other relation, which two objects bear to one another. For inftance; when grey hairs are put for old age, as, "to bring one's grey hairs with forrow "to the grave;" fome writers would call this a metaphor, though it is not properly one, but what rhetoricians call a metonymy; that is, the effect put for the cause : grey hairs" being the effect of old age, but not bearing any fort of refemblance to it. Ariftotle, in his poetics, ufes metaphor in this extended fenfe, for any figurative meaning impofed upon a word; as a whole put for the part, or a part for the whole; a fpecies for the genus, or a genus for the fpecies. But it would be unjuft to tax this mot acute writer with any inaccuracy on this account; the minute fubdivifions, and various names of tropes, being unknown in his days, and the invention of later rhetoricians. Now, however, when these divifions are established, it is inaccurate to call every figurative ufe of terms, promifcuously, a metaphor.

Of all the figures of speech, none comes fo near to painting as metaphor. Its peculiar effect is to give light and ftrength to description; to make intellectual ideas, in fome fort, vifible to the eye, by giving them colour, and fubftance, and fenfible qualities. In order to produce this effect, however, a delicate hand is required: for, by a very little inaccuracy, we are in hazard of introducing confufion, in place of promoting perfpicuity. Several rules, therefore, are neceffary to be given for the proper management of metaphors. But, before entering on thefe, I fhall give one inftance of a very beautiful metaphor, that I may show the figure to full advantage. I fhall take my inftance from lord Bolingbroke's remarks on the history of England. Juft at the conclufion of his work, he is Speaking of the behaviour of Charles I. to his last parliament; "In a word," fays he, "about a

month after their meeting, he diffolved them; 46 and, as foon as he had diffolved them, he repent46 ed; but he repented too late of his rafhness. "Well might he repent; for the veffel was now "full, and this last drop made the waters of bit"ternefs overflow." "Here," he adds, "we draw "the curtain, and put an end to our remarks. Nothing could be more happily thrown off. The metaphor, we fee, is continued through feveral expreffions. The vessel is put for the state or temper of the nation, already full, that is, provoked to the highest by former oppreffions and wrongs; this laft drop ftands for the provocation recently received by the abrupt diffolution of the parliament; and the overflowing of the waters of bitterness, beautifully expreffes all the effects of refentment let loofe by an exafperated people.

On this paffage, we may make two remarks in paffing. The one, that nothing forms a more fpirited and dignified conclufion of a fubject, than a figure of this kind happily placed at the close. We fee the effect of it, in this inftance. The author goes off with a good grace; and leaves a strong and full impreffion of his fubject on the reader's mind. My other remark is, the advantage which a metaphor frequently has above a formal comparifon. How much would the fentiment here have been enfeebled, if it had been expreffed in the style of a regular fimile, thus: "Well might he re<< pent; for the ftate of the nation, loaded with "grievances and provocations, refembled a veffel "that was now full; and this fuperadded provo"cation, like the laft drop infused, made their rage " and refentment, as waters of bitterness, over"flow." It has infinitely more fpirit and force as it now ftands, in the form of a metaphor. "Well "might he repent; for the veffel was now full;

and this laft drop made the waters of bitterness "overflow."

Having mentioned, with applaufe, this inftance from lord Bolingbroke, I think it incumbent on me here to take notice, that, though I may have recourfe to this author, fometimes, for examples of style, it is his ftyle only, and not his fentiments, that deferve praife. It is, indeed, my opinion, that there are few writings in the English language, which, for the matter contained in them, can be read with lefs profit or fruit, than lord Bolingbroke's works. His political writings have the me rit of a very lively and eloquent ftyle; but they have no other; being, as to the fubftance, the mere temporary productions of faction and party; no better, indeed, than pamphlets written for the day. His pofthumous, or, as they are called, his philofophical works, wherein he attacks religion, have still less merit; for they are as loofe in the ftyle, as they are flimfy in the reafoning. An unhappy inftance, this author is, of parts and genius fo miferably perverted by faction and paffion, that as his memory will defcend to pofterity with little honour, fo his productions will foon pafs, and are, indeed, already paffing into neglect and oblivion.

