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ing; the interpretation not so directly pointed out, but left to our own reflection.

Allegories were a favourite method of delivering instructions in ancient times; for what we call fables or parables, are no other than allegories; where, by words and actions attributed to beasts or inanimate objects, the dispositions of men are figured; and what we call the moral, is the unfigured sense or meaning of the allegory. An ænigma, or riddle, is also a species of allegory; one thing represented or imagined by another; but purposely wrapt up under so many circumstances, as to be rendered obscure. Where a riddle is not intended, it is always a fault in allegory to be too dark. The meaning should be easily seen through the figure employed to shadow it. However, the proper mixture of light and shade in such compositions, the exact adjustment of all the figurative circumstances with the literal sense, so as neither to lay the meaning too bare and open, nor to cover and wrap it up too much, has ever been found an affair of great nicety; and there are few species of composition in which it is more difficult to write so as to please and command attention, than in allegories. In some of the visions of the Spectator, we have examples of allegories very happily executed.

QUESTIONS.

AFTER the preliminary observations | metaphor more nearly approach than made relating to figurative language any other figure; and what is its pecuin general, of what does our author liar effect? In order to produce this efcome to treat? With which does he fect, what is required; and why? begin; and on what is it founded? What, therefore, is necessary? But beHence, of it, what is observed? How fore entering on these, what does our is this remark illustrated? Of the com- author propose to do; and why? parison betwixt the minister and a pil- Whence is the instance taken? Refar, what is remarked? This, therefore, peat it. Of it, what is observed? On is what; and how does it affect the fan- this passage, what two remarks are cy? Of the mind, when thus employed, made? By what arrangement would what is observed? At what, therefore, the sentiment have been enfeebled? need we not be surprised; and what Having mentioned with applause this remark follows? How is this illustrated, instance from Lord Bolingbroke, what from the words here casually employ- does our author think it incumbent on ed? Why is the metaphor commonly him here to notice? Of his writings, ranked among tropes, or figures of what is our author's opinion? What thought? But provided the nature of it merit have his political writings? Of be well understood, what matters but his philosophical works, what is ob little; and to what has our author con- served? Of what is this author an unfined it? In what sense, however, is happy instance? Returning from this the word metaphor sometimes used? digression, to what does our author proFrom what example is this illustrated; ceed? What is the first? Of this diand of it, what is observed? How does rection, what is observed? How is this Aristotle, in his Poetics, use metaphor? illustrated? What must we remember? But to tax him with what, would be What remark follows? Of the excesunjust; and why? Now, however, sive employment of them, what is obwhat is inaccurate? To what does served? What air does it give to com

position; and how does this appear? As rule which Horace applies to characthe affectation and parade of ornament ters, what is observed? Repeat it; and detract as much from an author as they also Mr. Pope's lines addressed to the do from a man, what follows? What King? Of the latter, what is observed? is most unnatural? For what do we re- What is said of the works of Ossian? spectively look, when he reasons, when What examples are given? What do he describes, or when he relates? What they, however, afford; and what is it? is one of the greatest secrets in compo- Of the metaphor in this passage, what sition? What does this give? What is is observed? If it be faulty to jumble the effect of a right disposition of the together metaphorical and plain lanshade? What says Cicero on this sub-guage, what, in the fifth place, is still ject? By whom should this admonition more so? What is this called; and be attended to? What does the second what is said of it? What instance is rule given, respect? How extensive is given? What does this make? What the field of figurative language? says Quintilian on this subject? What What objects may be introduced into example is given from Shakspeare's figures with propriety? But of what Tempest; and of it, what is observed? must we beware; and even when? In What one is given from Romeo and what subjects is it an unpardonable Juliet? Here, how is the angel reprefault to introduce mean and vulgar sented? What inaccuracy of the same metaphors? What do we find in the kind is given from Mr. Addison; and treatise on the Art of Sinking, in Dean what is observed of it? What does the Swift's works? Authors of what cha- same author, in one of his numbers of racter, have fallen into this error? the Spectator, say; and of it, what is What instance is given? Of Shaks- observed? In what passages is Horace peare, what is here observed? What also incorrect; and what is said of example is given from his Henry V.? them? What illustration of this rule is In the third place, about what should given from Mr. Pope? What good rule particular care be taken? The trans- has been given for examining the progression of this rule, makes what; and priety of a metaphor? By this means, what is said of them? Who abounds with of what should we become sensible? metaphors of this kind? What did he, As metaphors ought never to be mixed, and some of the writers of his age, seem so, in the sixth place, what should we to consider the perfection of wit? This avoid? How may they produce a conmakes a metaphor resemble what; fusion of the same kind with the mixand is the reverse of what rule? Re-ed metaphor? By what passage from peat the following verses from Cowley, Horace may we judge of this? To in which he is speaking of his mis- what is the harshness and obscurity of tress; and also his address to sleep. this passage owing? What are they? What should be avoided in our meta- In what does the mind here find diffiphors? What is a beauty? When culty? What is the only other rule have metaphors the disadvantage of which is to be given concerning metaappearing laboured; and when do phors? How shall we weary the fanthey lose their whole grace? What cy, and render our discourse obscure? paliative do writers sometimes use for What is this called? To what is this a harsh metaphor; and what is said of error in Cowley owing? Of Lord it? What metaphors are almost al-Shaftesbury, what is observed? What ways faulty by their obscurity?

