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. I am not singular in this opinion: various individuals have assured me that they can never pass by one, even in the midst of a crowded town, without experiencing sensations which they can scarcely define, but which are highly pleasurable. I have a decided penchant for forges, especially rural ones, placed in some quaint quiet spot—a dingle, for example, which is a poetical place, or at a meeting of four roads, which is still more so; for how many a superstition—and superstition is the soul of poetry—is connected with these cross roads! I love to light upon such a one, especially after nightfall, as everything about a forge tells to most advantage at night; the hammer sounds more solemnly in the stillness; the glowing particles scattered by the strokes sparkle with more effect in the darkness, whilst the sooty visage of the sastramescro, half in shadow, and half illumined by the red and partial blaze of the forge, looks more mysterious and strange. On such occasions I draw in my horse’s rein, and, seated in the saddle, endeavour to associate with the picture before me—in itself a picture of romance—whatever of the wild and wonderful I have read of in books, or have seen with my own eyes in connection with forges.

I believe the life of any blacksmith, especially a rural one, would afford materials for a highly poetical history. I do not speak unadvisedly, having the honour to be free of the forge, and therefore fully competent to give an opinion as to what might be made out of the forge by some dextrous hand. Certainly, the strangest and most entertaining life ever written is that of a blacksmith of the olden north, a certain Volundr, or Velint, who lived in woods and thickets, made keen swords, so keen, indeed, that if placed in a running stream, they would fairly divide an object, however slight, which was borne against them by the water, and who eventually married a king’s daughter, by whom he had a son, who was as bold a knight as his father was a cunning blacksmith. I never see a forge at night, when seated on the back of my horse at the bottom of a dark lane, but I somehow or other associate it with the exploits of this extraordinary fellow, with many other extraordinary things, amongst which, as I have hinted before, are particular passages of my own life, one or two of which I shall perhaps relate to the reader.

I never associate Vulcan and his Cyclops with the idea of a forge. These gentry would be the very last people in the world to flit across my mind whilst gazing at the forge from the bottom of the dark lane. The truth is, they are highly unpoetical fellows, as well they may be, connected as they are with the Grecian mythology. At the very mention of their names the forge burns dull and dim, as if snow-balls had been suddenly flung into it; the only remedy is to ply the bellows, an operation which I now hasten to perform.

I am in the dingle making a horse-shoe. Having no other horses on whose hoofs I could exercise my art, I made my first essay on those of my own horse, if that could be called horse which horse was none, being only a pony. Perhaps if I had sought all England, I should scarcely have found an animal more in need of the kind offices of the smith. On three of his feet there were no shoes at all, and on the fourth only a remnant of one, on which account his hoofs were sadly broken and lacerated by his late journeys over the hard and flinty roads. “You belonged to a tinker before,” said I, addressing the animal, “but now you belong to a smith. It is said that the household of the shoemaker invariably go worse shod than that of any other craft. That may be the case of those who make shoes of leather, but it shan’t be said of the household of him who makes shoes of iron; at any rate, it shan’t be said of mine. 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. I have for some time past been plying the peshota, or bellows, endeavouring to raise up the yag, or fire, in my primitive forge. The angar, or coals, are now burning fiercely, casting forth sparks and long vagescoe chipes, or tongues of flame; a small bar of sastra, or iron, is lying in the fire, to the length of ten or twelve inches, and so far it is hot, very hot, exceedingly hot, brother. And now you see me prala, snatch the bar of iron, and place the heated end of it upon the covantza, or anvil, and forthwith I commence cooring the sastra as hard as if I had been just engaged by a master at the rate of dui caulor, or two shillings a day, brother; and when I have beaten the iron till it is nearly cool, and my arm tired, I place it again in the angar, and begin again to rouse the fire with the pudamengro, which signifies the blowing thing, and is another and more common word for bellows, and whilst thus employed I sing a gypsy song, the sound of which is wonderfully in unison with the hoarse moaning of the pudamengro, and ere the song is finished, the iron is again hot and malleable. 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.

I am not going to enter into farther details with respect to the process—it was rather a wearisome one. I had to contend with various disadvantages; my forge was a rude one, my tools might have been better; I was in want of one or two highly necessary implements, but, above all, manual dexterity. Though free of the forge, I had not practised the albeytarian art for very many years, never since—but stay, it is not my intention to tell the reader, at least in this place, how and when I became a blacksmith. There was one thing, however, which stood me in good stead in my labour, the same thing which through life has ever been of incalculable utility to me, and has not unfrequently supplied the place of friends, money, and many other things of almost equal importance—iron perseverance, without which all the advantages of time and circumstance are of very little avail in any undertaking. I was determined to make a horse-shoe, and a good one, in spite of every obstacle—ay, in spite of dukkerin. 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. 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.

I shod the little horse bravely—merely pricked him once, slightly, with a cafi, for doing which, I remember, he kicked me down; I was not disconcerted, however, but, getting up, promised to be more cautious in future; and having finished the operation, I filed the hoof well with the rin baro; then dismissed him to graze amongst the trees, and, putting my smaller tools into the muchtar, I sat down on my stone, and, supporting my arm upon my knee, leaned my head upon my hand. Heaviness had come over me.