gradually furnish surprisingly clever modes of statement and allusion on
the dominant topic. When he first adopts a subject he necessarily falls
into mistakes, and it is interesting to watch his gradual progress into
fuller information and better nourished irony, without his ever needing
to admit that he has made a blunder or to appear conscious of
correction. Suppose, for example, he had incautiously founded some
ingenious remarks on a hasty reckoning that nine thirteens made a
hundred and two, and the insignificant Bantam, hitherto silent, seemed
to spoil the flow of ideas by stating that the product could not be
taken as less than a hundred and seventeen, Aquila would glide on in the
most graceful manner from a repetition of his previous remark to the
continuation--"All this is on the supposition that a hundred and two
were all that could be got out of nine thirteens; but as all the world
knows that nine thirteens will yield," &c.--proceeding straightway into
a new train of ingenious consequences, and causing Bantam to be regarded
by all present as one of those slow persons who take irony for
ignorance, and who would warn the weasel to keep awake. How should a
small-eyed, feebly crowing mortal like him be quicker in arithmetic than
the keen-faced forcible Aquila, in whom universal knowledge is easily
credible? Looked into closely, the conclusion from a man's profile,
voice, and fluency to his certainty in multiplication beyond the
twelves, seems to show a confused notion of the way in which very common
things are connected; but it is on such false correlations that men
found half their inferences about each other, and high places of trust
may sometimes be held on no better foundation.

It is a commonplace that words, writings, measures, and performances in
general, have qualities assigned them not by a direct judgment on the
performances themselves, but by a presumption of what they are likely to
be, considering who is the performer. We all notice in our neighbours