In the fourth place, what must be carefully attended to? What does a violation of this direction always produce? What will make this rule, and the reason of it, clearly understood? What is the first one given? Here, in one line, her son is made to appear like what; and what does he return to be in the next? To what should the poet have kept himself? To do what was he not at liberty; and why? Of the

illustration is given? Of the merit of Dr. Young in figurative language, what is remarked? Of his metaphors, and of his imagination, what is observed? Hence, in his Night Thoughts, what prevails? What is said of the metaphors? In the following metaphor, what may we observe? Repeat it. Speaking of old age, what does he say, and what is remarked of this passage? How does Mr. Addison, in metaphorical language, compare with other

ANALYSIS.

A. The metaphor and the comparison contrasted.

B. The peculiar properties of the metaphor.

c. Rules for the conduct of metaphors. a. They should be suited to the subject.

b. They should be drawn from objects of dignity.

c. The resemblance should be clear and perspicuous.

English authors? How does his imagi-
nation compare with that of Dr. Young? 1. Metaphor.
What always distinguish his figures?
Of what has our author now treated
fully; and, as a part of style, what is
observed of it? How may an allegory
be regarded; and why? What exam-
ple is given from Prior? What very
fine example of this figure may we
take from scripture? Here, what is
not found? What is the first and prin-
cipal requisite in the conduct of an al-
legory? How is this illustrated? What
rules may be applied to allegories?
What is the only material difference
between them? What illustration is
given? How does it appear that alle-
gories were a favourite method of de-
livering instructions in ancient times?
What is an ænigma, or riddle? Where
a riddle is not intended, what follows?
What has ever been an affair of great
nicety; and what is the consequence? 2.
Where have we examples of allego-
ries very happily executed?

d. Metaphorical and plain lan-
guage should not be jumbled to-
gether.

e. Two metaphors should not
meet on the same object.
f. They should not be crowded to-
gether on the same object.
g. They should not be too far pur-
sued.

Allegory.

A. Its nature.

B. Fables and ænigmas.

LECTURE XVI.

HYPERBOLE.

PERSONIFICATION.-APOSTROPHE.

THE next figure concerning which I am to treat, is called hyperbole, or exaggeration. It consists in magnifying an object beyond its natural bounds. It may be considered sometimes as a trope, and sometimes as a figure of thought: and here, indeed, the distinction between these two classes begins not to be clear, nor is it of any importance that we should have recourse to metaphysical subtilties, in order to keep them distinct. Whether we call it trope or figure, it is plain that it is a mode of speech which hath some foundation in nature. For in all languages, even in common conversation, hyperbolical expressions very frequently occur: as swift as the wind; as white as the snow; and the like: and our common forms of compliment are almost all of them extravagant hyperboles. If any thing be remarkably good or great in its kind, we are instantly ready to add to it some exaggerating epithet; and to make it the greatest or best we ever saw. The imagination has always a tendency to gratify itself, by magnifying its present object, and carrying it to excess. More or less of this hyperbolical turn will prevail in language, according to the liveliness of imagination among the people who speak it. Hence, young people deal always much in hyperboles. Hence, the language of the orientals was far more hyperbolical than that of the Europeans, who are of more phlegmatic, or, if you please, of more correct imagination. Hence, among all wri

ters in early times, and in the rude periods of society, we may ex pect this figure to abound. Greater experience, and more cultivated society, abate the warmth of imagination, and chasten the manner of expression.

