to have been studied or sought after: but seem to rise of their own accord from the subject, and constantly embellish it. I have now treated fully of the metaphor, and the rules that should govern it, a part of style so important, that it required particular illustration. I have only to add a few words concerning allegory. An allegory may be regarded as a continued metaphor; as it is the representation of some one thing by another that resembles it, and that is made to stand for it. Thus, in Prior's Henry and Emma, Emma, in the following allegorical manner, describes her constancy to Henry : Did I but purpose to embark with thee On the smooth surface of a summer's sea, We may take also from the scriptures a very fine example of an allegory, in the 80th Psalm; where the people of Israel are represented under the image of a vine, and the figure is supported throughout with great correctness and beauty; Thou hast brought a vine out of Egypt, thou hast cast out the heathen and planted it. Thou preparedst room before it, and didst cause it to take deep root, and it filled the land. The hills were covered with the shadow of it; and the boughs thereof were like the goodly cedars. She sent out her boughs into the sea, and her branches into the river. Why hast thou broken down her hedges, so that all they which pass by the way do pluck her! The boar out of the wood doth waste it; and the wild beast of the field doth devour it. Return, we beseech thee, O God of Hosts, look down from heaven, and behold, and visit this vine!' Here there is no circumstance, (except, perhaps, one phrase at the beginning, thou hast cast out the heathen') that does not strictly agree to a vine, whilst, at the same time, the whole quadrates happily with the Jewish state represented by this figure. This is the first and principal requisite in the conduct of an allegory, that the figurative and the literal meaning be not mixed inconsistently together. For instance, instead of describing the vine, as wasted by the bear from the wood, and devoured by the wild beast of the field, had the Psalmist said, it was afflicted by heathens, or overcome by enemies, (which is the real meaning) this would have ruined the allegory, and produced the same confusion, of which I gave examples in metaphors, when the figurative and literal sense are mixed and jumbled together. Indeed, the same rules that were given for metaphors, may also be applied to allegories, on account of the affinity they bear to each other. The only material difference between them, besides the one being short and the other being prolonged, is, that a metaphor always explains itself by the words that are connected with it in their proper and natural meaning; as when I say 'Achilles was a lion;' an 'able minister is the pillar of the state.' My lion and my pillar are sufficiently interpreted by the mention of Achilles and the minister, which I join to them; but an allegory is, or may be, allowed to stand more disconnected with the literal mean ing; the interpretation not so directly pointed out, but left to our own reflection. Allegories were a favourite method of delivering instructions in ancient times; for what we call fables or parables, are no other than allegories; where, by words and actions attributed to beasts or inanimate objects, the dispositions of men are figured; and what we call the moral, is the unfigured sense or meaning of the allegory. An ænigma, or riddle, is also a species of allegory; one thing represented or imagined by another; but purposely wrapt up under so many circumstances, as to be rendered obscure. Where a riddle is not intended, it is always a fault in allegory to be too dark. The meaning should be easily seen through the figure employed to shadow it. However, the proper mixture of light and shade in such compositions, the exact adjustment of all the figurative circumstances with the literal sense, so as neither to lay the meaning too bare and open, nor to cover and wrap it up too much, has ever been found an affair of great nicety; and there are few species of composition in which it is more difficult to write so as to please and command attention, than in allegories. In some of the visions of the Spectator, we have examples of allegories very happily executed. QUESTIONS. AFTER the preliminary observations | metaphor more nearly approach than made relating to figurative language any other figure; and what is its pecuin general, of what does our author liar effect? In order to produce this efcome to treat? With which does he fect, what is required; and why? begin; and on what is it founded? What, therefore, is necessary? But beHence, of it, what is observed? How fore entering on these, what does our is this remark illustrated? Of the com- author propose to do; and why? parison betwixt the minister and a pil- Whence is the instance taken? Relar, what is remarked? This, therefore, peat it. Of it, what is observed? On is what; and how does it affect the fan- this passage, what two remarks are cy? Of the mind, when thus employed, made? By what arrangement would what is observed? At what, therefore, the sentiment have been