t first let
me remark that there is such a legitimate word as _Orpheutaceam_: and in
that case the Latin repartee of Lamia would stand thus--_Suavem dixisti?
Quam vellem et Orpheutaceam_. But, perhaps, reader, you fail to
recognise in this form our old friend _Heu taceo_. But here he is to a
certainty, in spite of the rat: and in a different form of letters the
compositor will show him, up to you as--_vellem et Orp_. [HEU TACEAM].
Possibly, being in good humour, you will be disposed to wink at the
seemingly surreptitious AM, though believing the real word to be
_taceo_. Let me say, therefore, that one reading, I believe, gives
_taceam_. Here, then, shines out at once--(1) Eurydice the lovely wife;
(2) detained by the gloomy tyrant Pluto; (3) who, however, is forced
into surrendering her to her husband, whose voice (the sweetest ever
known) drew stocks and stones to follow him, and finally his wife; (4)
the word Orpheutic involves an alarming threat, showing that the hope of
recovering the lady still survived; (5) we have involved in the
restoration all the eight, or perhaps nine, letters of the erroneous
form.

[9] In _All's Well that Ends Well_.

HOW TO WRITE ENGLISH.[10]

Among world-wide objects of speculation, objects rising to the dignity
of a mundane or cosmopolitish value, which challenge at this time more
than ever a growing intellectual interest, is the English language. Why
particularly at this time? Simply, because the interest in that language
rests upon two separate foundations: there are two separate principles
concerned in its pretensions; and by accident in part, but in part also
through the silent and inevitable march of human progress, there has
been steadily gathering for many years an interest of something like
sceptical and hostile curiosity about each of these principles,
considered as problems open to variable solutions, as problems already
viewed from different national centres, and as problems also that press
forward to some solution or other with more and more of a clamorous
emphasis, in proportion as they tend to consequences no longer merely
speculative and scholastic, but which more and more reveal features
largely practical and political. The two principles upon which the
English language rests the burden of its paramount interest, are
these:--first, its powers, the range of its endowments; secondly, its
apparent destiny. Some subtle judges in this field of criticism are of
opin