So the qualities of bodies are used to illustrate the qualities of mind. We speak of a solid judgment, a fiery temper, a hard or soft heart. Love is said to warm the heart, and sympathy is said to melt the heart.

In reference to the flourishing period of a tree or plant, we may say, "The institution flourished." Because the head is the principal part of the body, we speak of the proprietor or principal teacher of a school, as "The head of the school."

66

The proposition, "Cromwell treated the English laws with contempt," is far more vividly expressed by saying, Cromwell trampled on the laws." To speak of soldiers as brave and courageous, is less forcible than to use the language of Heber:

"Their limbs all iron, and their souls all flame."

Thus, for the sake of conveying a more vivid impression, words strictly applicable only to sensible objects, are applied to mental or intellectual objects to which they are supposed to bear some affinity or resemblance.

Figures of thought, or figures of imagination and passion, suppose the words to be used in their proper and literal meaning, and the figure to consist in the turn of thought. They appear in exclamations, interrogations, comparisons, and apostrophes.

Thus the sentences, "I am happy at this meeting;" "You give me great pleasure;" "We are obliged by your kindness;" "Allow me to assist;" "Are you quite well?" "Oh! that I were in health!" are figurative forms of speech, which include, though they do not formally express, the following logical propositions: "Happiness at this meeting is my present state of feeling ;" "That you give me great pleasure is what I declare to you;" "Your kindness is felt by us to be obliging;" "That I should assist you, is what you are requested to allow ;" "Whether or not you are quite well, is what I ask you to declare;" "That I were in health, is what I ardently wish." Although the previously stated rhetorical expressions have not, in each instance, an assigned name, so as to bring them all under the denominations about to be given; although they are quite familiar expressions of common life, they have, nevertheless, quite as good a title to be considered figures of speech as those which follow, in succeeding lessons.

Hence it appears that figurative language stands opposed to plain language. It results either from the peculiar form of the sentence, or from turning some word contained in it to an unusual application.

Thus, if instead of saying, "This country is very fertile," I say, "How fertile this country is !" I use, in the latter case, a figurative expression; the whole sentence having a rhetorical form compared with the other, which is simply logical.

Again, if instead of saying, "This country is remarkable for fertility," I say, "It smiles with fertility," I also use a figurative expression; for the word smiles is applied to an inanimate object, and not, as usual, to the human countenance. There is, indeed, by means of this turn, an implied comparison between the human countenance and the surface of a country, when both produce a similar effect on the feelings of the observer.

Of these two examples, the former is strictly a figure of speech, that is, a distinctive form of sentence; and the latter is strictly called a trope, or the turn of a word to a new application. Custom, however, confounds the difference here described.

All sentences are figurative, though not commonly so considered, which express in a brief and lively manner what logic would draw out at full, in periods primarily divisible into the two grammatical parts, nominative in the third person, and verb indicative agreeing with it.

LESSON XCVII.

THE SIMILE, OR COMPARISON.

Simile is the comparison of two objects, between which there exists a real or imagined resemblance. It has one of two purposes to answer: first, to illustrate an object, to present to the mind a clearer idea of it, and to make it more impressive; or, secondly, to adorn and beautify the object.

Explanatory comparisons must be clear; they must make the principal object more distinct, and not lead us aside from it.

RULES AS TO THE OBJECTS WHENCE COMPARISONS ARE DRAWN

1. They must not be drawn from things which have too near u resemblance to the object with which we compare them. The grea:

pleasure of the act of comparing, lies in discovering likenesses among things of different kinds, where at first we expect no resemblance to exist. On this account we are delighted with Milton's comparison of Satan, after his fall, to the sun when eclipsed; but we derive little pleasure from his comparison of Eve to a wood-nymph, or of her bower to that of Pomona.

For a similar reason, comparisons which the poets have rendered too trite and familiar, afford only moderate gratification.

