Page images
PDF
EPUB

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 imaged 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.

224

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 writers in early times, and in the rude periods of society, we may expect 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 ears are accustomed in conversation, scarcely strike us as Hyperboles. In

[ocr errors]

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 undoubtedly 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 imagination; of one, describing objects which either want native dignity in themselves; or whose dignity he cannot shew 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 ob-, jects 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
lufinite 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 seems a heaven.
FF

B. iv. l. 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 the 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 be 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.

LIE.

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, & Cœli justa plus parte relinquit.*

Georg. I.

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 on one side or the other, his weight should overset the universe:

Sed neque in Aretoo sedem tibi legeris orbe,
Nec polus adversi calidus qua mergitur austri ;
Ætheris immensi partem si presseris unam
Sentiet axis onus. Librati pondera Cœli

[merged small][ocr errors][merged small]

Such thoughts as these, are what the French call outrés, and always proceed from a false fire of genius. The Spanish and African writers, as Tertullian, Cyprian, Agustin, are remarked for being fond of them. As in that Epitaph on Charles V. by a Spanish writer:

Pro tumulo ponas orbem, pro tegmine cœlum,
Sidera pro facibus, pro lacrymis maria.

Sometimes they dazzle and impose by their boldness; but whereever reason and good sense are so much violated, there can be no true beauty. Epigrammatic writers are frequently guilty in this respect; resting the whole merit of their epigrams on some extravagant hyperbolical turn; such as the following of Dr. Pitcairn's, upon Holland's being gained from the ocean:

Tellurem fecere Dii; sua littora Belgæ;"
Atque opus immensæ molis utrumque fuit ;
Dii vacuo sparsas glomerarunt æthera terras,✨
Nil ibi quod aperi possit obesse fuit.
At Belgis maria & cœli naturaque rerum -
Obstitit; obstantes hi domuêre Deos.

"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,

DRYDIN

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.

Rows.

« PreviousContinue »