FORE:But the enthusiasm for science, however noble in itself, would not alone have sufficed to mould the Epicurean philosophy into a true work of art. The De Rerum Natura is the greatest of all didactic poems, because it is something more than didactic. Far more truly than any of its Latin successors, it may claim comparison with the epic and dramatic masterpieces of Greece and Christian Europe; and that too not by virtue of any detached passages, however splendid, but by virtue of its composition as a whole. The explanation of this extraordinary success is to be sought in the circumstance that the central interest whence Lucretius works out in all directions is vital rather than merely scientific. The true heroine of his epic is not Nature but universal lifehuman life in the first instance, then the life of all the lower animals, and even of plants as well. Not only does he bring before us every stage of mans existence from its first to its last hour106 with a comprehensiveness, a fidelity, and a daring unparalleled in literature; but he exhibits with equal power of portrayal the towered elephants carrying confusion into the ranks of war, or girdling their own native India with a rampart of ivory tusks; the horse with an eagerness for the race that outruns even the impulse of his own swift limbs, or fiercely neighing with distended nostrils on the battlefield; the dog snuffing an imaginary scent, or barking at strange faces in his dreams; the cow sorrowing after her lost heifer; the placid and laborious ox; the flock of pasturing sheep seen far off, like a white spot on some green hill; the tremulous kids and sportive lambs; the new-fledged birds filling all the grove with their fresh songs; the dove with her neck-feathers shifting from ruby-red to sky-blue and emerald-green; the rookery clamouring for wind or rain; the sea birds screaming over the salt waves in search of prey; the snake sloughing its skin; the scaly fishes cleaving their way through the yielding stream; the bee winging its flight from flower to flower; the gnat whose light touch on our faces passes unperceived; the grass refreshed with dew; the trees bursting into sudden life from the young earth, or growing, flourishing, and covering themselves with fruit, dependent, like animals, on heat and moisture for their increase, and glad like them:all these helping to illustrate with unequalled variety, movement, and picturesqueness the central idea which Lucretius carries always in his mind.
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FORE:Moulders generally rap patterns as much as they will stand, often more than they will stand; and in providing for draught it is necessary to take these customs into account. There is no use in making provision to save rapping unless the rapping is to be omitted.Cores are employed mainly for what may be termed the displacement of metal in moulds. There is no clear line of distinction between cores and moulds, as founding is now conducted; cores may be of green sand, and made to surround the exterior of a piece, as well as to make perforations or to form recesses within it. The term 'core,' in its technical sense, means dried moulds, as distinguished from green sand. Wheels or other castings are said to be cast in cores when the moulds are made in pieces and dried. Supporting and venting cores, and their expansion, are conditions to which especial attention [95] is called. When a core is surrounded with hot metal, it gives off, because of moisture and the burning of the 'wash,' a large amount of gas which must have free means of escape. In the arrangement of cores, therefore, attention must be had to some means of venting, which is generally attained by allowing them to project through the sides of the mould and communicate with the air outside.
