This was written twenty years ago. Now, (1853,) when revising it, I am tempted to add three brief annotations:—
1st. It scandalizes me that, in the occasional comments upon this distinction which have reached my eye, no attention should have been paid to the profound suggestions as to the radix of what is meant by genius latent in the word genial. For instance, in an extract made by "The Leader," a distinguished literary journal, from a recent work entitled "Poetics," by Mr. Dallas, there is not the slightest notice taken of this subtile indication and leading towards the truth. Yet surely that is hardly philosophic. For could Mr. Dallas suppose that the idea involved in the word genial had no connection, or none but an accidental one, with the idea involved in the word genius? It is clear that from the Roman conception (whencesoever emanating) of the natal genius, as the secret and central representative of what is most characteristic and individual in the nature of every human being, are derived alike the notion of the genial and our modern notion of genius as contradistinguished from talent.
2d. As another broad character of distinction between genius and talent, I would observe, that genius differentiates a man from all other men; whereas talent is the same in one man as in another; that is, where it exists at all, it is the mere echo and reflex of the same talent, as seen in thousands of other men, differing only by more and less, but not at all in quality. In genius, on the contrary, no two men were ever duplicates of each other.
3d. All talent, in whatsoever class, reveals itself as an effort—as a counteraction to an opposing difficulty or hinderance; whereas genius universally moves in headlong sympathy and concurrence with spontaneous power. Talent works universally by intense resistance to an antagonist force; whereas genius works under a rapture of necessity and spontaneity.
[8] This word, I am well aware, grew out of the French word contre danse; indicating the regular contraposition of male and female partners in the first arrangement of the dancers. The word country dance was therefore originally a corruption; but, having once arisen and taken root in the language, it is far better to retain it in its colloquial form; better, I mean, on the general, principle concerned in such cases. For it is, in fact, by such corruptions, by offsets upon an old stock, arising through ignorance or mispronunciation originally, that every language is frequently enriched; and new modifications of thought, unfolding themselves in the progress of society, generate for themselves concurrently appropriate expressions. Many words in the Latin can be pointed out as having passed through this process. It must not be allowed to weigh against the validity of a word once fairly naturalized by use, that originally it crept in upon an abuse or a corruption. Prescription is as strong a ground of legitimation in a case of this nature as it is in law. And the old axiom is applicable—Fieri non debuit, factum valet. Were it otherwise, languages would be robbed of much of their wealth. And, universally, the class of purists, in matters of language, are liable to grievous suspicion, as almost constantly proceeding on half knowledge and on insufficient principles. For example, if I have read one, I have read twenty letters, addressed to newspapers, denouncing the name of a great quarter in London, Mary-le-bone, as ludicrously ungrammatical. The writers had learned (or were learning) French; and they had thus become aware, that neither the article nor the adjective was right. True, not right for the current age, but perfectly right for the age in which the name arose; but, for want of elder French, they did not know that in our Chaucer's time both were right. Le was then the article feminine as well as masculine, and bone was then the true form for the adjective.
[9] And therefore it was with strict propriety that Boyle, anxious to fix public attention upon some truths of hydrostatics, published them avowedly as paradoxes. According to the false popular notion of what it is that constitutes a paradox, Boyle should be taken to mean that these hydrostatic theorems were fallacies. But far from it. Boyle solicits attention to these propositions—not as seeming to be true and turning out false, but, reversely, as wearing an air of falsehood and turning out true.
[10] This Dr. Wilkins was related to marriage to Cromwell, and is better known to the world, perhaps, by his Essay on the possibility of a passage (or, as the famous author of the "Pursuits of Literature" said, by way of an episcopal metaphor, the possibility of a translation) to the moon.
[11] One omission occurs to me on reviewing this account of the Ziph, which is—that I should have directed the accent to be placed on the intercalated syllable: thus ship becomes shigip, with the emphasis on gip; run becomes rugún, &c.
[12] Written twenty years ago.
[13] But see the note on this point at the end of the volume.