ascribed to the other; as, 'Thy word is a lamp unto my feet.'

The following rules ought to be observed in the use of metaphors:

I. Metaphors should be suited to the nature of the subject of which we treat, being neither too numerous, too gay, nor too elevated. II. Metaphors should never be drawn from objects which are mean or disagreeable.

III. Metaphors should be founded on points of resemblance, which are neither far-fetched, nor difficult to be discovered.

IV. Metaphors should be expressed in simple and appropriate language.

V. Metaphors should not be mixed together in the same sentence, nor crowded on the same object.

VI. Metaphorical and plain language should not be so interwoven, that part of a sentence must be understood figuratively, and part literally.

VII. Metaphors should not be too far pursued.

Express the following ideas in metaphorical language:

EXAMPLE.

It was now growing dark, and objects could not be distinctly seen in the twilight.

Now came still ev'ning on, and twilight grey
Had in her sober liv'ry all things clad.

EXERCISES.

1. The water of the lake was without motion.

2. He could not be seen on account of the darkness of the night.

3. The grass grows in the meadows in spring, and summer soon succeeds.

4. There are scenes in nature, which are pleasant when we are sad, as well as when we are cheerful.

5. The number of people who are alive, is small compared with those who have died.

6. Wise men may suffer hardships in the present world, and foolish persons must find trouble.

7. Perfect taste knows how to unite nature with art, without destroying the simplicity of nature in the connexion.

SECTION II.

COMPARISON.

Comparison, or Simile, is a figure founded on the resemblance of two objects, the one being likened to the other; as, 'The actions of princes are like those great rivers, the course of which every one beholds, but the springs of which have been seen by few.'

The following rules ought to be observed in the use of comparison :

I. Comparisons should not be drawn between objects, the resemblance of which to one an

other is either too near and obvious, or too remote and faint.

II. Comparisons should not be drawn from images which are disagreeable or profane.

III. Comparisons, when used for the purpose of illustration, should be taken from objects better known than those to be explained.

IV. Comparisons, when used for embellishment, should be drawn from objects that are important and dignified.

Find comparisons for the following objects:

A troubled conscience.

EXAMPLE.

A troubled conscience is like the ocean when ruffled by a storm.

EXERCISES.

1. A virtuous man slandered by evil tongues.

2. Mournful yet pleasant music.

3. An elevated genius employed in little things.

4. Hope and fear alternately swaying the mind.

5. He who has no opinion of his own, and the man of decision. 6. A mind formerly settled in its principles, disturbed by doubt. 7. The death of the virtuous man.

SECTION III.

ALLEGORY.

Allegory is a figure founded on resemblance, one subject being represented by another analogous to it; as in the following passage from the 80th Psalm, in which the people of Israel are represented under the image of a vine:

'Thou hast brought a vine out of Egypt; thou hast cast out the heathen, and planted it. Thou preparedst room before it, and didst cause it to take deep root, and it filled the land. The hills were covered with the shadow of it, and the boughs thereof were like the goodly cedars. She sent out her boughs unto the sea, and her branches unto the river. Why hast thou then broken down her hedges, so that all which pass by the way do pluck her? The boar out of the wood doth waste it, and the wild beast of the field doth devour it. Return, we beseech thee, O God of hosts; look down from heaven, and behold, and visit this vine.'

The principal rule to be observed in conducting an allegory, is, that the figurative and literal meaning be not inconsistently mingled.

Represent the following subjects by allegories:

EXAMPLE.

Luxury and Avarice.

There were two very powerful tyrants engaged in perpetual war against each other, one of whom was named Luxury, and the other

Avarice. The aim of each was nothing less than universal monarchy over the hearts of mankind. Luxury was entirely guided by the advice of Plenty; Avarice conducted himself by the counsels of Poverty. While these two great rivals were contending for empire, their conquests were very various. Luxury got possession of one heart, and Avarice of another. The father of a family would often range himself under the banners of Avarice, and the son under those of Luxury. The wife and husband would frequently declare themselves on opposite sides; nay, the very same person would sometimes join with the one in his youth, and revolt to the other in his old age. The wise men of the world, indeed, took part with neither; but, alas! their numbers were not considerable. At length, when the two potentates had wearied themselves with waging war upon one another, they held a private interview, at which they agreed upon this preliminary to an accommodation, that each of them should immediately dismiss his privy counsellor. When things were thus far adjusted towards a peace, all other differences were easily settled; insomuch, that for the future they resolved to live as good friends and confederates. For this reason, we now find Luxury and Avarice generally taking possession of the same heart.

1. Truth and Falsehood.

EXERCISES.

2. Diligence and Idleness.

3. Prudence saves from many a misfortune; Pride causes many. 4. Modesty and Assurance.

5. Emulation and Envy.

6. Virtue is to be attained only by labour, difficulty, and wise counsel.

7. Human life a voyage.

SECTION IV.

PERSONIFICATION.

Personification, or Prosopopoeia, is that figure by which life and action are attributed to inanimate objects; as, 'What ailed thee, O thou sea, that thou fleddest?' There are three degrees in personification, namely,I. When some of the properties or qualities of living

/ Duel 110 II Indirect

FIGURATIVE LANGUAGE.

creatures are ascribed to inanimate objects; as, "The thirsty ground;' 'The angry ocean.' II. When inanimate objects are represented as acting like living creatures; as, 'The mountains skipped like rams, and the little hills like lambs.’ III. When inanimate objects are represented either as speaking to us, or as listening when we address them; as,

'Ask we for flocks these shingles dry,
And well the mountain might reply,
To you, as to your sires of yore,
Belong the target and claymore."

'Ye hills and dales, ye rivers, woods, and plains,
Tell, if ye saw, how came I thus, how here?'

The principal rule to be observed in the use of this figure, is, that we should not deck the objects personified with fantastic and trifling circumstances.

I. Personify the following subjects in the first degree:

Waves; rain.

EXAMPLES.

The hungry waves; the joyous rain.

EXERCISES.

1. A brook; a waterfall; the wind; a tempest; time; fortune; adversity.

2. The earth; the woods; the mountains ; the sun; the moon; the stars; science; art; industry.

3. Spring; summer; autumn; winter; heat; fire; an earthquake; cold; snow; hail; frost; ice.

4. Idleness; mirth; folly; intemperance; pleasure; pain; disease; death; the grave; charity; hope; faith; joy.

II. Personify the following subjects in the second degree :

He drew his sword.

EXAMPLE.

The sword leapt from its scabbard.