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Applied Water Science Volume 2
Remediation Technologies
Edited by
Inamuddin
Mohd Imran Ahamed
Rajender Boddula
and
Tauseef Ahmad Rangreez
This edition first published 2021 by John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, USA
and Scrivener Publishing LLC, 100 Cummings Center, Suite 541J, Beverly, MA 01915, USA
© 2021 Scrivener Publishing LLC
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ISBN 978-1-119-72473-5
Set in size of 11pt and Minion Pro by Manila Typesetting Company, Makati, Philippines
10 9 8 7 6 5 4 3 2 1
Contents
Preface xvii
1 Insights of the Removal of Antibiotics From Water and Wastewater:
A Review on Physical, Chemical, and Biological Techniques 1
Ali Khadir, Amin M. Ramezanali, Shabnam Taghipour
and Khadijeh Jafari
1.1 Introduction 2
1.2 Antibiotic Removal Methods 4
1.2.1 Aerobic Biological Treatment 4
1.2.2 Anaerobic Biological Treatment 8
1.2.3 Adsorption Processes 12
1.2.3.1 Activated Carbon and its Composites 12
1.2.3.2 Magnetic Nanomaterials/Adsorbents 15
1.2.4 Advanced Oxidation Processes 18
1.2.4.1 Fenton Type Processes 19
1.2.4.2 Peroxone 24
1.2.4.3 Photocatalytic Degradation 27
1.2.5 Electrocoagulation 30
1.3 Conclusion 32
References 33
2 Adsorption on Alternative Low-Cost Materials-Derived
Adsorbents in Water Treatment 49
Wojciech Stawiński and Katarzyna Wal
2.1 Introduction 50
2.2 Water Treatment 50
2.3 Adsorption 51
2.4 Application of Low-Cost Waste-Based Adsorbents
in Water Treatment 51
2.4.1 Bark 52
2.4.1.1 Eucalyptus 52
v
vi Contents
2.4.1.2 Pine 52
2.4.1.3 Other 55
2.4.2 Coffee 55
2.4.3 Feather 58
2.4.4 Husks or Hulls 60
2.4.4.1 Peanut 62
2.4.4.2 Rice 62
2.4.4.3 Other 63
2.4.5 Leaves 63
2.4.6 Peels 65
2.4.6.1 Banana 65
2.4.6.2 Citruses 67
2.4.6.3 Garlic 69
2.4.6.4 Litchi 70
2.4.6.5 Other 71
2.4.7 Rinds 71
2.4.8 Seeds 75
2.4.9 Stones or Pits 78
2.4.9.1 Date 78
2.4.9.2 Olive 81
2.4.9.3 Other 81
2.4.10 Tea 82
2.5 Disadvantages 84
2.6 Conclusions 86
References 86
3 Mathematical Modeling of Reactor for Water Remediation 107
Hamidreza Bagheri, Ali Mohebbi, Maryam Mirzaie
and Vahab Ghalandari
3.1 Introduction 108
3.2 Water Remediation 109
3.2.1 Water Remediation Techniques 110
3.3 Reactor Modeling 112
3.3.1 Modeling of Multi-Phase Flows 118
3.3.2 Governing Equations for Multiphase Models 124
3.3.2.1 Photocatalytic Reactors 128
3.3.2.2 Bubble Column 132
3.3.2.3 Fluidized Bed Reactors 137
3.3.2.4 Adsorption Column 142
3.3.2.5 Air Sparging Technology 143
3.3.2.6 Electrochemical Reactors 146
Contents vii
The high rate of industrialization around the world has led to an increase
in the rate of anthropogenic activities which involves the release of differ-
ent types of contaminants into the aquatic environment generating high
environmental risks, which could affect health and socio-economic activ-
ities if not treated properly. There is no doubt that the rapid progress in
improving the water quality and management has been motivated by the
latest developments in green chemistry. Over the past decade, sources of
water pollutants and the conventional methods used for the treatment of
industrial wastewater treatment has flourished. Water quality and its ade-
quate availability have been a matter of concern worldwide particularly in
developing countries. According to a World Health Organization (WHO)
report, more than 80% of diseases are owing to the consumption of con-
taminated water. Heavy metals are highly toxic that are a potential threat
for water, soil, and air, their consumption in higher concentrations pro-
vided hazardous outcomes. The water quality is usually measured keep-
ing in mind chemical, physical, biological, and radiological standards.
