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are also allowed, in many cases, to employ less general terms than are exactly "appropriate," by a figure called synecdoche. To illustrate this point, Dr. Campbell has cited the passage from one of our Lord's discourses (which are generally of this character), recorded in Luke, xii., 27, 28. "Consider the

lilies how they grow: they toil not, they spin not; and yet, I say unto you, that Solomon, in all his glory, was not arrayed like one of these. If, then, God so clothe the grass, which to-day is in the field, and to-morrow is cast into the oven, how much more will he clothe you?"

Let us here adopt a little of the tasteless manner of modern paraphrasts, by the substitution of more general terms, and let us observe the bad effect of this change. "Consider the flowers, how they gradually increase in size; they do no manner of work, and yet, I declare to you, that no king whatever, in his most splendid habit, is dressed up like them. If, then, God in his providence doth so adorn the vegetable productions which continue but little time upon the land, and are afterward devoted to the meanest uses, how much more will he provide clothing for you?" How spiritless is the same sentiment rendered by these small variations! The very particularizing of to-day and tomorrow is infinitely more expressive of transitoriness, than any description wherein the terms are general, that can be substituted in its room.

CHAPTER XXII.

CRITICAL EXAMINATION OF SENTENCES.

THE author has prepared from Blair's Lectures, and inserted in Part VIII., Chapter ii., of this work, condensed critical remarks on passages from the Spectator of Addison. He would, however, suggest, that Blair's Lectures (the full work) should be in the hands of every teacher, and the critical lectures should be read to students who are aiming to acquire correct literary taste.

He would also suggest that the compositions written by members of the class, the writer's name being concealed, should be freely criticised by the class, when assembled, in respect to the various qualities of style treated on in previous chapters.

CHAPTER XXIII.

OF FIGURATIVE LANGUAGE.

Q. What do you consider the next great requisite of a perspic nous and elegant style!

A. A judicious use of what is called Figurative Language.

Q. In how many different ways may language be employed? A. Chiefly two: the one literal, the other figurative. Q. What do you understand by literal language?

A. Language taken in its common and ordinary signification; as, I am fond of sunshine; this is a sweet evening.

Q. And what by figurative language?

A. Language used in such a way as to excite ideas or feelings different from those which it would produce, if employed in its common and ordinary acceptation; as, "Reason is the sunshine of the soul;" Our friend is now in the evening of life."

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Q. What is the meaning of sunshine and evening in these examples?

A. The one implies that reason has the same effect upon the soul that sunshine has upon the earth; the other, that period when life is drawing to a close.

Q. Why is language of this kind called figurative language? A. Because it exhibits thoughts in a form or manner different from that in which they are usually represented.

Q. On what is figurative language founded?

A. Generally on some resemblance or opposition which one thing is supposed to bear to another.

Q. What constitutes the chief difference between literal and figurative language?

A. Literal language is the language chiefly of science and reason; figurative language, the language principally of passion and imagination.

2. By whom is figurative language used in greatest profusion? A. By rude and savage nations, whose stock of words is remarkably scanty; and by all persons, whether savage or civilized, who possess a quick and lively fancy.

Q. What is the most fertile source of figurative language?

A. The application of words that denote sensible objects, for the purpose of expressing the various qualities and operations of the mind.

Q. What, therefore, is the general character of language used to denote mental objects?

A. It is in general highly figurative; though to this circumstance we are so accustomed, that we often pass it without observing it to be so.

Q. Can you give examples of this?

A. A clear head, a hard heart, a piercing judgment; inflamed by passion, puffed up with pride, melled into grief, are all examples of this, and yet so common that we hardly regard them as figures of speech.

Q. What advantage does language derive from its figurative application?

A. It is rendered more varied and copious, more sprightly and energetic.

Q. How are these effects produced?

A. By a single word acquiring the power of expressing more than one thought or idea.

Q. Can you give an example of this?

A. "When we dip too deep in pleasure, we stir up a sediment that renders it impure and noxious," is a sentiment which could not be expressed either so briefly or so forcibly by any literal language that we could use.

