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disgusted and enraged at him. He raises no sympathy; for he gives us no passion of his own, in which we can take part. He gives us words and not passion; and of course, can raise no passion, unless that of indignation. Hence, I am inclined to think, he was not much mistaken, who said, that when, on looking into a book, he found the pages thick bespangled with the point which is called, 'Punctum admirationis,' he judged this to be a sufficient reason for his laying it aside. And, indeed, were it not for the help of this 'punctum admirationis,' with which many writers of the rapturous kind so much abound, one would be often at a loss to discover, whether or not it was exclamation which they aimed at. For, it has now become a fashion, among these writers, to subjoin points of admiration to sentences, which contain nothing but simple affirmations, or propositions; as if, by an affected method of pointing, they could transform them in the reader's mind into high figures of eloquence. Much akin to this, is another contrivance practised by some writers, of separating almost all the members of the sentences from each other, by blank lines; as if, by setting them thus asunder, they bestowed some special importance upon them and required us, in going along, to make a pause at every other word, and weigh it well. This, I think, may be called a typograpnical figure of speech. Neither, indeed, since we have been led to mention the arts of writers for increasing the importance of their words, does another custom, which prevailed very much some time ago, seem worthy of imitation; I mean that of distinguishing the significant words, in every sentence, by italic characters. On some occasions, it is very proper to use such distinctions. But when we carry them so far, as to mark with them every supposed emphatical word, these words are apt to multiply so fast in the author's imagination, that every page is crowded with italics; which can produce no effect whatever, but to hurt the eye, and create confusion. Indeed, if the sense point not out the most emphatical expressions, a variation in the type, especially when occurring so frequently, will give small aid. And, accordingly, the most masterly writers, of late, have withgood reason laid aside all those feeble props of significancy, and trusted wholly to the weight of their sentiments for commanding attention. But to return from this disgression.

Another figure of speech, proper only to animated and warm composition, is what some critical writers call vision; when, in place of relating something that is past, we use the present tense, and describe it as actually passing before our eyes. Thus Cicero, in his fourth oration against Catiline. Videor enim mihi hanc urbem videre, lucem orbis terrarum atque arcem omnium gentium, subito uno incendio concidentem; cerno animo sepultâ in patriâ miseros atque insepultos acervos civium; versatur mihi ante oculos aspectus Cethegi, et furor, in vestra cæde bacchantis.** This manner of des

seem to myself to behold this city, the orament of the earth, and the capital of all nations, suddenly involved in one conflagration. I see before me the slaughtered heaps of citizens lying unburied in the midst of their ruined country. The furious countenance of Cethegus rises to my view, while with a savage joy he is triumphing in your miseries.'

cription supposes a sort of enthusiasm which carries the person who describes it in some measure out of himself; and when well execu ted, must needs impress the reader or hearer strongly, by the force of that sympathy which I have before explained. But, in order to a successful execution, it requires an uncommonly warm imagination, and such a happy selection of circumstances, as shall make us think we see before our eyes the scene that is described. Otherwise, it shares the same fate with all feeble attempts towards passionate figures; that of throwing ridicule upon the author, and leaving the reader more cool and uninterested than he was before. The same observations are to be applied to Repetition, Suspension, Correction, and many more of those figurative forms of speech, which rhetoricians have enumerated among the beauties of eloquence. They are beautiful, or not, exactly in proportion as they are native expressions of the sentiment or passion intended to be heightened by them. Let nature and passion always speak their own. language, and they will suggest figures in abundance. But when we seek to counterfeit a warmth which we do not feel, no figures will either supply the defect, or conceal the imposture.

There is one figure (and I shall mention no more) of frequent use among all public speakers, particularly at the bar, which Quintilian insists upon considerably, and calls amplification. It consists in an artful exaggeration of all the circumstances of some object or action which we want to place in a strong light, either a good or a bad one, It is not so properly one figure, as the skilful management of several which we make to tend to one point. It may be carried on by a proper use of magnifying or extenuating terms, by a regular enumeration of particulars, or by throwing together, as into one mass, a crowd of circumstances; by suggesting comparisons also with things of a like nature. But the principal instrument by which it works, is by a climax, or a gradual rise of one circumstance above another, till our ideas be raised to the utmost. I spoke formerly of a climax in sound; a climax in sense, when well carried on, is a figure which never fails to amplify strongly. The common example of this, is that noted passage in Cicero, which every school-boy knows: Facinus est vincire civem Romanum; scelus verberare, prope parricidium, necare; quid dicam in crucem tollere?'* I shall give an instance from a printed pleading of a famous Scotch lawyer, Sir George M'Kenzie. It is in a charge to the jury, in the case of a woman accused of murdering her own child. Gentlemen, if one man had any how slain another, if an adversary had killed his opposer, or a woman occasioned the death of her enemy, even these criminals would have been capitally punished by the Cornelian law: but, if this guiltless infant, who could make no enemy, had been murdered by its own nurse, what punishments would not then the mother have demanded? With what cries and exclamations would

