Marvels of Pond-life by Henry J. Slack
Marvels of Pond-life by Henry J. Slack
Powers that are most serviceable-Estimated by focal length-Length of body of microscope and its effects-Popular errors about great magnification-Modes of stating magnified power-Use of an "Erector"-Power of various objectives with different eye-pieces-Examination of surface markings-Methods of illumination-Direct and oblique light-Stage aperture-Dark ground illumination-Mode of softening light-Microscope lamps-Care of the eyes.
HE microscope is rapidly becoming the companion of every intelligent family that can afford its purchase, and, thanks to the skill of our opticians, instruments which can be made to answer the majority of purposes may be purchased for three or four guineas, while even those whose price is counted in shillings are by no means to be despised. The most eminent English makers, Wales, and Tolles, in America, and Hartnack, in Paris, occupy the first rank, while the average productions of respectable houses exhibit so high a degree of excellence as to make comparisons invidious. We shall not, therefore, indulge in the praises of particular firms, but simply recommend any reader entering upon microscopic study to procure an achromatic instrument, if it can be afforded, and having at least two powers, one with a focus of an inch or two thirds of an inch, and the other of half or a quarter. Cheap microscopes have usually only one eye-piece, those of a better class have two, and the best are furnished with three, or even more.
The magnifying power of a compound microscope depends upon the focal length of the object-glass (or glass nearest the object), upon the length of the tube, and the power of the eye-piece. With regard to object-glasses, those of shortest focal length have the highest powers, and the longest eye-pieces have the lowest powers. The body of a microscope, or principal tube of which it is composed, is, in the best instruments, about nine inches long, and a draw tube, capable of being extended six inches more, is frequently useful. From simple optical principles, the longer the tube the higher the power obtained with the same object-glass; but only object-glasses of very perfect construction will bear the enlargement of their own imperfections, which results from the use of long tubes; and consequently for cheap instruments the opticians often limit the length of the tube, to suit the capacity of the object-glasses they can afford to give for the money. Such microscopes may be good enough for the generality of purposes, but they do not, with glasses of given focal length, afford the same magnifying power as is done by instruments of better construction. The best and most expensive glasses will not only bear long tubes, but also eye-pieces of high power, without any practical diminution of the accuracy of their operation, and this is a great convenience in natural history investigations. To obtain it, however, requires such perfection of workmanship as to be incompatible with cheapness. An experienced operator will not be satisfied without having an object-glass at least as high as a quarter, that will bear a deep eye-piece, but beginners are seldom successful with a higher power than one of half-inch focus, or thereabouts, and before trying this, they should familiarise themselves with the use of one with an inch focus.
It is a popular error to suppose that enormous magnification is always an advantage, and that a microscope is valuable because it makes a flea look as big as a cat or a camel. The writer has often smiled at the exclamations of casual visitors, who have been pleased with his microscopic efforts to entertain them. "Dear me, what a wonderful instrument; it must be immensely powerful;" and so forth. These ejaculations have often followed the use of a low power, and their authors have been astonished at receiving the explanation that the best microscope is that which will show the most with the least magnification, and that accuracy of definition, not mere increase of bulk, is the great thing needful.
Scientific men always compute the apparent enlargement of the object by one dimension only. Thus, supposing an object one hundredth of an inch square were magnified so as to appear one inch square, it would, in scientific parlance, be magnified to "one hundred diameters," or one hundred linear; and the figures 100 would be appended to any drawing which might be made from it. It is, however, obvious that the length is magnified as well as the breadth; and hence the magnification of the whole surface, in the instance specified, would be one hundred times one hundred, or ten thousand: and this is the way in which magnification is popularly stated. A few moments' consideration will show that the scientific method is that which most readily affords information. Any one can instantly comprehend the fact of an object being made to look ten times its real length; but if told that it is magnified a hundred times, he does not know what this really means, until he has gone through the process of finding the square root of a hundred, and learnt that a hundredfold magnification means a tenfold magnification of each superficial dimension. If told, for example, that a hair is magnified six hundred diameters, the knowledge is at once conveyed that it looks six hundred times as broad as it is; but a statement that the same hair is magnified three hundred and sixty thousand times, only excites a gasping sensation of wonder, until it is ascertained by calculation that the big figures only mean what the little figures express. In these pages the scientific plan will always be followed.