The discharge of the effluent by industries contains heavy metals, hazard-
ous chemicals, and a high amount of organic and inorganic impurities
those can contaminate the water environment, and hence, human health.
Therefore, it is our primary responsibility to maintain the water quality in
our respective countries.
This book provides understanding, occurrence, identification, toxic
effects and control of water pollutants in aquatic environment using
green chemistry protocols. It focuses on water remediation properties
and processes including industry-scale water remediation technologies.
This book covers recent literature on remediation technologies in pre-
venting water contamination and its treatment. Chapters in this book dis-
cuss remediation of emerging pollutants using nanomaterials, polymers,
advanced oxidation processes, membranes, and microalgae bioremedia-
tion, etc. It also includes photochemical, electrochemical, piezoacoustic,
and ultrasound techniques. It is a unique reference guide for graduate
xvii
xviii Preface
Abstract
Pharmaceuticals, particularly antibiotics, are rightly regarded as one of the major
emerging contaminants of the environment and there is increasing concern over
their continuous presence in the aqueous solutions. Extensive research has shown
that these compounds have been detected in fresh water of many countries. In
this chapter, a brief introduction on pharmaceuticals and antibiotic pollution and
also different common methods for antibiotic abatement in aqueous solutions
has been studied. The performance of technologies such as membrane bioreac-
tors, aerobic granular sludge, activated carbons, magnetic nanoparticles, Fenton
processes, Peroxone, photocatalytic degradation, and electrocoagulation has also
been discussed. Each method has its own advantages and disadvantages in which
at present no sole system might be the best one.
Keywords: Pharmaceuticals, antibiotic, treatment, pollution, water, wastewater
Inamuddin, Mohd Imran Ahamed, Rajender Boddula, and Tauseef Ahmad Rangreez (eds.) Applied
Water Science Volume 2: Remediation Technologies, (1–48) © 2021 Scrivener Publishing LLC
1
2 Applied Water Science Volume 2
1.1 Introduction
Drugs and their related compounds have been initially utilized to treat liv-
ing creatures and since their discovery they have rescued lives of many
people and animals. In fact, living without drugs seems to be impossible,
particularly under present situation that humans are dealing with wide
range of contaminants during their daily life. However, rapid population
growth, continuous agricultural and industrial development, and estab-
lishment of countless pharmaceutical companies have made drugs as
a hazardous health components for ecosystem [1,2]. Briefly, these com-
pounds are persistent, recalcitrant, and toxic and many organisms are not
able to metabolize and adsorb such compounds [1]. Effluent and wastes
by pharmaceutical manufacturing companies, municipal wastewaters,
and human/animal excretion are of the main pathways of pharmaceuti-
cal compounds entrance the environment [3,4]. Approximately 50–80,
80–90, and 15–30% of ciprofloxacin, tetracycline and sulfamethoxazole are
excreted through urine and feces, respectively [5,6]. Unfortunately, present
wastewater treatment plants could not remove pharmaceutical completely
because of the lack of facilities and technologies. It must be considered
that wastewater treatment plants act an integral role for pollution release
unless they have proper treatment technique [7,8]. Fernández-López et al.
[9] investigated the removal of four pharmaceuticals in different five treat-
ment plants (Figure 1.1), and they reported that they have detected the
target pollutants in the both influent and effluent of the treatment plants.
Carbamazepine and naproxen were the most abundant compounds. Palli
et al. [10] also found that pharmaceuticals were detected in the influent
of wastewater treatment plants of Tuscany (Italy) in which acetamino-
phen (3,914 ± 2,620 ng/L), diclofenac (2,065 ± 739 ng/L) and amoxicillin
(2,002 ± 2,170 ng/L) were the most concentrated followed by atenolol,
ketoprofen, clarithromycin, carbamazepine, doxycycline and 17-β-estra-
diol. Their finding declared that some components had been removed
well, but some of the others have exhibited partly elimination. Bagnis
et al. [11] observations showed that wastewater, landfill leachate and agri-
culture were the sources of the presence of pharmaceuticals in Nairobi
river. Considering these results, pharmaceuticals are generally detected in
the effluent of conventional wastewater treatment plants, and to prevent
the pollution spread, a full recognition of these system along with other
advanced ones are vitally important.