enfeebled? need we not be surprised; and what Having mentioned with applause this remark follows? How is this illustrated, instance from Lord Bolingbroke, what from the words here casually employ- does our author think it incumbent on ed? Why is the metaphor commonly him here to notice? Of his writing, ranked among tropes, or figures of what is our author's opinion? What thought? But provided the nature of it merit have his political writings? Of be well understood, what matters but his philosophical works, what is ob little; and to what has our author con- served? Of what is this author an unfined it? In what sense, however, is happy instance? Returning from this the word metaphor sometimes used? digression, to what does our author proFrom what example is this illustrated; ceed? What is the first? Of this diand of it, what is observed? How does rection, what is observed? How is this Aristotle, in his Poetics, use metaphor ? illustrated? What must we remember? But to tax him with what, would be What remark follows? Of the excesunjust; and why? Now, however, sive employment of them, what is obwhat is inaccurate? To what does served? What air does it give to com position; and how does this appear? As rule which Horace applies to characthe affectation and parade of ornament ters, what is observed? Repeat it; and detract as much from an author as they also Mr. Pope's lines addressed to the do from a man, what follows? What King? Of the latter, what is observed? 's most unnatural? For what do we re- What is said of the works of Ossian? spectively look, when he reasons, when What examples are given? What do he describes, or when he relates? What they, however, afford; and what is it? is one of the greatest secrets in compo- Of the metaphor in this passage, what sition? What does this give? What is is observed? If it be faulty to jumble the effect of a right disposition of the together metaphorical and plain lanshade? What says Cicero on this sub-guage, what, in the fifth place, is still ject? By whom should this admonition more so? What is this called; and be attended to? What does the second what is said of it? What instance is rule given, respect? How extensive is given? What does this make? What the field of figurative language? says Quintilian on this subject? What What objects may be introduced into example is given from Shakspeare's figures with propriety? But of what Tempest; and of it, what is observed? must we beware; and even when? In What one is given from Romeo and what subjects is it an unpardonable Juliet? Here, how is the angel reprefault to introduce mean and vulgar sented? What inaccuracy of the same metaphors? What do we find in the kind is given from Mr. Addison; and treatise on the Art of Sinking, in Dean what is observed of it? What does the Swift's works? Authors of what cha- same author, in one of his numbers of racter, have fallen into this error? the Spectator, say; and of it, what is What instance is given? Of Shaks- observed? In what passages is Horace peare, what is here observed? What also incorrect; and what is said of example is given from his Henry V.? them? What illustration of this rule is In the third place, about what should given from Mr. Pope? What good rule particular care be taken? The trans- has been given for examining the progression of this rule, makes what; and priety of a metaphor? By this means, what is said of them? Who abounds with of what should we become sensible? metaphors of this kind? What did he, As metaphors ought never to be mixed, and some of the writers of his age, seem so, in the sixth place, what should we to consider the perfection of wit? This avoid? How may they produce a conmakes a metaphor resemble what; fusion of the same kind with the mixand is the reverse of what rule? Re-ed metaphor? By what passage from peat the following verses from Cowley, Horace may we judge of this? To in which he is speaking of his mis- what is the harshness and obscurity of tress; and also his address to sleep. this passage owing? What are they? What should be avoided in our meta- In what does the mind here find diffiphors? What is a beauty? When culty? What is the only other rule have metaphors the disadvantage of which is to be given concerning metaappearing laboured; and when do phors? How shall we weary the fanthey lose their whole grace? What cy, and render our discourse obscure? paliative do writers sometimes use for What is this called? To what is this a harsh metaphor; and what is said of error in Cowley owing? Of Lord it? What metaphors are almost al-Shaftesbury, what is observed? What ways faulty by their obscurity? illustration is given? Of the merit of In the fourth place, what must be Dr. Young in figurative language, carefully attended to? What does a violation of this direction always produce? What will make this rule, and the reason of it, clearly understood? What is the first one given? Here, in one line, her son is made to appear like what; and what does he return to be in the next? To what should the poet have kept himself? To do what was he not at liberty; and why? Of the what is remarked? Of his metaphors, and of his imagination, what is observed? Hence, in his Night Thoughts, what prevails? What is said of the metaphors? In the following metaphor, what may we observe? Repeat it. Speaking of old age, what does he say and what is remarked of this passage How does Mr. Addison, in metaphori cal language, compare with other ? ANALYSIS. A. The metaphor and the comparison contrasted. B. The peculiar properties of the metaphor. c. Rules for the conduct of metaphors. a. They should be suited to the subject. b. They should be drawn from objects of dignity. c. The resemblance should be clear and perspicuous. English authors? How does his imagi- d. Metaphorical and plain lan- e. Two metaphors should not Allegory. A. Its nature. B. Fables and ænigmas. LECTURE XVI. HYPERBOLE.