If expense is not an object, a binocular instrument should be purchased, and it is well to be provided with an object-glass as low as three or even four inches focus, which will allow the whole of objects having the diameter of half an inch or more to be seen at once. Such a low power is exceedingly well adapted for the examination of living insects, or of the exquisite preparations of entire insects, which can now be had of all opticians. Microscopes which have a draw tube can be furnished with an erector, an instrument so called because it erects the images, which the microscope has turned upside down, through the crossing of the rays. This is very convenient for making dissections under the instrument; and it also gives us the means of reducing the magnifying power of an object-glass, and thus obtaining a larger field. The erector is affixed to the end of the draw tube, and by pulling it out, or thrusting it in, the rays from the object-glass are intercepted at different distances, and various degrees of power obtained.
A binocular microscope is most useful with low powers from two thirds upwards. A new form, devised by Mr. Stephenson, acts as an erector, and is very valuable for dissections. It works with high powers.
Beginners will be glad to know how to obtain the magnifying power which different objects require, and it may be stated that, with a full-sized microscope, a two-inch object-glass magnifies about twenty-five diameters with the lowest eye-piece; a one-inch object-glass, or two thirds, from fifty to sixty diameters; a half-inch about one hundred; a quarter-inch about two hundred. The use of deeper eye-pieces adds very considerably to the power, but in proportions which differ with different makers. One instrument used by the writer has three eye-pieces, giving with a two thirds object-glass powers of sixty one hundred and five, and one hundred and eighty respectively; and with a fifth two hundred and forty, four hundred and thirty, and seven hundred and twenty, which can be augmented by the use of a draw tube.
It has been well observed that the illumination of objects is quite as important as the glasses that are employed, and the most experienced microscopists have never done learning in this matter. Most microscopes are furnished with two mirrors beneath the stage, one plane and one concave. The first will throw a few parallel rays through any transparent object properly placed, and the latter causes a number of rays to converge, producing a more powerful effect. The first is usually used in daylight, when the instrument is near a window (one with a north aspect, out of direct sunlight, being the best); and the second is often useful when the source of illumination is a candle or a lamp. By varying the angle of the mirror the light is thrown through the object more or less obliquely, and its quantity should never be sufficient to pain the eye. Few objects are seen to the best advantage with a large pencil of perfectly direct light, and the beginner should practise till the amount of inclination is obtained which produces the best effect.
It is advisable that the hole in the stage of the microscope should be large-at least an inch and a half each way-so that the entrance of oblique rays is not obstructed, and it is desirable that the mirror, in addition to sliding up and down, should have an arm by which it can be thrown completely out of the perpendicular plane of the body of the instrument. This enables such oblique rays to be employed as to give a dark field, all the light which reaches the eye being refracted by the object through which it is sent. The opticians sell special pieces of apparatus for this purpose, but though they are very useful, they do not render it less desirable to have the mirror mounted as described.
Most microscopes are furnished with a revolving diaphragm, with three holes, of different sizes, to diminish the quantity of light that is admitted to the object. This instrument is of some use, and offers a ready means of obtaining a very soft agreeable light for transparent objects, viewed with low powers. For this purpose cut a circular disk of India or tissue paper, rather larger than the biggest aperture; scrape a few little pieces of spermaceti, and place them upon it, then put the whole on a piece of writing-paper, and hold it a few inches above the flame of a candle, moving it gently. If this is dexterously done, the spermaceti will be melted without singeing the paper, and when it is cold the disk will be found transparent. Place it over the hole in the diaphragm, send the light through it, and the result will be a very soft agreeable effect, well suited for many purposes, such as viewing sections of wood, insects mounted whole, after being rendered transparent, many small water creatures, etc. Another mode of accomplishing this purpose is to place a similarly prepared disk of paper on the flat side of a bull's-eye lens, and transmit the light of a lamp through it. This plan may be used with higher powers, and the white opaque light it gives may be directed at any angle by means of the mirror beneath the stage.
An ordinary lamp may be made to answer for microscopic use, but one of the small paraffine lamps now sold everywhere for eighteen-pence is singularly convenient. It is high enough for many purposes, and can easily be raised by one or more blocks. A paraffine lamp on a sliding stand is still more handy, and all the better for a hole with a glass stopper, through which the fluid can be poured.
Many people fancy that the eyes are injured by continual use of the microscope, but this is far from being the case if reasonable precautions are taken. The instrument should be inclined at a proper angle, all excess of light avoided, and the object brought into focus before it is steadily looked at. Most people solemnly shut one eye before commencing a microscopic examination; this is a practical and physiological mistake. Nature meant both eyes to be open, and usually resents a prolonged violation of her intentions in this matter. It requires but a little practice to keep both eyes open, and only pay attention to what is seen by that devoted to the microscope. The acquisition of this habit is facilitated, and other advantages gained, by a screen to keep out extraneous light. For this purpose take a piece of thin cardboard about nine inches square, and cut a round hole in it, just big enough to admit the tube of the microscope, about two inches from the bottom, and equidistant from the two sides. Next cut off the two upper corners of the cardboard, and give them a pleasant-looking curve. Then cover the cardboard with black velvet, the commonest, which is not glossy, answers best, and your screen is made. Put the hole over the tube of the microscope, and let the screen rest on the little ledge or rim which forms an ornamental finish to most instruments. A piece of cork may be gummed at the back of the screen, so as to tilt it a little, and diminish its chance of coming into contact with that important organ the nose. This little contrivance adds to the clearness and brilliancy of objects, and is a great accommodation to the eyes.