It is a crime to put a Roman citizen in bonds; it is the height of guilt to scourge him; little less than parricide to put him to death. What name then shall I give to crucifying him?'

she have stunned your ears? What shall we say, then, when a woman, guilty of homicide, a mother, of the murder of her innocent child, hath comprised all those misdeeds in one single crime; a crime, in its own nature detestable; in a woman, prodigious; in a mother, incredible; and perpetrated against one whose age called for compassion, whose near relation claimed affection, and whose innocence deserved the highest favour.' I must take notice, however, that such regular climaxes as these, though they have considerable beauty, have, at the same time, no small appearance of art and study; and, therefore, though they may be admitted into formal harangues, yet they speak not the language of great earnestness and passion, which seldom proceed by steps so regular. Nor, indeed, for the purposes of effectual persuasion, are they likely to be so successful, as an arrangement of circumstances in a less artificial order. For when much art appears, we are always put on our guard against the deceits of eloquence; but when a speaker has reasoned strongly, and, by force of argument, has made good his main point, he may then, taking advantage of the favourable bent of our minds, make use of such artificial figures to confirm our belief, and to warm our minds.

QUESTIONS.

WITH what are we still engaged; [take resemblance in too strict a sense and why do they require a careful dis- for actual similitude and likeness of cussion? Why does our author select appearance? What example to ilonly the capital figures for discussion? lustrate this, is given from Ossian? Of What figures have already been dis- this, what is observed; yet what folcussed? With what does our author lows? How might the likeness have begin; and what is said of it? In a been rendered more strict? But, by former lecture, what was fully explain- founding his simile on the effect which ed? What is a metaphor; and how is Carryl's music produced, what does this illustrated? What is a compari- he give us? In general, what is the son; and what example is given? fundamental requisite of a compart What will this slight instance show? son? In pursuing the simile, what may What is remarked of the pleasure be permitted; but from what must they which we take in comparison; and never deviate? What remark follows? how many sources of it shall we no- But, to be a little more particular, what tice? What is the first source? How two articles do the rules to be given does it appear that this operation of the concerning comparisons, respect? From mind is naturally and universally what has already been said of compaagreeable? What is the second source risons, what appears? Of what are whence this pleasure arises? And they the language? Why is strong pas what is the third? Under what two sion too severe to admit this play of heads may all comparisons whatever fancy? What, therefore, is one of the be reduced; and why? How exten-greatest faults that an author can comsively may explaining comparisons be mit? Of metaphorical expressions in used? How is this remark illustrated; such a situation, what is observed? and what example is given? In com- But what is altogether a stranger to parisons of this nature, what faculty is passion; and why? What writers are most employed; and, therefore, what very apt to err here; and what indiare the only rules to be observed in viduals are mentioned? In Mr. Addithem? Of embellishing comparisons, son's Cato, what instance is mentioned? what is here observed? What was be- Repeat the passage. Of what must fore mentioned as the foundation of this every one here be sensible? However, figure? Why must we not, however, as comparison is not the style of strong

passage. In

passion, what follows? It is a figure of presentation? Repeat the what kind; what does it require; and order to render an antithesis more comwhy? Where does the proper place of plete, what is always of advantage? comparison lie? Of this field, what is How does this lead us the more to reobserved? But even here, of what must mark the contrast? Their resemblance we take care; and why? Even in poe- to each other, in certain circumstances, try, how should similes be used; and produces what effect? At the same why with much more in prose? To time, on the frequent use of the antiwhat does our author next proceed? thesis, what is observed? What senIn the first place, from what object tences from Seneca are here introshould they not be drawn; and why? duced? Why does a maxim, or moral In pointing out what, is there little art saying, properly receive this form? or ingenuity? What illustrations of But when is an author's style faulty? these remarks are given from Milton? How does such a style appear; and Among similes, faulty through too what impression does it give us? Of Dr. great obviousness of the likeness, we Young, what is here observed; and must likewise rank those taken from from his writings, what instances of what objects? What examples are this are given? Of this style, what is given; and what writers use them? observed; and by what are we faIn whom had these comparisons beau- tigued? What other sort of antithesis ty; and why? At present, what is is there? In it, what may be shown; their effect; and what remark follows? but to what only does it belong? What What is the difference, in this respect, instance of happy antithesis is here introbetween a mere versifier, and an au- duced from Mr. Pope? In what does thor of real fancy? From what objects, the point of an epigram principally in the second place, ought not compari- consist? Comparisons and antitheses sons to be drawn; and why not? are figures of what nature; and of What is also to be observed? What what are they the productions? What practice is directly opposite to the de- kind of figures are interrogations and sign of this figure? This is what au- exclamations? Why is their use exthor's common fault; and of his com-tremely frequent; and where do they parisons, generally, what is observed ? prevail as much as in the most sublime In the third place, from what objects oratory? What is the literal use of inshould comparisons never be drawn? terrogation; and when is it used as a What says Quintilian on this subject? figurative expression? What is thereWhat comparisons, therefore, attain by expressed; and what appeal is not their proper effect? From what made? What example is given from objects should they be taken? This the scriptures? What example is also leads our author to remark what fault? given from Demosthenes' address to Whence did the ancients take their simi- the Athenians? What is said of it? les; and hence, what follows? Of the adoption of these images by the moderns, what is observed? How is this remark illustrated? Every country has what; and what follows? In the fourth place, what only has our author to observe? Why should they not? Whose comparisons have been taxed on this account; but why without reason? What remark follows?