Generally, pharmaceuticals are categorized into different classes including
analgesics, antibiotics, psychiatric drugs, anti-hypertensives, beta-blockers,
Antibiotic Abatement in Aqueous Solutions 3
Secondary Coagulation-
Activated Sludge sedimentation tank Lamination Floculation Sand Filters Utraviolet
Double Stege
System 1
(CAS-DS+L+C-
F+SF+UV)
Conventional Secondary
sedimentation tank Chlorination
Activated Sludge
System 2
(CAS-CI)
System 4
(EAAS+C-
Chlorination F+SF+UV)
System 5
(EAAS+C-
F+SF+UV+CI)
Figure 1.1 The schematic system of various treatment systems. Reprinted and reproduced
with permission from Ref. [9].
Membrane
Membrane
Digester Pump
Waste sludge
Blower
Waste sludge
(a) (b)
Figure 1.2 Two configurations of MBRs. Reproduced with permission from Ref. [31].
benefits of MBRs over activated sludge processes are their less required
space for operation and also their ability to eliminate distinctive compo-
sitions of wastewaters [23]. Bentmen et al. [24] proved that MBR effluent
has better quality than single activated sludge process and the mean BOD,
COD, and turbidity removal was greater than 90% [25]. Sahar et al. (2011)
found that MBRs could result in about 15–42% higher removal efficiency
in comparison to conventional activated sludge [9]. In the drug produc-
tion centers using MBR technology for the treatment of their wastewater,
high removal of COD and BOD has been reported [23]. For example, with
a capacity of 1 m3/day for MBR operated at a pharmaceutical center in
Taiwan, 95% COD and 99% BOD were eliminated. The initial values of
COD and BOD were 800–11,800 and 100–6,350 mg/L, respectively [26].
Song et al. [27] successfully used biofilm MBRs for simultaneous removal
of COD, nitrogen and veterinary antibiotics from digested piggery waste-
water. The initial concentration of COD and total nitrogen (TN) was 1,101
± 185 and 1,492 ± 132 mg/L, respectively. They found that COD/TN ratio
played an important role that could highly affect the quality of effluent.
Under optimum ratio of COD/TN (2.3 ± 0.5), 92.1 and 97.1% of COD and
NH+4 -N were removed, respectively. Also, the effect of hydraulic reten-
tion time (HRT) on the removal of 30.41 µg/L antibiotic was studied and
observed that by decreasing HRT from 5 to 1 d, the removal efficiency
reduced from 86.8 to 45.3%, respectively. However, Prasertkulsak et al.
[28] observed complete removal of ibuprofen, 17β-Estradiol and triclosan
at days 42 and 76.
6 Applied Water Science Volume 2
Table 1.1 Comparison of aerobic granular sludge and conventional activated sludge.
Parameters Aerobic granular sludge Activated sludge
Settling velocity 10–90 m/h 2–10 m/h
Size 0.2–5 mm <0.2 mm
Degree of compactness High Low
and density
Shape Regular and spherical Irregular and
Filamentous
Layers Aerobic, anoxic and Aerobic
Anaerobic
Tolerability High Low
EPS production High Low
Wastewater re-circulation
(a)
Anaerobic Anoxic Aerobic
Clarif ier
Ef f luent
(b)
Figure 1.3 Schematic diagram of (a) conventional activated sludge and (b) aerobic
granular sludge. Reproduced with permission from Ref. [35].
efficiencies were 98.0, 97.0, and 92.4%, respectively. Also, presence of anti-
biotics did not affect the performance of the system [39]. In another study,
tetracycline injection at μg/L level did not affect the removal efficiency
of COD and nitrogen, but microbial community and diversity of aero-
bic granular sludge were altered. Removal efficiency of aerobic granular
reactor for tetracycline at initial concentrations of 100 and 500 μg/L were
equal to 84.4 and 94.2%, respectively [40]. Kang et al. [41] verified that
2 μg/L sulfamethoxazole could not affect the performance of aerobic gran-
ular sludge and conventional suspended activated sludge; however, within
two months’ bacterial community of both biological systems were altered.
