abounds most in those images which are furnished by the senses, and chiefly those of the sight; in order to depict the obscure by the more manifest, the subtile by the more substantial; and, as far as simplicity is its object, it pursues those ideas which are most familiar and most evident; of which there is such an abundance, that they serve as well the purpose of ornament and variety, as that

of illustration.

Those images or pictures of external objects, which like lights adorn and distinguish the poetic diction, are indeed infinite in number. In an immensity of matter, however, that we may be enabled to pursue some kind of order, and not wander in uncertainty and doubt, we may venture to fix upon four sources of these ideas, whither all that occur may be commodiously referred. Thus, poetical imagery may be derived first, from natural objects; secondly, from the manners, arts, and circumstances of common life; thirdly, from things sacred; and lastly, from the more remarkable facts recorded in sacred history. From each of these topics a few cases will be selected, and illustrated by examples, which though chiefly of the Meta

phorical

phorical kind, will yet be in a great measure applicable to the other figures which have been specified; these we shall afterwards take an opportunity to explain, when not only the figures themselves will be noticed, but also the different forms and rules for their introduction and embellishment.

LECTURE VI.

OF POETIC IMAGERY FROM THE OBJECTS OF

NATURE.

The frequent use of the Metaphor renders a style mag nificent, but often obscure: the Hebrew poets have accomplished the sublime without losing perspicuityThree causes assigned for this singular fact: first, the imagery which they introduce is in general derived from familiar objects: again, in the use and accommodation of it they pursue a certain custom and analogy: lastly, they make the most free use of that which is most familiar, and the nature and extent of which is most generally known.-These observations confirmed by examples (1.) from natural objects: such as are common to mankind in general; such as are more familiar to the Hebrews than to others; and such as are peculiar to them.

THE great excellence of the poetic diaIlect," as Aristotle most judiciously remarks, "consists in perspicuity without meanness. Familiar terms and words in common use form a clear and perspicuous, "but frequently a low style; unusual or foreign expressions give it an air of gran

"deur,

"deur, but frequently render it obscure. Of those which he calls foreign, the principal force lies in the Metaphor; but "as the

temperate and reasonable use of this figure "enlivens a composition, so the frequent "introduction of Metaphors obscures it, and "if they very commonly occur, it will be "little better than an enigma"." If the Hebrew poets be examined by the rules and precepts of this great philosopher and critic, it will readily be allowed, that they have assiduously attended to the sublimity of their compositions by the abundance and splendour of their figures; though it may be doubted whether they might not have been more temperate in the use of them. For in those poems at least, in which something of uncommon grandeur and sublimity is aimed at, there predominates a perpetual, I had almost

Poet. c. 22. Modern writers are hardly aware of the ill consequence of what is called far-fetched imagery, or that which is taken from objects not generally known. This was the great error of Cowley, and the metaphysical - poets of the last century; an error for which no beauties can compensate, which always gives a harshness, often a prosaic appearance to poetry, and never fails to be attended with some degree of obscurity. T.

Ib. & QUINT. viii. 6.

said a continued use of the Metaphor, sometimes daringly introduced, sometimes rushing in with imminent hazard of propriety. A Metaphor thus licentiously intruded, is frequently continued to an immoderate extent. The Orientals are attached to this style of composition; and many flights which our ears, too fastidious perhaps in these respects, will scarcely bear, must be allowed to the general freedom and boldness of these writers. But if we examine the sacred poems, and consider at the same time that a great degree of obscurity must result from the total oblivion in which many sources of their imagery must be involved; of which many examples are to be found in the Song of Solomon, as well as in other parts of the sacred writings; we shall, I think, find cause to wonder that in writings of so great antiquity, and in such an unlimited use of figurative expression, there should yet appear so much purity and perspicuity, both in sentiment and language. In order to explore the real cause of this remarkable fact, and to explain more accurately the genius of the parabolic style, I shall premise a few observations concerning the use of the Metaphor in

the