44. +Latin Triplets.+-- Still more remarkable is the fact that there are in our language words that have made three appearances-- one through Latin, one through Norman-French, and one through ordinary French. These seem to live quietly side by side in the language; and no one asks by what claim they are here. They are useful: that is enough. These triplets are-- +regal+, +royal+, and +real+; +legal+, +loyal+, and +leal+; +fidelity+, +faithfulness+,[8] and +fealty+. The adjective real we no longer possess in the sense of _royal_, but Chaucer uses it; and it still exists in the noun +real-m+. +Leal+ is most used in Scotland, where it has a settled abode in the well-known phrase “the land o’ the leal.” [Footnote 8: The word _faith_ is a true French word with an English ending-- the ending +th+. Hence it is a hybrid. The old French word was _fei_-- from the Latin _fidem_; and the ending +th+ was added to make it look more like _truth_, _wealth_, _health_, and other purely English words.] 45. +Greek Doublets.+-- The same double introduction, which we noticed in the case of Latin words, takes place in regard to Greek words. It seems to have been forgotten that our English forms of them had been already given us by St Augustine and the Church, and a newer form of each was reintroduced. The following are a few examples:-- GREEK. OLDER FORM. LATER FORM. Adamanta[9] (the untameable) Diamond Adamant. Balsamon Balm Balsam. Blasphēmein (to speak ill of) Blame Blaspheme. Cheirourgon[9] Chirurgeon Surgeon. (a worker with the hand) Dactŭlon (a finger) Date (the fruit) Dactyl. Phantasia Fancy Phantasy. Phantasma (an appearance) Phantom Phantasm. Presbuteron (an elder) Priest Presbyter. Paralysis Palsy Paralysis. Scandălon Slander Scandal. [Footnote 9: The accusative or objective case is given in all these words.] It may be remarked of the word _fancy_, that, in Shakespeare’s time, it meant _love_ or _imagination_-- “Tell me, where is _fancy_ bred, Or in the heart, or in the head?” It is now restricted to mean a lighter and less serious kind of imagination. Thus we say that Milton’s ‘Paradise Lost’ is a work of imagination; but that Moore’s ‘Lalla Rookh’ is a product of the poet’s fancy.