2. Where one inanimate thing is put for another.

3. Where inanimate things are put for things having life. 4. Where inanimate things are represented as endowed with life.

SIOI. WHERE ONE LIVING THING IS PUT FOR ANOTHER.

1. Where one living thing is put for another :

"His rustic friend, his nut-brown maiden, are no longer mean and homely, but a hero and a queen, whom he prizes as the paragons of earth.”CARLYLE.

"Nor second he that rode sublime,
Upon the seraph wings of ecstasy,
The secrets of the abyss to spy;

He passed the flaming bounds of place and time;
The living throne, the sapphire blaze,

Where angels tremble while they gaze,

He saw; but, blasted with excess of light,

Closed his eyes in endless night."—GRAY.

In this passage Milton is represented as riding upon "seraph wings;" that is as if in emulation of Deity, for this passage contains an allusion to Milton's words—

"He on the wings of seraph rode sublime,

On the crystalline sky."

It is as though in his enthusiasm the poet has represented Milton as a god.

§ 102. WHERE ONE INANIMATE THING IS PUT FOR ANOTHER. 2. Where one inanimate thing is put for another :

"An Englishman's house is his castle."
"Athens, the eye of Greece."-MILTON.

'Sundays the pillars are

On which heaven's palace arched lies.
The other days fill up the spare
And hollow room with vanities.
They are the fruitful beds and borders

In God's rich garden; that is bare

Which parts their ranks and orders.”—GEO. HERBert.

Sundays are here called "pillars," and afterwards "beds and borders," while the other days of the week are spoken of as "vanities" and "bare spaces."

$103. WHERE INANIMATE THINGS ARE PUT FOR THINGS HAV

ING LIFE.

3. Where inanimate things are put for things having life:

Kaled, the "Sword of God."

"Stonewall" Jackson.

"A true poet soul, for it needs but to be struck, and the sound it yields will be music."-CARLYLE.

In this passage the soul of Burns is represented as a musical instrument.

104. WHERE INANIMATE THINGS ARE REPRESENTED AS ENDOWED WITH LIFE.

5. Where inanimate things are represented as endowed with This is identical with personification in its lower grades (see Personification).

A hard heart.

The thirsty ground.

"Now upon Syria's land of roses,
Softly the light of eve reposes;
And like a glory the broad sun
Hangs over sainted Lebanon,
Whose head in wintry grandeur towers,
And whitens with eternal sleet;

While summer, in a vale of flowers,

Is sleeping rosy at his feet."-T. MOORE.

The light of eve is here represented as endowed with life, and reposing, while summer also is sleeping.

§ 105. METAPHOR USED AS AN ORNAMENT.

Metaphor, like comparison, has widely varied effects; and it is from the observation of these that it may best be appreciated. There are three chief applications of this figure, which will present sufficient matter for consideration. These are, first, when it is applied to ornament; secondly, to illustration; and, thirdly, to emphasis.

1. Ornament.

Such is the great beauty of metaphor, and so large is its application to purposes of embellishment, that to the ordinary observer it seems to belong altogether to ornament. We shall

see that it has far higher purposes, but yet, as far as embellishment is concerned, it may safely be said to surpass every other figure:

"The turf shall be my fragrant shrine,

My temple, Lord, that arch of thine;

My censer's breath the mountain airs,

And silent thoughts my only prayers."-T. Moore.

"See truth, love, and mercy in triumph descending,
And nature all glowing in Eden's first bloom;

On the cold cheek of death smiles and roses are blending,
And beauty immortal awakes from the tomb."-BEATTIE.

§ 106. METAPHOR USED FOR EXPLANATION AND ILLUSTRATION. Seldom, however, will it be found that a beautiful metaphor rests in beauty only. From its very beauty other results flow, which tend to throw a new light over a subject, or give it a new meaning or a stronger emphasis. For the present purpose it is enough to let the mind dwell upon the beauty of a metaphor, apart from its other effects; and then consider those other effects by themselves. Among these is next to be considered the effect of the metaphor towards explanation or illustration. 2. Explanation and illustration.

