BOOK IV. OF FIGURES. CHAPTER I. OF THE CHARACTER AND ADVANTAGES OF FIGURES. 251. FIGURES, in general, may be described to be that language, which is prompted either by the imagination, or by the passions. (Chapter III. B. I.) 252. Rhetoricians commonly divide them into two great classes; Figures of words, and figures of thought. TROPES. 253. Figures f words, are commonly called A trope consists in a word's being employed to signify something that is different from its original and primitive meaning; so that if you alter the word, you destroy the figure. Illus. Thus, in the sentence; "Light ariseth to the upright in darkness" the trope consists in "light and darkness," being not meant literally, but substituted for comfort and adversity, on account of some resemblance or analogy which light and darkness are supposed to bear to these conditions of life. (See Illus. 2. Art. 19.) 254. Figures of thought, suppose the words to be used in their proper and literal meaning, and the figure to consist in the turn of the thought. They appear in exclamations, interrogations, apostrophes, and comparisons; where, though you vary the words that are used, or translate them from one language into another, you may nevertheless, still preserve the same figure in the thought. (Illus. 3. Art. 19.) Obs. This distinction, however, is of no great use; as nothing can be built upon it in practice; neither is it always very clear. It is of little importance, whether we give to some particular mode of expression the name of a trope, or of a figure; provided we remember, that figurative language always imports some colouring of the imagination, or some emotion of passion, expressed in our style: and perhaps, figures of imagination, and figures of passion, wight be a more useful distribution of the subject. But, without insisting on any artificial divisions, it will be more useful, that we inquire into the advantages which language derives from figures of speech. 255. First, TROPES, OR FIGURES, enrich language, and render it more copious. By their means, words and phrases are multiplied for expressing all sorts of ideas; for describing even the minutest differences; the nicest shades and colours of thought; which no language could possibly do by proper words alone, without assistance from tropes. (Art. 21.) 256. Secondly, they bestow dignity upon style. The familiarity of common words, to which our ears are much accustomed, tends to degrade style. When we want to adapt our language to the tone of an elevated subject, we should be greatly at a loss, if we could not borrow assistance from figures; which, properly employed, have a similar effect on language, with what is produced by the rich and splendid dress of a person of rank; to create respect, and to give an air of magnificence to him who wears it. Assistance of this kind is often needed in prose compositions; but poetry could not subsist without it. Hence, figures form the constant language of poetry. (Art. 21.) Illus. 1. To say, that "the sun rises," is trite and common; but it becomes a magnificent image when expressed, as Thompson has done : But yonder comes the powerful king of day, 2. To say, that "All men are subject alike to death," presents only a vulgar idea; but it rises and fills the imagination when painted thus by Horace : Pallida mors æquo pulsat pede, pauperum tabernas * With equal pace impartial fate Knocks at the palace, as the cottage gate. Or, Omnes eodem cogimur; omnium, 25. In the third place, FIGURES give us the pleas ure of enjoying two objects presented together without confusion, to our view; the principal idea, that is the subject of the discourse, along with its accessory, which gives it the figurative dress. We see one thing in another, as Aristotle expresses it; which is always agreeable to the mind. For there is nothing with which the fancy is more delighted, than with comparisons, and resemblances of objects; and all tropes are founded upon some relation or analogy between one thing and another. Illus. When, for instance, in place of "youth," we say, the "morning of life;" the fancy is immediately entertained with all the resembling circumstances which presently occur between these two objects. At one moment, we have before us a certain period of hu man life, and a certain time of the day, so related to each other, that the imagination plays between them with pleasure, and contemplates two similar objects, in one view, without embarrassment or confusion. Not only so, but, 258. In the fourth place, FIGURES are attended with this farther advantage, of giving us frequently a much clearer and more striking view of the principal object, than we could have if it were expressed in simple terms, and divested of its accessory idea. Illus. 