In addition, sulfamethoxazole (Cin = 2 µg/L) showed higher elimination
(84 ± 8%) by granular sludge than suspended sludge (73 ± 10%). Wang
et al. (2018) studied degradation of 300 µg/L oxytetracycline in an aero-
bic granular sludge sequencing batch reactor. Until day 33 oxytetracycline
removal curve exhibited an increasing trend, and then remained constant
+
(89%), and for COD, NH4 -N , and total phosphorous it was 8.0, 90.0 and
97.9%, respectively. The microbial community was also altered after oxy-
tetracycline addition [42]. Based on the reported results, aerobic granu-
lar sludge is a suitable and effective technique for antibiotics removal with
high removal efficiency; however, the changes in the microbial community
must be considered well to prevent further issues.
we laugh in reading this, but the triumph is less over the wretched
precisian than it is the triumph of common sense. So Swift exclaims:
—
‘The house of brother Van I spy,
In shape resembling a goose-pie.’
Mark Supple’s calling out from the Gallery of the House of Commons
—‘A song from Mr. Speaker!’ when Addington was in the chair and
there was a pause in the debate, was undoubtedly wit, though the
relation of any such absurd circumstance actually taking place,
would only have been humour. A gallant calling on a courtesan (for it
is fair to illustrate these intricacies how we can) observed, ‘he should
only make her a present every other time.’ She answered, ‘Then come
only every other time.’ This appears to me to offer a sort of
touchstone to the question. The sense here is, ‘Don’t come unless you
pay.’ There is no wit in this: the wit then consists in the mode of
conveying the hint: let us see into what this resolves itself. The object
is to point out as strongly as can be, the absurdity of not paying; and
in order to do this, an impossibility is assumed by running a parallel
on the phrases, ‘paying every other time,’ and ‘coming every other
time,’ as if the coming went for nothing without paying, and thus, by
the very contrast and contradiction in the terms, showing the most
perfect contempt for the literal coming, of which the essence, viz.
paying, was left out. It is, in short, throwing the most killing scorn
upon, and fairly annihilating the coming without paying, as if it were
possible to come and not to come at the same time, by virtue of an
identical proposition or form of speech applied to contrary things.
The wit so far, then, consists in suggesting, or insinuating indirectly,
an apparent coincidence between two things, to make the real
incongruity, by the recoil of the imagination, more palpable than it
could have been without this feigned and artificial approximation to
an union between them. This makes the difference between jest and
earnest, which is essential to all wit. It is only make-believe. It is a
false pretence set up, or the making one thing pass in supposition for
another, as a foil to the truth when the mask is removed. There need
not be laughter, but there must be deception and surprise: otherwise,
there can be no wit. When Archer, in order to bind the robbers,
suddenly makes an excuse to call out to Dorinda, ‘Pray lend me your
garter, Madam,’ this is both witty and laughable. Had there been any
propriety in the proposal or chance of compliance with it, it would no
longer have been a joke: had the question been quite absurd and
uncalled-for, it would have been mere impudence and folly; but it is
the mixture of sense and nonsense, that is, the pretext for the request
in the fitness of a garter to answer the purpose in question, and the
totally opposite train of associations between a lady’s garter
(particularly in the circumstances which had just happened in the
play) and tying a rascally robber’s hands behind his back, that
produces the delightful equivoque and unction of the passage in
Farquhar. It is laughable, because the train of inquiry it sets in
motion is at once on pleasant and on forbidden ground. We did not
laugh in the former case—‘Then only come every other time’—
because it was a mere ill-natured exposure of an absurdity, and there
was an end of it: but here, the imagination courses up and down
along a train of ideas, by which it is alternately repelled and
attracted, and this produces the natural drollery or inherent
ludicrousness. It is the difference between the wit of humour and the
wit of sense. Once more, suppose you take a stupid, unmeaning
likeness of a face, and throwing a wig over it, stick it on a peg, to
make it look like a barber’s block—this is wit without words. You give
that which is stupid in itself the additional accompaniments of what
is still more stupid, to enhance and verify the idea by a falsehood. We
know the head so placed is not a barber’s block; but it might, we see,
very well pass for one. This is caricature or the grotesque. The face
itself might be made infinitely laughable, and great humour be
shown in the delineation of character: it is in combining this with
other artificial and aggravating circumstances, or in the setting of
this piece of lead that the wit appears.[62] Recapitulation. It is time