—PERSONIFICATION.—APOSTROPHE. THE next figure concerning which I am to treat, is called hyperbole, or exaggeration. It consists in magnifying an object beyond its natural bounds. It may be considered sometimes as a trope, and sometimes as a figure of thought: and here, indeed, the distinction between these two classes begins not to be clear, nor is it of any importance that we should have recourse to metaphysical subtilties, in order to keep them distinct. Whether we call it trope or figure, it is plain that it is a mode of speech which hath some foundation in nature. For in all languages, even in common conversation, hyperbolical expressions very frequently occur: as swift as the wind; as white as the snow; and the like: and our common forms, of compliment are almost all of them extravagant hyperboles. If any thing be remarkably good or great in its kind, we are instantly ready to add to it some exaggerating epithet; and to make it the greatest or best we ever saw. The imagination has always a tendency to gratify itself, by magnifying its present object, and carrying it to excess. More or less of this hyperbolical turn will prevail in language, according to the liveliness of imagination among the people who speak it. Hence, young people deal always much in hyperboles. Hence, the language of the orientals was far more hyperbolical than that of the Europeans, who are of more phlegmatic, or, it you please, of more correct imagination. Hence, among all wri ters in early times, and in the rude periods of society, we may ex pect this figure to abound. Greater experience, and more cultivated society, abate the warmth of imagination, and chasten the manner of expression. The exaggerated expressions to which our ears are accustomed in conversation, scarcely strike us as hyperboles. In an instant we make the proper abatement, and understand them according to their just value. But when there is something striking and unusual in the form of a hyperbolical expression, it then rises into a figure of speech which draws our attention: and here it is necessary to observe, that, unless the reader's imagination be in such a state as disposes it to rise and swell along with the hyperbolical expression, he is always hurt and offended by it. For a sort of disagreeable force is put upon him; he is required to strain and exert his fancy, when he feels no inclination to make any such effort. Hence the hyperbole is a figure of difficult management; and ought neither to be frequently used, nor long dwelt upon. On some occasions, it is un doubtedly proper; being, as was before observed, the natural style of a sprightly and heated imagination; but when hyperboles are unseasonable, or too frequent, they render a composition frigid and unaffecting. They are the resource of an author of feeble imagina tion; of one, describing objects which either want native dignity in themselves, or whose dignity he cannot show by describing them simply, and in their just proportions, and is therefore obliged to rest upon tumid and exaggerated expressions. Hyperboles are of two kinds; either such as are employed in description, or such as are suggested by the warmth of passion. The best by far, are those which are the effect of passion: for if the imagination has a tendency to magnify its objects beyond their natural proportion, passion possesses this tendency in a vastly stronger degree; and therefore not only excuses the most daring figures, but very often renders them natural and just. All passions, without exception, love, terror, amazement, indignation, anger, and even grief, throw the mind into confusion, aggravate their objects, and of course, prompt a hyperbolical style. Hence the following sentiments of Satan in Milton, as strongly as they are described, contain nothing but what is natural and proper; exhibiting the picture of a mind agitated with rage and despair. Me, miserable! which way shall I fly B. iv. 1. 73 In simple description, though hyperboles are not excluded, yet they must be used with more caution, and require more preparation, in order to make the mind relish them. Either the object described must be of that kind, which of itself seizes the fancy strongly, and disposes it to run beyond bounds; something vast, surprising, and new; or the writer's art must be exerted in heating fancy gradually, and preparing it to think highly of the object |