One more oculistic memorandum, and we have done with this chapter. Do not stare at portions of objects that are out of focus, and consequently indistinct, as this injures the eyes more than anything. Remember the proverb, "None so deaf as those that won't hear," which naturally suggests for a companion, "None so blind as those that won't see." It is often impossible to get every object in the field in focus at one time;-look only at that which is in focus, and be blind to all the rest. This is a habit easily acquired, and is one for which our natural microscopes are exceedingly grateful; and every judicious observer desires to keep on the best terms with his eyes.
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Lyric had spent her life being hated. Bullied for her scarred face and hated by everyone-including her own mate-she was always told she was ugly. Her mate only kept her around to gain territory, and the moment he got what he wanted, he rejected her, leaving her broken and alone. Then, she met him. The first man to call her beautiful. The first man to show her what it felt like to be loved. It was only one night, but it changed everything. For Lyric, he was a saint, a savior. For him, she was the only woman that had ever made him cum in bed-a problem he had been battling for years. Lyric thought her life would finally be different, but like everyone else in her life, he lied. And when she found out who he really was, she realized he wasn't just dangerous-he was the kind of man you don't escape from. Lyric wanted to run. She wanted freedom. But she desired to navigate her way and take back her respect, to rise above the ashes. Eventually, she was forced into a dark world she didn't wish to get involved with.
On the day of their wedding anniversary, Joshua's mistress drugged Alicia, and she ended up in a stranger's bed. In one night, Alicia lost her innocence, while Joshua's mistress carried his child in her womb. Heartbroken and humiliated, Alicia demanded a divorce, but Joshua saw it as yet another tantrum. When they finally parted ways, she went on to become a renowned artist, sought out and admired by everyone. Consumed by regret, Joshua darkened her doorstep in hopes of reconciliation, only to find her in the arms of a powerful tycoon. "Say hello to your sister-in-law."
After two years of a loveless marriage, Maria Lewis was handed a cold divorce agreement. But she didn't leave quietly. She gave James Bennett one last drink, seduced him for a final night, and disappeared-secretly pregnant with his child. Five years later, Maria returns as a powerful member of a secret organization, with two adorable kids and an identity he never saw coming. She's no longer the woman who once begged for his love. She's confident, untouchable, and completely out of his league. Now, the man who once looked down on her clings to her, desperate to win her back. But Maria has her own plans: protect her children, crush her enemies, and make James regret every choice he made. She left with nothing, but returned with power, babies, and no mercy.
"You need a bride, I need a groom. Why don't we get married?" Both abandoned at the altar, Elyse decided to tie the knot with the disabled stranger from the venue next door. Pitying his state, she vowed to spoil him once they were married. Little did she know that he was actually a powerful tycoon. Jayden thought Elyse only married him for his money, and planned to divorce her when she was no longer of use to him. But after becoming her husband, he was faced with a new dilemma. "She keeps asking for a divorce, but I don't want that! What should I do?"
Cast off to a remote village at birth, Lilah was exiled while the woman who destroyed her mother stepped into her father's life. Her half-sister tried to claim her inheritance and title. Eighteen years later, Lilah returned. The town watched, hoping to see her fail. But Lilah stunned them-she was breathtaking and talented. A master in medicine, painting, racing, music, and design, she tore down every lie. Her father and stepmother faced ruin, and her foolish brother finally met his downfall. The once-mocking crowd trembled, especially with Cayden, her gifted, powerful partner, at her side. "Anyone who crosses my wife has to answer to me!"
Sophie stepped in for her sister and married a man known for his disfigured looks and reckless past. On their wedding day, his family turned their backs on him, and the town laughed behind their hands, certain the marriage would collapse. But Sophie's career soared, and their love only deepened. Later, during a high-profile event, the CEO of some conglomerate took off his mask, revealing Sophie's husband to be a global sensation. *** Adrian had no interest in his arranged wife and had disguised himself in hopes she would bail. But when Sophie tried to walk away, Adrian broke down and whispered, "Please, Sophie, don't go. One kiss, and I'll give you the world."
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