tween thought and sound; but there is the strongest similarity between the emotion excited by music tender and pathetic, and that excited by the complaint of an unsuccessful lover. When we apply this observation to the present subject, it will appear that in some instances. the sound even of a single word makes an impression. similar to what is produced by the thing which it signifies. Of this description are running, rapidity, impetuosity, precipitation. Brutal manners produce in the spectator an emotion not unlike what is caused by a harsh and rough sound; and hence the beauty of the figurative expression, rugged manners. The word little, being pronounced with a very small aperture of the mouth, has a weak and faint sound, which makes an impression resembling that produced by a diminutive object. This resemblance of effects is still more remarkable where a number of words is connected in the same period. Words pronounced in succession often produce a strong impression and when this impression happens to accord with that made by the sense, we are aware of a complex emotion, peculiarly pleasant; one proceeding from the sentiment, and one from the melody or sound of the words. But the chief pleasure arises from having these two concordant emotions combined in perfect harmony, and conducted in the mind to a full close.

Except those passages in which sound is described, all the examples given by critics of sense being imitated by sound, resolve themselves into a resemblance of effects. Emotions excited by sound and signification may have a mutual resemblance; but sound itself cannot have a resemblance to anything but sound.

After having suggested these general observations, it will be proper to descend to particular examples.

By a number of syllables in succession, an emotion is sometimes raised, similar to that excited by successive motion. In this manner slow motion may be justly imitated in a verse where long syllables prevail, especially with the aid of a slow pronunciation.

Illi inter sese magna vi brachia tollunt.-Virgil.

On the other hand, swift motion is imitated by a succession of short syllables.

Quadrupedante putrem sonitu quatit ungula campum.—Virgil.

By the frequency of its pauses, a line composed of monosyllables makes an impression similar to what is made by laborious interrupted motion.

First march the heavy mules securely slow

O'er hills, o'er dales, o'er crags, o'er rocks they go.-Pope.

With many a weary step, and many a groan,

Up the high hill he heaves a huge round stone.-Broome.

The impression made by rough sounds in succession resembles that made by rough or tumultuous motion; and on the other hand, the impression of smooth sounds resembles that of gentle motion.

Two craggy rocks, projecting to the main,

The roaring wind's tempestuous rage restrain;
Within, the waves in softer murmurs glide,

And ships secure without their hawsers ride.-Pope.

Prolonged motion is well expressed by an Alexandrine verse. The following is an example of slow motion prolonged:

A needless Alexandrine ends the song,

That, like a wounded snake, drags its slow length along.-Pope.

The next example is of forcible motion prolonged:

The waves behind impel the waves before,

Wide-rolling, foaming high, and tumbling on the shore.-Pope.

The last is of rapid motion prolonged:

The huge round stone, resulting with a bound,

Thunders impetuous down, and smokes along the ground.

Broome.

A period consisting mostly of long syllables, that is, of syllables pronounced slowly, produces an emotion. which bears a faint resemblance to that excited by gravity and solemnity. Hence the beauty of the following verse.

Olli sedato respondit corde Latinus.—Virgil.

This enumeration might be extended to a much greater length; but the examples which have been given, may serve as a foundation for the reader's further enquiries.

FIGURATIVE LANGUAGE IN GENERAL.

FIGURES of speech always denote some departure from the simplicity of expression; they enunciate, after a particular manner, the idea which we intend to convey, and that with the addition of some circumstance designed to render the impression more strong and vivid. When I say, "A good man enjoys comfort in the midst of adversity," I express my thoughts in the simplest manner possible. But when I say, "To the upright there ariseth light in darkness," the same sentiment is expressed in a figurative style: a new circumstance is introduced; light is substituted for comfort, and darkness is used to suggest the idea of adversity.

The use of figurative language has been visited with heavy censure by a very distinguished philosopher. "Since wit and fancy," says Locke, "finds easier entertainment in the world than dry truth and real knowledge, figurative speeches, and allusion in language, will hardly be admitted as an imperfection or abuse of it. I confess, in discourses where we seek rather pleasure and delight than information and improvement, such ornaments as are borrowed from them, can scarce pass for faults. But yet, if we would speak of things as they are, we must allow that all the art of rhetoric, besides order and clearness, all the artificial and figurative application of words eloquence hath invented, are for nothing else but to insinuate wrong ideas, move the

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passions, and thereby mislead the judgment; and so indeed are perfect cheat: and therefore however laudable or allowable oratory may render them in harangues and popular addresses, they are certainly, in all discourses that pretend to inform or instruct, wholly to be avoided; and where truth and knowledge are concerned, cannot but be thought a great fault, either of the language or person that makes use of them. What, and how various they are, will be superfluous here to take notice; the books of rhetoric, which abound in the world, will instruct those who want to be informed: only I cannot but observe, how little the preservation and improvement of truth and knowledge is the care and concern of mankind; since the arts of fallacy are endowed and preferred. 'Tis evident how much men love to deceive, and be deceived, since rhetoric, that powerful instrument of error and deceit, has its established professors, is publicly taught, and has always been had in great reputation: and I doubt not, but it will be thought great boldness, if not brutality in me to have said thus much against it. Eloquence, like the fair sex, has too prevailing beauties in it, to suffer itself ever to be spoken against. And 'tis in vain to find fault with those arts of deceiving, wherein men find pleasure to be deceived."*- This is a degree of severity more than philosophical. The passage seems to involve one obvious fallacy; namely, that eloquence must always be exerted in a bad cause: for if rhetoric is a powerful instrument of error and deceit, it must also be a powerful instrument of truth and justice. From ⚫ the writings of Locket himself, figurative language is by no means excluded; and in this very passage we find him making a skilful use of comparison, one of the figures of rhetoric.

Though figures imply a deviation from what may be

* Locke's Essay concerning Human Understanding, book iii. chap. x. + What could be more beautiful than the following passage from the Essay on the Human Understanding:-"Thus the ideas, as well as children of our youth, often die before us; and our minds represent to us those tombs to which are approaching, where, though the brass and marble remain, yet the inscriptions are effaced by time and the imagery moulders away."

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reckoned the most simple form of speech, we are not thence to infer that they imply anything uncommon or unnatural. This is so far from being the case, that, on many occasions, they are both the most natural, and the most common method of uttering our sentiments. It is impossible to compose any discourse without making frequent use of them; and there are indeed few sentences of any length which do not include some expression that may be termed figurative. Figures are, therefore, to be accounted part of that language which nature dictates to mankind: they are not the invention of the schools, nor the mere product of study; on the contrary, the most illiterate speak in figures, as often perhaps as the most learned. Whenever the imagination of the vulgar is powerfully awakened, or their passions highly inflamed, they will pour forth a torrent of figurative language, as forcible as could be employed by the most artificial declaimer.

"When we attend," says Dr. Ferguson, "to the language which savages employ on any solemn occasion, it appears that man is a poet by nature. Whether at first obliged by the mere defects of his tongue, and the scantiness of proper expressions, or seduced by a pleasure of the fancy in stating the analogy of its objects, he clothes every conception in image and metaphor. We have planted the tree of peace,' says an American orator; we have buried the axe under its roots we will henceforth repose under its shade; we will join to brighten the chain that binds our nations together.' Such are the collections of metaphor which those nations employ in their public harangues. They have likewise already adopted those lively figures, and that daring freedom of language, which the learned have afterwards found so well fitted to express the rapid transitions of the imagination, and the ardours of a passionate mind."

Bishop Percy has thus stated the prevalence of metaphorical language in the ancient poets of the north: "That daring spirit and vigour of imagination which distinguished the northern warriors, naturally