All comparisons, says Dr. Blair, may be reduced under two heads, explaining, and embellishing. But embellishing comparisons are those which most frequently occur.

Resemblance, it has been observed, is the foundation of this figure, but resemblance must not be taken in too strict a sense for actual simili tude. Two objects may raise a train of concordant ideas in the mind, though they resemble each other, strictly speaking, in nothing. For example, to describe the natnre of soft and melancholy music, Ossian says

"The music of Carryl, like the memory of joys that are past, was pleas ant and mournful to the soul."

This is happy and delicate; yet no kind of music bears any actual resemblance to the memory of past joys.

Comparisons should not be introduced on all occasions. As they are the language of imagination, rather than of passion, an author can hardly commit a greater fault, than in the midst of passion or strong feeling to introduce a simile. Even in poetry it should be employed with moderation; but in prose much more so.

The following rules are laid down by Dr. Blair in the use of comparisons:

In the first, they must not be drawn from things which have too near and obvious a resemblance of the object with which they are compared; for The pleasure which we receive from the act of comparing arises from the discovery of likenesses among things of different species where we should not, at first sight expect, a resemblance.

In the second place, as comparisons ought not to be founded on likenesses too obvious, much less ought they to be founded on those which are too faint and distant. These, instead of assisting, strain the fancy to compre hend them, and throw no light upon the subject.

In the third place, the object from which a comparison is drawn ought never to be an unknown object, nor one of which few people can have a clear idea. Therefore similes founded on philosophical discoveries, or on any thing with which persons of a particular trade only, or a particular profession, are acquainted, produce not their proper effect. They should be drawn from those illustrious and noted objects, which most readers have either seen, or can strongly conceive.

In the fourth place, in compositions of a serious or elevated kind, similes should not be drawn from low or mean objects. These degrade and vilify; whereas similes are generally intended to embellish and dignify. Therefore, except in burlesque writings, or where an object is meant to be de graded, mean ideas should never be presented.

motto, "My nourishment is my bane," is an emblem of the improper use we are too apt to make of things, when either by using them improperly, or too freely we subvert the design for which they were at first intended.

"The oil thus feeds, thus quenches flame :
So love gives honor;-love gives shame."

Quarles' Book of Emblems,

Emblems are frequently the foundations of both Simile and Comparison Analogy is the foundation of the three.

Examples.

1. Wit and humor are like those volatile essences, which, being too delicate to bear the open air, evaporate almost as soon as they are exposed to it.

2. Like birds whose beauties languish, half concealed,
Till mounted on the wing their glossy plumes
Expanded, shine with azure, green, and gold,
How blessings brighten as they take their flight!

3.

4.

5.

ò.

And in the smoke the pennons flew,
As in the storm the white sea-mew.

Then marked they dashing broad and far
The broken billows of the war,

And plumed crests of chieftains brave,
Floating like foam upon the wave.

She never told her love,

But let concealment, like a worm in the bud,

Feed on her damask cheek. She pined in thought,

And with a green and yellow melancholy

She sat, like Patience on a monument,

Smiling at Grief.

Oh Night,

And Storm and Darkness, ye are wondrous strong,
Yet lovely in your strength as is the light
Of a dark eye in woman.

7. This quiet sail is as a noiseless wing

To waft me from distraction; once I loved
Torn ocean's roar; but thy soft murmuring
Sounds sweet as if a sister's voice reproved

That I with stern delights should e'er have been so moved.

8. They are the native courtesies of a feeling mind, showing themselves amid stern virtues and masculine energies like gleams of light on points of rocks.

9.

I never tempted her with word too large;
But as a brother to a sister showed

Bashful sincerity and comely love.

10. Curses, like chickens, always come home to roost.

11. As no roads are so rough as those which have just been mended, so no sinners are so intolerant as those that have just turned saints.

12. True friendship is like sound health, the value of it is seldom known until it is lost.

Exercises.

Let the student compare a man of integrity with a rock; and show the circumstances of resemblance.

Compare Life, with the Ocean.

Adversity, with a storm.

Affluence, with a fountain.

the life of man with the leaves on the tree.

Death with the falling of the leaf.

Youth, with Spring.

Manhood, with Summer.

Old age, with Autumn.

Death, with Winter.