In Wordsworth's sublime ode on Immortality he teaches the doctrine of a previous conscious existence; and seeks to support this, not by proofs, for that were impossible, but by a series of facts in human experience. In the following example there is in the first line a statement of the theory, "Our birth is but a sleep and a forgetting," after which follow several metaphors, which serve to explain the theory and illustrate it:

"Our birth is but a sleep and a forgetting:
The soul that rises with us, our life's star,
Hath had elsewhere its setting,

And cometh from afar:

Not in entire forgetfulness,
And not in utter nakedness,

But trailing clouds of glory, do we come
From God, who is our home:

Heaven lies about us in our infancy.

Shades of the prison-house begin to close

Upon the growing boy;

But he beholds the light, and whence it flows;
He sees it in his joy.

Hence in a season of calm weather,
Though inland far we be,

Our souls have sight of that immortal sea
Which brought us hither,

Can in a moment travel thither,

And see the children sport upon the shore,

And hear the mighty waters rolling evermore."

In the following passage De Quincey affirms the human brain to be a palimpsest, that is, a parchment sheet upon which the original writing has been obliterated, in order to receive new writing; which in its turn has been obliterated in such a way that the first draught stands revealed. This metaphor is used for purposes of explanation:

"What else than a natural and mighty palimpsest is the human brain. Such a palimpsest is my brain; such a palimpsest, O reader, is yours! Everlasting layers of ideas, images, feelings, have fallen upon your brain, softly as light. Each succession has seemed to bury all that went before. And yet in reality not one has been extinguished. And if, in the vellum palimpsest, lying among the other diplomata of human archives, or libraries, there is anything fantastic, or which moves to laughter, as oftentimes there is in the grotesque collisions of those successive themes having no natural connection, which by pure accident have consecutively occupied the roll, yet, in our own heaven-created palimpsest-the deep memorial palimpsest of the brain-there are not and cannot be such incoherences."

§ 107. METAPHOR USED TO GIVE STRENGTH AND EMPHASIS. The effect of metaphor sometimes is to present a thought with extraordinary vigor and emphasis; and where it is successfully employed in this way there is a union of beauty and strength such as arrests the attention and impresses itself upon the memory.

In the following passage an aspersion upon Ireland, conveyed in a metaphor, is admirably encountered, and turned back upon the adversary by another metaphor:

"You say that Ireland is a millstone about our necks; that it would be better for us if Ireland were sunk at the bottom of the sea; that the Irish

are a nation of irreclaimable savages and barbarians. How often have I heard those sentiments fall from the plump and thoughtless squire, and from the thriving English shopkeeper, who has never felt the rod of an Orange master upon his back. Ireland a millstone about your neck? Why is it not a stone of Ajax in your hand?"-Rev. SYDNEY SMITH.

“Once to every man or nation comes the moment to decide,

In the strife of Truth with Falsehood, for the good or evil side;
Some great cause, God's new Messiah, offering each the bloom or blight,
Parts the goats upon the left hand and the sheep upon the right,
And the choice goes by forever 'twixt that darkness and that light.

Careless seems the great Avenger; history's pages but record One death-grapple in the darkness 'twixt old systems and the Word; Truth forever on the scaffold, Wrong forever on the throne; Yet that scaffold sways the future, and, behind the dim unknown, Standeth God within the shadow, keeping watch above his own." -JAMES RUSSELL LOWELL. In this passage the metaphor identifies a good cause, its struggles and certain victory, with Christ, his passion and triumph.

Mrs. Julia Ward Howe's thrilling Battle Hymn of the Republic consists of a series of metaphors, each line containing a separate one conceived and expressed with resistless force and effect:

"Mine eyes have seen the glory of the coming of the Lord :

He is trampling out the vintage where the grapes of wrath are stored; He hath loosed the fateful lightning of his terrible swift sword.

He hath sounded forth the trumpet that shall never call retreat;
He is sifting out the hearts of men before his judgment-seat;
O, be swift, my soul, to answer him! be jubilant, my feet!"

§ 108. FAULTS IN THE USE OF METAPHOR.

In considering the faults which occur in the use of this figure, some will be found which are similar to the faults which arise in comparison, while others are peculiar to metaphor. Thus in metaphor, as in comparison, the resemblance should not be too familiar or too remote; it should not refer to what is unknown, or to what is low and degraded. The intermingling of different images is something which has to do with metaphors only, since it is but seldom to be found in comparison.

1. When the resemblance is too familiar the image has no F