When may interrogations often be applied with propriety? But to what only do exclamations belong? By means of what do all passionate figures of speech operate upon us; and of it, what is observed? Hence, by a single person, what effect may be produced; and what effect does it also produce on a great crowd? When interrogations and exclamations are properly used, to what do they dispose us; and why? From this, what follows? With inter

What figures has our author now considered? Of those that remain to be mentioned, what is observed? What rogations, what may he use; and why? is the difference between comparison But with respect to exclamations, why and antithesis? Contrast has always must he be more reserved? What do what effect; and what instance is juvenile writers imagine? But what is given? For what purpose, therefore, their effect? How is this illustrated; may antithesis be employed, on many and hence, what is our author inclined occasions, to advantage? Thus Cicero, to think? What remark follows? Why in his oration for Milo, makes what re- is this the case? What other contri

ANALYSIS.

1. Comparison.

vance, which is much akin to this, is may it be carried on? What is the prinpractised by some writers? What may cipal instrument by which it works? this be called? What other custom, What is the effect of climax in sense, which prevailed some time ago, is un-when well carried on? What example worthy of imitation? Though on some is given from Cicero? What one from occasions they may be very proper, a pleading of Sir George M'Kenzie? yet, to what danger are we exposed by Of what must our author take notice, carrying them too far? If the sense relative to such regular climaxes; and point not out the most emphatical ex- why? pressions, what will give but little assistance; and accordingly, what course have the most masterly writers latterly pursued? What is the next figure of speech mentioned; what is meant by it; and when only should it be used? What example is given from Cicero ? What does this manner of description suppose; and when well executed, what is its effect? But, in order to a successful examination of it, what does it require? Otherwise, what fate will it share? To what other figures of speech are the same observations applicable; and in what proportion 2. Antithesis. are they beautiful? What remark fol- 3. Interrogation. lows? What is the last figure of speech 4. Exclamation... mentioned; and in what does it con- 5. Vision. sist? Of it, what is observed; and how 6. Amplification.

A. Explaining comparisons.
B. Embellishing comparisons.
Rules concerning comparisons.
A. Obviousness of resemblance should
be avoided.

B. The likeness should not be too re-
mote.

c. They should not be drawn from unknown objects.

D. They should not be taken from low or mean objects.

LECTURE XVIII.

FIGURATIVE LANGUAGE.-GENERAL CHARACTERS OF STYLE.-DIFFUSE, CONCISE, FEEBLE, NERVOUS.-DRY, PLAIN, NEAT, ELEGANT, FLOWERY. HAVING treated at considerable length of the figures of speech, of their origin, of their nature, and of the management of such of them as are important enough to require a particular discussion, before finally dismissing this subject, I think it incumbent on me to make some observations concerning the proper use of figurative language in general. These, indeed, I have, in part, already anticipated. But as great errors are often committed in this part of style, especially by young writers, it may be of use that I bring together, under one view, the most material directions on this head.

I begin with repeating an observation, formerly made, that neither all the beauties, nor even the chief beauties of composition, depend upon tropes and figures. Some of the most sublime and most pathetic passages of the most admired authors, both in prose and poetry, are expressed in the most simple style, without any figure at all; instances of which I have before given. On the other hand, a composition may abound with these studied ornaments; the language may be artful, splendid, and highly figured, and yet the composition be on the whole frigid and unaffecting. Not to speak of sentiment and thought, which constitute the real and lasting merit of any work, it the style be stiff and affected, if it be deficient in perspicuity or pre

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