The reflection of light from the water, with the sparkling of the diamond.

Wit and Humor with a volatile essence.

The minds of the aged, with the tombs which they are approaching.

The style of two writers; one with a convex mirror, scattering the light, the other with the concave speculum, concentrating the rays to a focus.

Departing blessings to the flight of birds.

XLI.

ANTITHESIS.

Antithesis is the counterpart of comparison, and is founded or the contrast or opposition of two abjects. By contrast,

objects opposed to each other appear in a stronger light, and their peculiar beauties or defects appear in bold relief.

Antitheses, like comparisons, must be subjected to some rules. They must take place between things of the same species. Substantives, attri butes, qualities, faculties of the same kind, must be set in opposition. To constitute an antithesis between a man and a lion, virtue and hunger, figure and color, would be to form a contrast where there is no opposition. But to contrast one man with another, virtues with virtues, figures with figures, is pertinent and proper, because in these cases there must be striking opposition.

Antithesis makes the most brilliant appearance in the delineation of characters, particularly in history. The historian, in the performance of this delicate part of his task has a good opportunity for displaying his discernment and knowledge of human nature; and of distinguishing those nice shades by which virtues and vices run into one another. It is by such colors only that a character can be strongly painted, and antithesis is necessary to denote those distinctions.

Antithesis, also, by placing subjects in contrast, prompts the judge ment; and is therefore a very common figure in argumentative writing. Antithesis is also used with great advantage in descriptions or repre sentations of the power and extent of a quality, as follows.

"I can command the lightnings, and am dust."

Again. In the description of the power of the steam-engine, a late writer says: "The trunk of an elephant, that can pick up a pin or rend an oak, is as nothing to it. It can engrave a seal and crush masses of obdurate metal before it, draw out, without breaking, a thread as fine as gossamer, and lift up a ship of war like a bauble in the air. It can embroider muslin and forge anchors, cut steel into ribands, and impel loaded vessels against the fury of the winds and waves."*

Examples.

1. Behold my servants shall eat, but ye shall be hungry; behold my servants shall drink, but ye shall be thirsty; behold my servants shall rejoice, but ye shall be ashamed.

2. Religion and Superstition, contrasted.

Religion is the offspring of Truth and Love, and the parent of Benevolence, Hope and Joy. Superstition is the child of

* The author of Lacon very justly remarks: "To extirpate antithesis from literature altogether, would be to destroy at one stroke about eight tenths of all the wit, ancient and modern, now existing in the world. It is a figure capable not only of the greatest wit, but sometimes of the greatest beauty, and sometimes of the greatest sublinity."

ntent, and her children are Fear and Sorrow. The former invites us to the moderate enjoyment of the world, and all its tranquil and rational pleasures. The latter teaches us only that man was born to mourn and to be wretched. The former invites us to the contemplation of the various beauties of the globe, which heaven has destined for the seat of the human race; and proves to us that a world so exquisitely framed could not be meant for the abode of misery and pain. The latter exhorts us to retire from the world, to fly from the enchantments of social delight, and to consecrate the hours to solitary lamentation. The former teaches us that to enjoy the blessings sent by our benevolent Creator is virtue and obedience. The latter informs us that every enjoyment is an offence to the Deity, who is to be worshipped only by the mortification of every sense of pleasure, and the everlasting exercise of sighs and tears.

3. Though deep, yet clear, though gentle, yet not dull. Strong without rage, without o'erflowing, full.

4. Knowledge and Wisdom, far from being one,
Have oft-times no connection. Knowledge dwells
In heads replete with thoughts of other men;
Wisdom in minds attentive to their own.
Knowledge, a rude, unprofitable mass,

The mere materials with which Wisdom builds,
Till smoothed and squared, and fitted to its place,
Does but encumber whom it seems to enrich.
Knowledge is proud that he has learned so much;
Wisdom is humble that he knows no more.

5. An upright minister asks what recommends a man; a zorrupt minister asks who recommends him.

6. When the million applaud, you ask what harm you have done; when they censure you, what good.

7. Contemporaries appreciate the man rather than the merit; but posterity will regard the merit rather than the man.

8. Contrasted faults through all his manners reign,

Though poor, luxurious; though submissive, vain,
Though grave, yet trifling; zealous, yet untrue,
And een in penance planning, sins anew.