rative sense, the metaphor is commonly ranked among tropes or figures of words. But, provided the nature of it be well understood, it signifies very little whether we call it a figure or a trope. I have confined it to the expression of resemblance between two objects. I must remark, however, that the word metaphor is sometimes used, in a looser and more extended sense, for the application of a term in any figurative signification, whether the figure be founded on resemblance, or on some other relation which two objects bear to one another. For instance, when grey hairs are put for old age, as, "to bring one's grey hairs with sorrow to the grave;" some writers would call this a metaphor, though it is not properly one, but what rhetoricians call a metonymy; that is, the effect put for the cause,

66

66

grey hairs" being the effect of old age, but not bearing any sort of resemblance to it. Aristotle, in his Poetics, uses metaphor in this extended sense, for any figurative meaning imposed upon a word; as a whole put for the part, or a part for a whole; a species for the genus, or a genus for the species. But it would be unjust to tax this most acute writer with any inaccuracy on this account; the minute subdivisions, and various names of tropes, being unknown in his days, and the invention of later rhetoricians. Now, however, when these divisions are established, it is inaccurate to call every figurative use of terms, promiscuously, a metaphor.

Of all the figures of speech, none comes so near to painting as metaphor. Its peculiar effect is to give light and strength to description; to make intellectual ideas, in some sort, visible to the eye, by giving them colour, and substance, and sensible qualities. In order to produce this effect, however, a delicate hand is required; for, by a very little inaccuracy, we are in hazard of introducing confusion, in place of promoting perspicuity. Several rules, therefore, are necessary to be given for the proper management of metaphor. But, before entering on these, I shall give one instance of a very beautiful metaphor, that I may shew the figure to full advantage. I shall take my instance from Lord Bolingbroke's Remarks on the History of England. Just at the conclusion of his work, he is speaking of the behaviour of Charles I. to his last parliament: "In "a word," says he, "about a month after their "meeting, he dissolved them; and, as soon as he "had dissolved them, he repented; but he re

pented too late of his rashness. Well might he "repent, for the vessel was now full, and this last

66

drop made the waters of bitterness overflow." “Here,” he adds, "we draw the curtain, and put "an end to our remarks." Nothing could be more happily thrown off. The metaphor, we see, is continued through several expressions. The vessel is put for the state or temper of the nation already full, that is, provoked to the highest by former oppressions and wrongs; this last drop,

stands for the provocation recently received by the abrupt dissolution of the parliament; and the overflowing of the waters of bitterness, beautifully expresses all the effects of resentment let loose by an exasperated people.

On this passage we may make two remarks im passing. The one, that nothing forms a more spirited and dignified conclusion of a subject, than a figure of this kind happily placed at the close. We see the effect of it in this instance. The author goes off with a good grace; and leaves a strong and full impression of his subject on the reader's mind. My other remark is, the advantage which a metaphor frequently has above a formal comparison. How much would the sentiment here have been enfeebled, if it had been expressed in the style of a regular simile, thus: "Well might he repent; for the state of the na"tion, loaded with grievances and provocations, "resembled a vessel that was now full, and this

66

superadded provocation, like the last drop infused, made their rage and resentment, as waters "of bitterness, overflow." It has infinitely more spirit and force as it now stands, in the form of a metaphor. "Well might he repent; for the ves"sel was now full; and this last drop made the "waters of bitterness overflow."

Having mentioned, with applause, this instance from Lord Bolingbroke, I think it incumbent on.

me here to take notice, that though I may have recourse to this author sometimes for examples of style, it is his style only, and not his sentiments, that deserve praise. It is, indeed, my opinion, that there are few writings in the English language, which, for the matter contained in them, can be read with less profit or fruit than Lord Bolingbroke's works. His political writings have the merit of a very lively and eloquent style; but they have no other; being, as to the substance, the mere temporary productions of faction and party; no better, indeed, than pamphlets written for the day. His Posthumous, or, as they are called, his Philosophical Works, wherein he attacks religion, have still less merit; for they are as loose in the style as they are flimsy in the reasoning. An unhappy instance, this author is, of parts and genius so miserably perverted by faction and passion, that as his memory will descend to posterity with little honour, so his productions will soon pass, and are, indeed, already passing into neglect and oblivion.

Returning from this digression to the subject before us, I proceed to lay down the rules to be observed in the conduct of metaphors; and which are much the same for tropes of every kind.

The first which I shall mention is, that they be suited to the nature of the subject of which we treat; neither too many, nor too gay, nor too elevated for it: that we neither attempt to force

the subject, by means of them, into a degree of elevation which is not congruous to it; nor, on the other hand, allow it to sink below its proper dignity. This is a direction which belongs to all figurative language, and should be ever kept in view. Some metaphors are allowable, nay, beautiful in poetry, which it would be absurd and unnatural to employ in prose; some may be graceful in orations, which would be very improper in historical or philosophical composition. We must remember, that figures are the dress of our sentiments. As there is a natural congruity between dress and the character or rank of the person who wears it, a violation of which congruity never fails to hurt; the same holds precisely as to the application of figures to sentiment. The excessive or unseasonable employment of them is mere foppery in writing. It gives a boyish air to composition; and, instead of raising a subject, in fact diminishes its dignity. For, as in life, true dignity must be founded on character, not on dress and appearance, so the dignity of composition must arise from sentiment and thought, not from ornament. The affectation and parade of ornament detract as much from an author as they do from a man. Figures and metaphors, therefore, should, on no occasion, be stuck on too profusely; and never should be such as refuse to accord with the strain of our sentiment. Nothing can be more unnatural, than for a writer to carry on a train of reasoning, in the same sort of figurative language which he would use in description. When he reasons, we look