us against its terrors, we are continually called upon to remember the vanity of life. This is the protest of thought against the world, just as in Lucian and Sextus we hear the protest of the world against thought. At last the whole bitter strife comes to an end, the vision of sense passes away,

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