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than does 'SCANDAL,' especially when viewed in connection with the Greek scandalon, a stumbling-block, or indeed, primarily, a trap-spring, a snare? 'PRECOCIOUS' whose composition implies cooked before the time, as 'PREMATURE' means ripe before the tinte? or 'OBVIOUS' which is simply so apparent as to meet us-ob vias--in our very way, or 'INSINUATE,' which is just to steal-in sinus-into the breast? We all know the value of 'CANDOR,' but may it not heighten our admiration of the quality when we reflect that a 'candid' man is one whose walk and conversation are candidus-of a shining white: in whose communication is none of the darkness of deceit, but all is fair and lucid? 'DEXTERITY,' again, is sufficiently palpable in all its significations, and yet do we always catch the allusion which plays in the word to the dextra manus-the right hand: that is to say, a 'dextrous' person is one whose 'faculties' (that is, facilities the doing, the executive part of him) are as perfectly apt and under control as is the right hand of the crafty workman. 'SINISTER,' on the other hand, has relation not to the right or good-omened side, but to the left (sinistra) side of the auspex, where ill-omened birds appeared; and so, inauspicious, baleful, adverse. Again, how faithfully is 'PRECIPITANCY' symbolized by that heady haste, which so often causes both persons and projects to tumble head foremost-precipitatus! Just as vivid, however, is 'SEDATE' which implies no more of internal repose than can be expressed by a set or set-tled demeanor quite closely allied, indeed, to 'DEMURE' which, by the way, is a French quality, claiming descent from demeurer to stay, and so some peculiar 'STAIDNESS' (that is, stay-ed-ness) of disposition: although it is by no means as cynical as 'MOROSE' for the root of which we need perchance go no deeper than the Latin moror, to stay, to loiter.

What chambers of imagery do Words present! Could aught more picturesquely portray that utter indolence and abandon we express in 'SUPINE' than the lying on the back, with the face upwards-supinus? or, what could more pungently picture all the burden of significance that dwells in 'SUPPLIANCE' than a bending of the knee (supplex: and so literally a kneeling). 'TRACTABLE' is that may be led along. A 'FRACTIOUS' man is most evidently one who breaks loose from all restraint, who breaks into fits of passion, etc. An instance of an exceedingly appropriate employment of this word occurs in Struan Robertson's translation of Horace's famous description of Achilles

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which he renders into this very pithy and pungent vernacular:

"A fiery Etter-cap, a fractious chiel,

As het as ginger, and as stieve as steel!"

Words, too, often make their users instinctive physiognomists. We have seen the allusion 'SUPERCILIOUS' carries with it to the raising of the eyebrows. To the forehead, also, words point as a most expressive feature. Else why do we have such strong terms as 'BROW BEAT,' or 'FROWN' which seems to be con tracted from the old French verb frogner-to knit the brows? Here the most powerful mental struggles are mirrored, and I recollect Lessing remarks that the reason why the sculptors of the Laocoon did not surround the head with the fillets worn by the priests was to be enabled thus to develop that tremendous expression of agony they have imprinted on the immortal marble.

And more expressive symbols. 'WILD' is willed, will'd (or self-willed), in opposition to those, whether men or beasts, who are tamed or subdued, by reason or otherwise to the will of others or of societies *; 'SURD' in Algebra means a quantity deaf (surdus) to all attempts at reduction to a rational form; to 'REFLECT' images a back-casting of the thoughts; to 'PONDER' is literally to weigh, 'RUIN' finely images mighty downfall, 'punctilious' is the observance of every minute point-punctillum; and 'IMBECILE' is a forcible metaphor drawn from the old man unable to hobble along without the aid of his bacillum or staff!

* Horne Tooke: Diversions of Purley.

The law on which this idealism of Words rests has its roots deep in man's mental structure. For as material forms are the revelation of spiritual natures, so the vivid imagination is constantly bringing provocations to ampler translations of our everyday perceptions and experiences. From insight from a large perception ✓ of Analogy, from a longing and passionate heart comes the power of thus translating the presentings of nature into the expressive symbols of moral and metaphysical existences. To a sincere and tender nature words lend themselves plastic and willing to the formative laws of the word-forming faculties. Illustrations of the working of these laws run through our and every language. When we speak of a 'cordial' man or manner, is it not plain that we are simply ascribing to the man or manner the quality of being hearty (cor, cordis, the heart)? 'EGREGIOUS' too is lifted out of its special, definite meaning of the animal chosen-e grege-out of the flock, and idealized in a vigorous image to represent any property so remarkable as to remove it from the ordinary rule and mark it as unique and unapproachable. The Latin term prævaricator, which originally implied a straddler with distorted legs has given us our verb to 'PREVARICATE,' which we readily perceive has been abstracted to imply a mental or moral shuffling. In like manner when Prince Hal addresses Falstaff in the words "How now, my sweet creature of bombast," he is using the noun 'BOMBAST’ in its literal sense of soft padding used to swell garments: this primary acceptation, however, the word has now entirely lost, and we have transferred it to idealize a swelling, inflated style of talking, fustianvox et preterea nihil. I see I have used the word 'FUSTIAN' in illustration of 'bombast': it is curious that this term has undergone precisely the same curious metamorphosis.

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These changes in the meaning of Words this ebb and flow of significance is constantly going on in a live language: and it is no extravagance to say that the moral and mental vitality of people may be gauged in the quantity and quality of these transformations, For over these transformations the genius of the nation unconsciously presides, and the issues of ✓ Words represent issues in the national life and thought. This metaphor and metamorphosis of

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