BUT we proceed to the Figures. We cannot too earneftly recommend to our authors the ftudy of the Abufe of Speech. They ought to lay it down as a principle, to fay nothing in the ufual way, but (if poffible) in the direct contrary. Therefore the Fi gures muft be fo turned, as to manifeft that intricate and wonderful Caft of Head which diftinguifhes all writers of this kind; or (as I may fay) to refer exactly the Mold in which they were formed, in all its inequalities, cavities, obliquities, odd crannies, and diftortions. It would be endlefs, nay impoffible, to enumerate all fuch Figures3; but we fhall content ourselves to range the principal, which moft powerfully contribute to the Bathos, under three Claffes. 3 Another figure which greatly contributes to the Bathos might here be added, which Longinus, in his third fection, calls the Parenthyrfus; a kind of violence and emotion, ill-timed and out of season, and difproportioned to the fubje&; into which good writers, nay Horace himself, is faid to have fallen. When be fays, that even as the moft fuperb and useful monuments of human skill and regal magnificence, the making new ports, the draining of marshes, the altering the course of rivers, the building moles, and other vaft and expenfive works, alter and decay; fo do words and current expreffions: Debemur morti nos noftraque Mortalia fa&a peribunt, Nedum fermonum fet honos et gratia vivax." I. The Variegating, Confounding, or Reversing II. The Magnifying; and We cannot avoid giving to thefe the Greek or Roman names; but in tenderness to our countrymen and fellow-writers, many of whom, however exqui fite, are wholly ignorant of thofe languages, we have alfo explained them in our mother tongue. I. Of the firft fort, nothing fo much conduces to the Bathos, as the CATACHRESIS. A Mafter of this will fay, Mow the Beard, Shave the Grafs, Pin the Plank, From whence refults the fame kind of pleasure to the mind, as to the eye when we behold Harlequin trimming himself with a hatchet, hewing down a tree with a razor, making his tea in a cauldron, and brewing his ale in a tea-pot, to the incredible fatisfaction of the British fpectator. Another fource of the Bathos is THE METONYMY, the inverfion of Caufes for Effects, of Inventors for Inventions, etc. The objects by which this decay of words is illuftrated are too large and important for the occafion." HOR. Art of Poetry, l. 63. See Blondell's Comparison of Horace and Pindar. 6 8 4 Lac'd in her Cofins 5 new appear'd the bride, THE SYNECDOCHE, which confifts in the ufe of a part for the whole. You may call a young woman fometimes Pretty-face and Pigs-eyes, and sometimes Shotty-nefe and Draggle-tail. Or of Accidents for Perfons; as a Lawyer is called Split-caule, a Taylor Prick-louse, etc. Or of things belonging to a man, for the man himfelf; as a Sword-man, a Gown-man, a T-m T-d-man; a White Staff, a Turn-key, etc. THE APOSIOPESIS. An excellent figure for the Ignorant, as, “What fhall 1 fay?" when one has nothing to fay: or "I can no more, when one really can no more. Expreffions which the gentle reader is fo good as never to take in earnest. THE METAPHOR.' The first rule is to draw it from the lowest things, which is a certain way to fink the higheft; as when you speak of the Thunder of Heaven, fay, These five lines, and the two at the top of p. 218, are quoted from his own youthful poems; as indeed are most of those marked Anonymous. See alfo note on p. 200. 5 6 8 Fan. 9 A fort of Periwig: All words in ufe in this prefent Year 1727. P. It were to be wished that all the critical opinions of Dr. Johnfon were as folid and judicious as are his admirable observations in the Life of Cowley, on mixt Metaphors, falfe Wit, and what (after Dryden) he calls Metaphyfical Poetry." After a certain period, in every country and in every language, men grow weary of the natural, and search after the fingular. The Lords above are angry and talk big. If you would defcribe a rich man refunding his treasures, express it thus, 3 Tho' he (as faid) may Riches gorge, the Spoil The Second, that, whenever you ftart a Metaphor, you must be sure to run it down, and pursue is as far as it can go. If you get the fcent of a State negociation, follow it in this manner. 4 The ftones and all the elements with thee Or if you reprefent the Creator denouncing war against the wicked, be fure not to omit one circumstance usual in proclaiming and levying war. 5 Envoys and Agents, who by my command To whom commiffions I have given, ⚫ Lee, Alex. 3 Blackm. Job, p. 91, 93. 4 Job, p. 22. W. 5 Blackm. Ifa. c. xl. W. 1 Ye holy heralds, who proclaim Or war or peace, in mine your master's name: For I in perfon will my people head; Will on his march in majesty appear, 1. THE MIXTURE OF FIGURES 6, which raises so many images, as to give you no image at all. But its principal beauty is when it gives an idea juft oppofite to what it feemed meant to defcribe. Thus an ingenious artift painting the Spring, talks of a Snow of Blossoms, and thereby raises an unexpected picture of Winter. Of this fort is the following: 'The gaping clouds pour lakes of fulphur down, Whofe livid flashes fickning funbeams drown. What a noble Confufion? clouds, lakes, brimftone, flames, fun-beams, gaping, pouring, fickning, drowning! all in two lines. 8 2. THE JARGON. Thy head fhall rife, though buried in the duft, In Concanen's Supplement to the Profound, letter the second, which is a counterpart to this tenth chapter, and treats of Figures, are fome more fhrewd remarks and more pertinent examples than might be expected from fuch a writer, and are enough to make us think he had fome more able affiftant. Concanen was at that time an intimate friend of Warburton; and it has been fuggefted was affifted by him in writing these remarks; but of this there is no pofitive proof. ? Pr. Arthur, p. 37. Job, p. 107. W. |