to stop short in this list of digressions, and try to join the scattered
threads together. We are too apt, both from the nature of language
and the turn of modern philosophy, which reduces every thing to
simple sensations, to consider whatever bears one name as one thing
in itself, which prevents our ever properly understanding those
mixed modes and various clusters of ideas, to which almost all
language has a reference. Thus if we regard wit as something
resembling a drop of quicksilver, or a spangle from off a cloak, a little
nimble substance, that is pointed and glitters (we do not know how)
we shall make no progress in analysing its varieties or its essence; it
is a mere word or an atom: but if we suppose it to consist in, or be
the result of, several sets and sorts of ideas combined together or
acting upon each other (like the tunes and machinery of a barrel-
organ) we may stand some chance of explaining and getting an
insight into the process. Wit is not, then, a single idea or object, but it
is one mode of viewing and representing nature, or the differences
and similitudes, harmonies and discords in the links and chains of
our ideas of things at large. If all our ideas were literal, physical,
confined to a single impression of the object, there could be no
faculty for, or possibility of, the existence of wit, for its first principle
is mocking or making a jest of anything, and its first condition or
postulate, therefore, is the distinction between jest and earnest. First
of all, wit implies a jest, that is, the bringing forward a pretended or
counterfeit illustration of a thing; which, being presently withdrawn,
makes the naked truth more apparent by contrast. It is lessening and
undermining our faith in any thing (in which the serious consists) by
heightening or exaggerating the vividness of our idea of it, so as by
carrying it to extremes to show the error in the first concoction, and
from a received practical truth and object of grave assent, to turn it
into a laughing stock to the fancy. This will apply to Archer and the
lady’s garter, which is ironical: but how does it connect with the
comparison of Hudibras’s beard to a tile, which is only an
exaggeration; or the Compagnons d’Ulysse, which is meant for a
literal and severe truth, as well as a play upon words? More generally
then, wit is the conjuring up in the fancy any illustration of an idea
by likeness, combination of other images, or by a form of words, that
being intended to point out the eccentricity or departure of the
original idea from the class to which it belongs does so by referring it
contingently and obliquely to a totally opposite class, where the
surprise and mere possibility of finding it, proves the inherent want
of congruity. Hudibras’s beard is transformed (by wit) into a tile: a
strong man is transformed (by imagination) into a tower. The
objects, you will say, are unlike in both cases; yet the comparison in
one case is meant seriously, in the other it is merely to tantalize. The
imagination is serious, even to passion, and exceeds truth by laying a
greater stress on the object; wit has no feeling but contempt, and
exceeds truth to make light of it. In a poetical comparison there
cannot be a sense of incongruity or surprise; in a witty one there
must. The reason is this: It is granted stone is not flesh, a tile is not
hair, but the associated feelings are alike, and naturally coalesce in
one instance, and are discordant and only forced together by a trick
of style in the other. But how can that be, if the objects occasioning
these feelings are equally dissimilar?—Because the qualities of
stiffness or squareness and colour, objected to in Hudibras’s beard,
are themselves peculiarities and oddities in a beard, or contrary to
the nature or to our habitual notion of that class of objects; and
consequently (not being natural or rightful properties of a beard)
must be found in the highest degree in, and admit of, a grotesque
and irregular comparison with a class of objects, of which squareness
and redness[63] are the essential characteristics (as of a tile), and
which can have, accordingly, no common point of union in general
qualities or feeling with the first class, but where the ridicule must be
just and pointed from this very circumstance, that is, from the
coincidence in that one particular only, which is the flaw and
singularity of the first object. On the other hand, size and strength,
which are the qualities on which the comparison of a man to a tower
hinges, are not repugnant to the general constitution of man, but
familiarly associated with our ideas of him: so that there is here no
sense of impropriety in the object, nor of incongruity or surprise in
the comparison: all is grave and decorous, and instead of burlesque,
bears the aspect of a loftier truth. But if strength and magnitude fall
within our ordinary contemplations of man as things not out of the
course of nature, whereby he is enabled, with the help of
imagination, to rival a tower of brass or stone, are not littleness and
weakness the counterpart of these, and subject to the same rule?
