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But having no one to help me, I go on hammering till I have fairly knocked off as much as I want, and then I place the piece in the fire, and again apply the bellows, and take up the song where I left it off; and when I have finished the song, I take out the iron, but this time with my plaistra, or pincers, and then I recommence hammering, turning the iron round and round with my pincers: and now I bend the iron, and lo, and behold, it has assumed something the outline of a petul.
Behold, I place it once more on the covantza, and recommence hammering; and now I am somewhat at fault; I am in want of assistance; I want you, brother, or some one else, to take the bar out of my hand and support it upon the covantza, whilst I, applying a chinomescro, or kind of chisel, to the heated iron, cut off with a lusty stroke or two of the shukara baro, or big hammer, as much as is required for the petul.
I tell you what, my gry, whilst you continue with me, you shall both be better shod and better fed than you were with your last master.’ I am in the dingle making a petul; and I must here observe that whilst I am making a horse-shoe the reader need not be surprised if I speak occasionally in the language of the lord of the horse-shoe—Mr. Petulengro.
After having first well pared the hoofs with my churi, I applied each petul hot, glowing hot, to the pindro. Oh, how the hoofs hissed! and, oh, the pleasant pungent odour which diffused itself through the dingle!—an odour good for an ailing spirit.
At the end of four days, during which I had fashioned and refashioned the thing at least fifty times, I had made a petul such as no master of the craft need have been ashamed of; with the second shoe I had less difficulty, and, by the time I had made the fourth, I would have scorned to take off my hat to the best smith in Cheshire. But I had not yet shod my little gry: this I proceeded now to do.
But having no one to help me, I go on hammering till I have fairly knocked off as much as I want, and then I place the piece in the fire, and again apply the bellows, and take up the song where I left it off; and when I have finished the song, I take out the iron, but this time with my plaistra, or pincers, and then I recommence hammering, turning the iron round and round with my pincers; and now I bend the iron and, lo and behold! it has assumed something of the outline of a petul.
'I will here ply the trade of kaulomescro, said I. Highly poetical Volundr Grecian mythology Making a petul Tongues of flame Hammering Spite of dukkerin Heaviness. It has always struck me that there is something highly poetical about a forge.
Behold, I place it once more on the covantza, and recommence hammering; and now I am somewhat at fault; I am in want of assistance; I want you, brother, or some one else, to take the bar out of my hand and support it upon the covantza, whilst I, applying a chinomescro, or kind of chisel, to the heated iron, cut off with a lusty stroke or two of the shukaro baro, or big hammer, as much as is required for the petul.
But having no one to help me, I go on hammering till I have fairly knocked off as much as I want, and then I place the piece in the fire, and again apply the bellows, and take up the song where I left it off; and when I have finished the song, I take out the iron, but this time with my plaistra, or pincers, and then I recommence hammering, turning the iron round and round with my pincers: and now I bend the iron and, lo and behold! it has assumed something of the outline of a petul.
After having first well pared the hoofs with my churi, I applied each petul hot, glowing hot to the pindro. Oh, how the hoofs hissed; and, oh, the pleasant, pungent odour which diffused itself through the dingle, an odour good for an ailing spirit.
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