dignity.' And it is observed by Dr. Lawson (Lect. 15,) that 'The truest representations of nature please most. And it is for this reason that figures are agreeable.' And Dr. Blair (speaking of these tropes) says, 'of all the figures of speech none approaches so near to painting, as metaphor. It gives light and strength to description; makes intellectual ideas in some degree visible by giving them color, substance, and sensible qualities.' The proper use of this figure may be secured by a due regard to the following rules. I. The resemblance, on which a metaphor is founded, should be clear and striking. If it be indistinct or obscure, it will perplex and confound instead of enlightening the subject. II. Metaphors should always be derived from subjects familiar to those to whom they are addressed. If, for instance, it were said of a strong man, 'He is an Ajax,' the figure would he unintelligible to a great part of the world. III. All metaphors, intended to dignify, or adorn, should be elevated and pure; free from all indelicate associations. Virgil* is faulty, *Æn. B. 3. v. 575. when he speaks of a burning mountain, vomiting out its bowels, and Dr. Young in the following passage. -the sun, Rude drunkard, rising rosy from the main. Night V. IV. We should guard against a confused. mixture of metaphorical and plain language;· as in the following example from Dr. Young; -The wise shall taste The truths I sing V. We should not combine in the same proposition two metaphors inconsistent with each other. For instance, though we may speak of the passions, either as plants, or as flames, it would be incorrect to say, 'We should eradicate every vicious passion, which has been. enkindled in the heart.' VI. We should not multiply metaphors on the same subject, though in different propo sitions.. The following stanza from a hymn by Mrs. Barbauld, an author generally and justly respected, violates not only this, but the preceding rule. 'Again the Lord of life and light In the second line, are two incompatible figures; and the two figures in the third and fourth lines can hardly meet on elevated ground. ALLEGORY. Allegory is a series or combination of metaphors, adapted one to another, in such a manner, as to make a consistent whole; as in the following example. 'Religion is not the fountain, which plays only in the gardens of the palace, but the rain of heaven, which descends alike upon the enclosures of the rich and the poor, and refreshes the meanest shrub, no less than the fairest flower.' Frisbie. All fictitious history, though not metaphorical, in its component parts, is considered as allegor ical. An allegory may be protracted to an indefinite length, and has always been a favorite mode of communication. It abounds in the holy Scriptures, particularly in the prophetic parts, and in the instructions of our blessed Lord. 1 ALLEGORY. 169 As examples, I would refer the reader to the parable of Nathan, 2 Samuel, Chap. xii, 1—4; to those of our Saviour, Matth. xiii, 3—8; and Luke x, 30-35; xii, 16-20; xv, 11-32; xvi, 19-31; and xviii, 10—13; and to Isaiah v, 1-6; xi, 6-8; and xxxv, 1-10. For instances of this figure in secular writing, see Esop's Fables, Gay's Fables, Spectator No. 183, Rambler No. 30, and Pilgrim's Progress. In allegorical composition the following rules should be observed. 1. Let the subject, with all the component parts of the allegory, be dignified and chaste, in proportion to the dignity and delicacy of the subject and the occasion, to which they are applied.. 2. In an allegory of considerable length, great care is requisite, to render it in all parts consistent with itself.. 3. We should attend carefully to the selection of circumstances, in order to give vivacity to the whole.. 4. An allegory should not proceed far, without developing, in some measure, its meaning or application. It may be too enigmatical. This rule, however, does not apply to prophecies, which are not intended to be understood before they are accomplished, nor to such parables, as involve reproof; which, if immediately understood, would not be received. SIMILE OR COMPARISON. Comparison is nearly allied to the preceding figures; but differs from them in being more formal; and generally more clear. It is commonly expressed by one or more of the particles, like, as, so. Thus, if I say of a man, ‘He is a lion,' it is a metaphor; if I say, 'He is as bold as a lion,' it is a comparison. In the use of this figure the following rules should be regarded. 1. The resemblance between the things compared should be such, as on suggestion may readily appear. 2. We should abstain from those similitudes, which are too notorious, to produce a lively impression.. 3. Long similes should never be introduced into passionate discourse, being wholly unnatural in one, who is strongly excited. |