The exaggerated expressions to which our cars are accustomed in conversation, scarcely strike us as hyperboles. In an instant we make the proper abatement, and understand them according to their just value. But when there is something striking and unusual in the form of a hyperbolical expression, it then rises into a figure of speech which draws our attention: and here it is necessary to observe, that, unless the reader's imagination be in such a state as disposes it to rise and swell along with the hyperbolical expression, he is always hurt and offended by it. For a sort of disagreeable force is put upon him; he is required to strain and exert his fancy, when he feels no inclination to make any such effort. Hence the hyperbole is a figure of difficult management; and ought neither to be frequently used, nor long dwelt upon. On some occasions, it is un doubtedly proper; being, as was before observed, the natural style of a sprightly and heated imagination; but when hyperboles are unseasonable, or too frequent, they render a composition frigid and unaffecting. They are the resource of an author of feeble imagina tion; of one, describing objects which either want native dignity in themselves, or whose dignity he cannot show by describing them simply, and in their just proportions, and is therefore obliged to rest upon tumid and exaggerated expressions.

Hyperboles are of two kinds; either such as are employed in description, or such as are suggested by the warmth of passion. The best by far, are those which are the effect of passion: for if the imagination has a tendency to magnify its objects beyond their natural proportion, passion possesses this tendency in a vastly stronger degree; and therefore not only excuses the most daring figures, but very often renders them natural and just. All passions, without exception, love, terror, amazement, indignation, anger, and even grief, throw the mind into confusion, aggravate their objects, and of course, prompt a hyperbolical style. Hence the following sentiments of Satan in Milton, as strongly as they are described, contain nothing but what is natural and proper; exhibiting the picture of a mind agitated with rage and despair.

Me, miserable! which way shall I fly
Infinite wrath, and infinite despair?
Which way I fly is hell, myself am hell,
And in the lowest depth, a lower deep
Still threat'ning to devour me, opens wide,
To which the hell I suffer scems a heaven.

B. iv. 1. 73.

In simple description, though hyperboles are not excluded, yet they must be used with more caution, and require more preparation, in order to make the mind relish them. Either the object described must be of that kind, which of itself seizes the fancy strongly, and disposes it to run beyond bounds; something vast, surprising, and new; or the writer's art must be exerted in heating fancy gradually, and preparing it to think highly of the object

which he intends to exaggerate. When a poet is describing an earthquake or a storm, or when he has brought us into the midst of a battle, we can bear strong hyperboles without displeasure. But when he is describing only a woman in grief, it is impossible not to he disgusted with such wild exaggeration as the following, in one of our dramatic poets;

-I found her on the floor

In all the storm of grief, yet beautiful;

Pouring forth tears at such a lavish rate,

That were the world on fire, they might have drown'd
The wrath of Heaven, and quench'd the mighty ruin.

LEE.

This is mere bombast. The person herself who was under the distracting agitations of grief, might be permitted to hyperbolize strongly; but the spectator describing her, cannot be allowed an equal liberty; for this plain reason, that the one is supposed to utter the sentiments of passion, the other speaks only the language of description, which is always, according to the dictates of nature, on a lower tone: a distinction, which, however obvious, has not been attended to by many writers.

How far a hyperbole, supposing it properly introduced, may be safely carried without overstretching it; what is the proper measure and boundary of this figure, cannot, as far as I know, be ascertained by any precise rule. Good sense and just taste must determine the point, beyond which, if we pass, we become extravagant. Lucan may be pointed out as an author apt to be excessive in his hyperboles. Among the compliments paid by the Roman poets to their Emperors, it had become fashionable to ask them, what part of the heavens they would choose for their habitation, after they should have become gods? Virgil had already carried this sufficiently far in his address to Augustus.

-Tibi brachia contrahit ingens

Scorpius, et Cœli justâ plus parte relinquit."

But this did not suffice Lucan. Resolved to outdo all his predecessors, in a like address to Nero, he very gravely beseeches him not to choose his place near either of the poles, but to be sure to occupy just the middle of the heavens, lest, by going either to one side or the other, his weight should overset the universe:

Sed neque in Arctoo sedem tibi legeris orbe,
Nec polus adversi calidus qua mergitur Austri;
Etheris immensi partem si presseris unam
Sentiet axis onus. Librati pondera Cœli
Orbe tene medio.t

*The Scorpion, ready to receive thy laws,
Yields half his region, and contracts his paws.'
+ 'But oh! whatever be thy Godhead great,
Fix not in regions too remote thy seat;
Nor deign thou near the frozen bear to shine,
Nor where the sultry southern stars decline.
Press not too much on any part the sphere,
Hard were the task thy weight divine to bear;
Soon would the axis feel th' unusual load,

PHARS. I. 53.

DRYDEN.

And, groaning, bend beneath th' incumbent God;
O'er the mid orb more equal shalt thou rise,
And with a juster balance fix the skies.

Rowz.

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