2. When is figurative language improper?

A. When it is either unnatural or far-fetched, used in too great profusion, or not calculated to deepen the impression intended to be made.-See Beattie's Moral Science, p. 471-478.

Q. Is figurative language all of one character?

A. Far from it; but, though exceedingly diversified, it may all be classed under certain heads, called the figures of speech.

Q. What, then, are the principal figures of speech?

A. Simile, metaphor, allegory, personification, apostrophe, metonymy, synecdoche, climax, antithesis, hyperbole, irony, interrogation, exclamation, vision, and alliteration.

CHAPTER XXIV.

OF SIMILE.

Q. What do you understand by comparison or simile? A. That figure of speech by which we liken one thing to another, either for the purpose of informing the judgment, or of pleasing the fancy.

Q. Can you give an example of this figure?

A. "A virtuous man, slandered by evil tongues, is like a diamond obscured by smoke."

"And, as a bird each fond endearment tries,

To tempt its new-fledged offspring to the skies,
He tried each art, reproved each dull delay,
Allured to brighter worlds, and led the way."

Q. What is the foundation of this figure?

A. Analogy, or resemblance, either in character or effect.

Q. From what source, then, must similes be drawn?

A. From objects of a different class from those to be explained or illustrated, but yet possessing some quality in common with them.

Q. Why do we not compare things of the same kind?

A. Because the resemblance is then too close and obvious to admit of comparison; and exhibits not likeness, but identity.

Q. Do we never compare things of the same class?

A. We compare things of the same class, for the purpose of marking their difference; but those of a different class, with a view to point out their resemblance.

Q. What rule have you to give for the use of this figure?

A. When used for the purpose of illustration, it should always be taken from something that is better known than the thing to be explained.

Can you give any example of this?

A. "As a river rolls its waters to the sea, whence its spring was supplied, so the heart of a grateful man delights to return a benefit received."

Q. What is the rule respecting similes when used for embellishment as well as illustration?

A. They ought always to be deduced from objects that are dignified and important, or such as may be contemplated with pleasure.

Q. Can you give any examples of this?

A. The following is taken from G. B. Cheever's Lectures on the Pilgrim's Progress. It approaches to an allegory.

"You follow with intense interest the movements of Bunyan's soul. You seem to see a lovely bark driving across the ocean in a hurricane. By the flashes of the lightning you can just discern her through the darkness, plunging and laboring fearfully in the midnight tempest, and you think that all is lost; but there again you behold her in the quiet sunshine; or the moon and the stars look down upon her, as the wind breathes softly: or in a fresh and favorable gale she flies across the flying waters. Now it is clouds, and rain, and hail, and rattling thunder, storms coming down as sudden, almost, as the lightning; and now again her white sails glitter in heaven's light, like an albatross in the spotless horizon. The last glimpse you catch of her, she is gloriously entering the narbor, the haven of eternal rest; yea, you see her like a star, that in the morning of eternity dies into the light of heaven. Can there be any thing more interesting than thus to follow the perilous course of an immortal soul, from danger to safety, from conflict to victory, from temptation to triumph, from suffering to blessedness, from the city of Destruction to the city of God!"

Q. By what terms are comparisons generally introduced? A. By the words like, thus, as, so, in like manner &c.

Q. What, then, do you deem a perfect simile?

A. One that both illustrates and ennobles a subject; though it can not be said to be misapplied, should it do only the one.

Q. What sort of comparisons should we avoid?

A. Such as have no tendency either to explain or beautify; and, therefore, neither convey knowledge. nor excite new and pleasing trains of thought.

EXERCISES ON SIMILE OR COMPARISON.

Fill up the blanks in the following passages with suitable objects of comparison.

"Great men, like

have many crooked cuts and dark alleys in

their hearts, whereby he that knows them may save himself much time

and trouble."

"Russia, like

is rather unwieldy in attacking others, but most

formidable in defending herself."

"When error sits in the seat of power and authority, and is generated in high places, it may he compared to

which originates, indeed, in

the mountain, but commits its devastation in the vale." "The true motives of our actions, like

, are usually concealed; but the gilded and the hollow pretext is pompously placed in the front of show."

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