_ in making two words of it. Landor puts the question, "Is the Dean
ignorant that _everywhere_ is one word, and _where_ is no substantive?"
Trench asserts that _caprice_ is from _capra_, "a goat," whereupon his
critic says, "No,--then it would be capr_a_cious. It is from
_caper_--_capere_." _To retract_, writes Trench, means properly, as its
derivation declares, no more than to handle over again, to reconsider;
Landor declares that "it means more. _Retrahere_ is _to draw back_." But
he very vehemently approves of the Dean's remarks on the use of the word
_talents_. We should say "a man of talents," not "of talent," for that
is nonsense, though "of a talent" would be allowable.

"[Greek: Kosmos] is both 'world' and 'ornament,' hence 'cosmetic,'"
writes Landor in answer to a doubt expressed by Trench whether the
well-known quotation from St. James, "The tongue is a world of
iniquity," could not also be translated, as some maintain, "the
ornament of iniquity." Making use of the expression "redolent of scorn"
in connection with words that formerly expressed sacred functions and
offices, Landor adds: "Gray is highly poetical in his 'redolent of joy
and youth.' The word is now vilely misused daily." "By and bye," writes
the Dean. "Why write _bye_?" asks his commentator. Once or twice Landor
credits Horne Tooke with what the Dean gives as his own, and
occasionally scores an observation as old. "Why won't people say
_messager_?" he demands. "By what right is _messenger_ made out of
_message_?"

* * * * *

"Have you nothing else for the old man to read? have you nothing
American?" Landor inquired upon returning Trench. Desiring to obtain the
verdict of one so high in authority, I gave him Drake's "Culprit Fay,"
and some fugitive verses by M. C. Field, whose poems have never been
collected in book form. Of the latter's "Indian Hunting the Buffaloes,"
"Night on the Prairie," "Les Tres Marias," and others, known to but few
readers now, Landor spoke in high commendation, and this praise will be
welcome to those friends of "Phazma" still living, and still loving the
memory of him who died early, and found, as he wished, an ocean grave.
With "The Culprit Fay" came a scrap of paper on which was written: "The
Culprit Fay is rich in imagination,--few poems more so. Drake is among
the noblest of names, and this poem throws a fresh lustre on it."
Observing in this poem a misuse of the exclamation "Oh!" Land