2. While comparisons should not be founded on likenesses too familiar and obvious, they should, on the other hand, not be founded on those which are too faint and remote; for these fail to illustrate the subject.

3. Comparisons should not be drawn from objects that are unknown to the reader, or from those of which few people can form a clear idea.

4. In writings of a dignified or serious character, comparisons should be drawn from objects which are beautiful, dignified, or important; for the primary object of comparisons is to embellish and to dignify. In humorous or burlesque writings, where the aim is to vilify, or render ridiculous, an object, comparisons are properly drawn from low and trivial objects.

5. Comparisons, unless very brief, are not naturally or effectively introduced in the midst of impassioned language.

EXAMPLES OF COMPARISON: "Charity, like the sun, brightens every object on which it shines."

Ossian's comparison of the effect of music on the mind to the recollection of departed joys, is beautiful: "The music of Caryl was, like the memory of joys that are past, pleasant, and mournful to the soul."

The same author thus beautifully illustrates the fatal effects of sorrow on the mind:

66 They fall away, like the flower on which the sun looks in his strength, after the mildew has passed over it, and its head is heavy with the drops of the night."

Shakspeare thus illustrates the destructive effects of concealed

.ore:

"She never told her love, Brt let concealment, like a worm i' the bud,

Feed or her damask cheek. She pined in thougns,
And with a green and yellow melancholy,
She sat, like Patience on a monument,

Ibid.

Windingly by it, so the quiet maid

Held her in peace."

"Thy sweet words drop upon the ear, as soft

"My bosom, like the grave, holds all quench'd passions."

The sacred Scriptures abound in comparisons, most beautiful and pathetic; as,

"Man cometh forth as a flower, and is cut down; he fleeth also as a shadow, and continueth not."

Comparisons, as already stated, sometimes are suited to degrade the primary object. Thus Milton disparages the courage and re sistance of the fallen angels;

Of goats, or tim'rous flock, together throng'd,
Drove them before him, thunder-struck, pursued
With terrors and with furic ^ to the bounds

And crystal wall of heaven."

6. Comparisons, to be effective, should not be incumbered with any extraneous circumstances. Milton, therefore, made a mistake when, in his comparison of the shield of Satan to the orb of the moon, he introduces the discovery of the telescope, and all the wonders resulting from that discovery. The occasion did not require or justify the introduction of these extraneous images.

In drawing analogies from things which appear to have nothing in common, no writers surpass Lord Bacon, Cowley, and the auhor of Hudibras

LESSON XCVIII.

THE METAPHOR.

The metaphor is an abridged comparison; a comparison not formally stated, in which we predicate of the figurative object effects that are produced by the real object denoted by the phrase in its literal sense. In other words, the metaphor indicates the resemblance of two objects, by applying the name, attribute, or act of one directly to the other; as,

"He shall be a tree planted by the rivers of water." When I say of any man, "He is to the state like a pillar which supports an edifice," I use a simile; when I say, "He is the pillar of the state," I employ a metaphor.

In plain language I may say, "Thy word enlightens and guides me;" in the use of metaphor, “Thy word is a lamp to my feet." Ossian, in addressing a hero, uses a beautiful metaphor: "In peace, the a art the gale of spring; in war, the mountain-storm."

RULES FOR THE METAPHOR.

1. It should be adapted to the nature of the subject, and the character of the style which it is intended to illustrate, or to embellish neither too serious, nor too gay; neither too elevated, nor too low.

2. Unless the design is to degrade or make ridiculous, it should not be drawn from such objects as raise in the mind low or disagreeable ideas.

3. The resemblance should be evident and natural; the metaphor should not be far-fetched, nor difficult to understand. Hence, all technical phrases, and allusions to the more abstruse branches of art and science, which are not generally familiar, should not be used. The metaphor, which is designed to illustrate, should not render the thought obscure or perplexed. Harsh, unnatural, or obscure metaphors, are sometimes qualified by the ungainly addi