Returning from this digreffion to the fubject before us, I proceed to lay down the rules to be obferved in the conduct of metaphors; and which are much the fame for tropes of every kind.

The first which I fhall mention, is, that they be fuited to the nature of the fubject, of which we treat; neither too many, nor too gay, nor too elevated for it that we neither attempt to force the fubject, by means of them, into a degree of elevation which is not congruous to it; nor, on the other hand, allow it to fink below its proper dignity. This is a direction which belongs to all figurative language, and fhould be ever kept in view. Some metaphors are allowable, nay, beautiful, in

poetry, which it would be abfurd and unnatural to employ in profe; fome may be graceful in orations, which would be very improper in hiftorical, or philofophical compofition. We must remember, that figures are the drefs of our fentiments. As. there is a natural congruity between drefs, and the character or rank of the person who wears it, a violation of which congruity never fails to hurt ; the fame holds precifely as to the application of figures to fentiment. The exceffive or unfeasonable employ ment of them, is mere foppery in writing. It gives a boyifh air to compofition; and, instead of raifing a fubject, in fact, diminishes its dignity. For, as in life, true dignity must be founded on character, not on dress and appearance, so the dignity of compo fition muft arife from fentiment and thought, not from ornament. The affectation and parade of ornament, detracts as much from an author, as they do from a man. Figures and metaphors, therefore, fhould, on no occafion, be ftuck on too profufely; and never fhould be fuch as refufe to accord with the strain of our fentiment. Nothing can be more unnatural, than for a writer to carry on a train of reafoning, in the fame fort of figurative language which he would use in description. When he reafons, we look only for perfpicuity; when he defcribes, we expect embellishment; when he dis vides, or relates, we defire plainnefs and fimplicity. One of the greatest fecrets in compofition, is, to know when to be fimple. This always gives a heightening to ornament, in its proper place. The right difpofition of the fhade, makes the light and colouring ftrike the more: "Is enim eft eloquéns,' fays Cicero, qui et humilia fubtiliter, et mag66 na graviter, et mediocria temperate poteft di

cere.-Nam qui nihil poteft tranquille, nihil le"niter, nihil definite, diftincte, poteft dicere, is, cum non præparatis auribus inflammare rem

"cæpit, furere apud fanos, et quafi inter fobrios "bacchari temulentus videtur*." This admonition fhould be particularly attended to by young practitioners in the art of writing, who are apt to be carried away by an undistinguishing admiration of what is showy and florid, whether in its place or nott.

The fecond rule, which I give, refpects the choice of objects, from whence metaphors, and other figures, are to be drawn. The field for figurative language is very wide. All nature, to speak in the ftyle of figures, opens its ftores to us, and admits us to gather, from all fenfible objects, whatever can illuftrate intellectual or moral ideas. Not only the gay and fplendid objects of fenfe, but the grave, the terrifying, and even the gloomy and difmal, may, on different occafions, be introduced

"He is truly eloquent, who can difcourfe of humble fubjects in a plain ftyle, who can treat important ones with dignity, and fpeak of things, which are of a middle nature, in a temperate ftrain. For one who, upon no occafion, can exprefs himfelf in a calm, orderly, diftinct manner, when he begins to be on fire before his readers are prepared to kindle along with him, has the appearance of raving like a madman among perfons who are in their fenfes, or of reeling like a drunkard in the midst of fober company."

+ What perfon, of the leaft tafte, can bear the following paffage, in a late hiftorian? He is giving an account of the famous act of parliament againft irregular marriages in England: The bill," fays he, "underwent a great number of alterations and amendments, which were not effected without violent conteft." This is plain language, fuited to the fubject; and we naturally expect, that he fhould go on in the fame ftrain, to tell us, that, after thefe contests, it was carried by a great majority of voices, and obtained the royal affent, But how does he exprefs himfelf in finishing the period? At length, however, it was floated through both houfes, on the tide of a great majority, and steered into the fafe harbour of royal approbation.' Nothing can be more puerile than fuch language. Smollet's hiftory of England, as quoted in the critical review for Oct. 1751, p. 251. Vol. I.

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