1. This is, indeed, their principal advantage, in virtue of which, they are very properly said to illustrate a subject, or throw light upon it. For they exhibit the object, on which they are employed in a picturesque form; they can render an abstract concep tion, in some degree, an object of sense; they surround it with such circumstances as enable the mind to lay hold of it steadily, and to contemplate it fully. Example. "Those persons," says one, "who gain the hearts of most people, who are chosen as the companions of their softer hours, and their reliefs from anxiety and care, are seldom persons of shining * We all must tread the paths of fate; And ever shakes the mortal urn, Whose lot embarks us, soon or late, On Charon's boat; ah! never to return. Francis. qualities, or strong virtues: it is rather the soft green of the soul on which we rest our eyes, that are fatigued with beholding more glaring objects." Here, by a happy allusion to a colour, the whole conception is in one word conveyed clear and strong to the mind. Illus. 2. By a well chosen figure, even conviction is assisted, and the impression of a truth upon the mind made more lively and forcible than it would otherwise be. Examples. "When we dip too deep in `pleasure, we always stir a sediment that renders it impure and noxious :"*"A heart boiling with violent passious, will always send up infatuating fumes to the head." An image that presents so much congruity between a moral and sensible idea, serves, like an argument from analogy, to enforce what the author asserts, and to induce belief. Illus. 3. Besides, whether we are endeavouring to raise sentiments of pleasure or aversion, we can always heighten the emotion by the figures which we introduce; leading the imagination to a train, either of agreeable or disagreeable, of exalling or debasing ideas, correspondent to the impression which we seek to make. When we want to render an object beautiful or magnificent, we borrow images from all the most beautiful or splendid scenes of nature; we thereby, naturally throw a lustre over our object; we enliven the reader's mind, and dispose him to go along with us, in the gay and pleasing impressions which we give him of the subject. This effect of figures is happily touched in the following lines of Dr. Akenside, and illustrated by a very sublime figure: Then the inexpressive strain Diffuses its enchantment. Fancy dreams Pleasures of Imagination, I. 124. Scholium. What we have now explained, concerning the character and advantages of figures, naturally leads us to reflect on the wonderful power of language; nor can we reflect on it without the highest admiration. What a fine vehicle is it now become for all the conceptions of the human mind; even for the most subtile and delicate workings of the imagination! What a pliant and flexible instrument in the hand of one who can employ it skilfully; prepared to take every form which he chuses to give it! Not content with a simple communication of ideas and thoughts, it paints those ideas to the eye; it gives colouring and reliero, even to the most abstract conceptions. In the figures which it uses, it sets mirrors before us, where we may, a second time, behold objects in their likeness. It entertains us, as with a succession of the most splendid * Dr. Young. pictures; disposes, in the most artificial manner, of the light and shade, for viewing every thing to the best advantage; in fine, from being a rude and imperfect interpreter of men's wants and necessities, it has now passed into an instrument of the most delicate and refined luxury. 259. All TROPES are founded on the relation which one object bears to another; in virtue of which, the name of the one can be substituted instead of the name of the other; and by such a substitution, the vivacity of the idea is commonly meant to be increased. These relations, some more, some less intimate, may all give rise to tropes. 260. To illustrate these relations, we have constructed the following Table of Figures, which, among related objects, extend the properties to one another. I. An attribute of the cause, expressed as an attribute of the effect. To my advent' rous song, That with no middle flight intends to soar. Paradise Lost. II. An attribute of the effect, expressed as an attribute of the cause. No wonder, fallen such a pernicious height. Par. Lost. III. An effect expressed as an attribute of the cause. And the merry bells ring round, And the jocund rebecks sound. Alegro. IV. An attribute for a subject bestowed upon one of its parts of members; as, longing arms. It was the nightingale, and not the lark, * V. A quality of the agent given to the instrument, with which it operates. Why peep your coward swords half out of their shells? * Romeo and Juliet, Act III. Scene 5. + Jane Shore. |