a metaphor even, should we trace it back to
the Greek [Greek: sarkazo]--_to tear off the flesh_ ([Greek: sarx]),
_literally_, to 'flay.' 'Satire,' again, has an arbitrary-enough origin;
it is _satira_, from _satur_, _mixed_; and the application is as
follows: each species of poetry had, among the Romans, its own special
kind of versification; thus the hexameter was used in the epic, the
iambic in the drama, etc. Ennius, however, the earliest Latin
'satirist,' first disregarded these conventionalities, and introduced a
_medley_ (satira) of all kinds of metres. It afterward, however, lost
this idea of a _melange_, and acquired the notion of a poem 'directed
against the vices and failings of men with a view to their correction.'

Perhaps we owe to reviewing the metaphorical applications of such terms
as 'caustic,' 'mordant,' 'piquant,' etc., in their _burning_, _biting_,
and _pricking_ senses.

But 'review,' itself, we are to regard as pure metaphor. Our friend
'Snooks,' at least, found _that_ out; for, instead of _re_-viewing--_i.
e._, viewing again and again his book, they pronounced it to be
decidedly bad without any examination whatever. A 'critic' we all
recognize in his character of _judge_ or _umpire_; but is it that he
always possesses discrimination--has he always _insight_ (for these are
the primary ideas attaching themselves to [Greek: krino], whence [Greek:
kritikos] comes)--does he divide between the merely arbitrary and
incidental, and see into the absolute and eternal Art-Soul that vivifies
a poem or a picture? If so, then is he a critic indeed.

How perfectly do 'invidiousness' and 'envy'[6] express the _looking over
against_ (_in-video_)--the _askance gaze_--the natural development of
that painful mental state which poor humanity is so subject to! So with
'obstinacy' (_ob-sto_), which, by the way, the phrenologists represent,
literally enough, by an ass in a position which assuredly Webster had in
his mind when he wrote his definition of this word; thus: ... '_in a
fixedness in opinion or resolution that cannot be shaken at all, or
without great difficulty_.'

Speaking of this reminds us of those very capital 'Illustrations of
Phrenology,' by Cruikshank, with which we all are familiar, and where,
for example, '_veneration_ is exemplified by a stout old gentleman, with
an ample paunch, gazing with admiring eyes and uplifted hands on the fat
side of an ox fed by Mr. Heavyside, and exhibited at the stall