What shall we say, then, to the comparison of a dwarf to a pigmy, or
to Falstaff’s comparison of Silence to ‘a forked radish, or a man made
after supper of a cheese-paring?’ Once more then, strength and
magnitude are qualities which impress the imagination in a powerful
and substantive manner; if they are an excess above the ordinary or
average standard, it is an excess to which we lend a ready and
admiring belief, that is, we will them to be if they are not, because
they ought to be—whereas, in the other case of peculiarity and defect,
the mind is constantly at war with the impression before it; our
affections do not tend that way; we will it not to be; reject, detach,
and discard it from the object as much and as far as possible; and
therefore it is, that there being no voluntary coherence but a constant
repugnance between the peculiarity (as of squareness) and the object
(as a beard), the idea of a beard as being both naturally and properly
of a certain form and texture remains as remote as ever from that of
a tile; and hence the double problem is solved, why the mind is at
once surprised and not shocked by the allusion; for first, the mind
being made to see a beard so unlike a beard, is glad to have the
discordance increased and put beyond controversy, by comparing it
to something still more unlike one, viz., a tile; and secondly,
squareness never having been admitted as a desirable and accredited
property of a beard as it is of a tile, by which the two classes of ideas
might have been reconciled and compromised (like those of a man
and a tower) through a feeling or quality common (in will) to both,
the transition from one to the other continues as new and startling,
that is, as witty as ever;—which was to be demonstrated. I think I see
my way clearly so far. Wit consists in two things, the perceiving the
incongruity between an object and the class to which it generally
belongs, and secondly, the pointing out or making this incongruity
more manifest, by transposing it to a totally different class of objects
in which it is prescriptively found in perfection. The medium or link
of connexion between the opposite classes of ideas is in the
unlikeness of one of the things in question to itself, i.e. the class it
belongs to: this peculiarity is the narrow bridge or line along which
the fancy runs to link it to a set of objects in all other respects
different from the first, and having no sort of communication, either
in fact or inclination, with it, and in which the pointedness and
brilliancy, or the surprise and contrast of wit consists. The faculty by
which this is done is the rapid, careless decomposition and
recomposition of our ideas, by means of which we easily and clearly
detach certain links in the chain of our associations from the place
where they stand, and where they have an infirm footing, and join
them on to others, to show how little intimacy they had with the
former set.
The motto of wit seems to be, Light come, light go. A touch is
sufficient to dissever what already hangs so loose as folly, like froth
on the surface of the wave; and an hyperbole, an impossibility, a pun
or a nickname will push an absurdity, which is close upon the verge
of it, over the precipice. It is astonishing how much wit or laughter
there is in the world—it is one of the staple commodities of daily life
—and yet, being excited by what is out of the way and singular, it
ought to be rare, and gravity should be the order of the day. Its
constant recurrence from the most trifling and trivial causes, shows
that the contradiction is less to what we find things than to what we
wish them to be. A circle of milliner’s-girls laugh all day long at
nothing, or day after day at the same things—the same cant phrase
supplies the wags of the town with wit for a month—the same set of
nicknames has served the John Bull and Blackwood’s Magazine ever
since they started. It would appear by this that its essence consisted
in monotony, rather than variety. Some kind of incongruity however
seems inseparable from it, either in the object or language. For
instance, admiration and flattery become wit by being expressed in a
quaint and abrupt way. Thus, when the dustman complimented the
Duchess of Devonshire by saying, as she passed, ‘I wish that lady
would let me light my pipe at her eyes,’ nothing was meant less than
to ridicule or throw contempt, yet the speech was wit and not serious
flattery. The putting a wig on a stupid face and setting it on a barber’s
pole is wit or humour:—the fixing a pair of wings on a beautiful
figure to make it look more like an angel is poetry; so that the
grotesque is either serious or ludicrous, as it professes to exalt or
degrade. Whenever any thing is proposed to be done in the way of
wit, it must be in mockery or jest; since if it were a probable or
becoming action, there would be no drollery in suggesting it; but this
does not apply to illustrations by comparison, there is here no line
drawn between what is to take place and what is not to take place—
they must only be extreme and unexpected. Mere nonsense,
however, is not wit. For however slight the connexion, it will never
do to have none at all; and the more fine and fragile it is in some
respects, the more close and deceitful it should be in the particular
one insisted on. Farther, mere sense is not wit. Logical subtilty or
ingenuity does not amount to wit (although it may mimic it) without
an immediate play of fancy, which is a totally different thing. The
comparing the phrenologist’s division of the same portion of the
brain into the organs of form and colour to the cutting a Yorkshire
pudding into two parts, and calling the one custard and the other
plum-cake may pass for wit with some, but not with me. I protest (if
required) against having a grain of wit.[64]