principal object than we could have if it were expressed in simple terms. Q. To what Tropes is given the name of Metonymy? A. To those founded on the several rela-, tions of cause and effect, container and contained, sign and thing signified as when the shade is used for the tree; the cup, for the liquor; the sceptre, for authority. Q. What is a Metalepsis ? A. A Trope founded on the relation of antecedent and consequent; as in the Roman phrase of" Fuit," or "Vixit," expressing that one is dead. Q. What is a Synecdoche? A. When the whole is put for a part, or a part for the whole; a genus for a species, or a species for a genus; as, sail for ships; waves for the sea. METAPHOR. QOn what is Metaphor founded? A. On the resemblance which one object bears to another. It is a comparison in an abridged form. "A Minister upholds the state, like a pillar;" is a comparison. "A Minister is the Pillar of the state;" is a metaphor. Q. Does this figure come near to Painting? lectual ideas visible to the eye, by giving them colour, substance, and sensible qualities. Q. What is the first rule to be observed in the conduct of Metaphors? A. They should be suited to the nature of the subject of which we treat; neither too many, nor too gay, nor too elevated for it.* Q. What is the second rule? A. Beware of such allusions as raise in the mind disagreeable, mean, vulgar ideas. Q. What is the third rule? A. The resemblance which is the foundation of the Metaphor, should be clear and perspicuous; not far-fetched, nor difficult of discovery. Q. What is the fourth? A. Never mix metaphorical and plain language together; never construct a period so that part of it must be understood metaphorically, and part, literally. Q. What is the fifth? A. Never make two Metaphors meet on one object; as, to take arms against a sea of trouble." Q. What is the sixth ? A. Avoid crowding Metaphors together on the same subject. *This rule should be particularly attended to by young writers, who are apt to be carried away by an admiration of what is showy and florid, whether in its place or not. A great secret in composition is to know when to be simple. Q. What is the last? A. Do not let them be carried too far. Q. What is a good rule for examining the propriety of Metaphors ? A. Form a picture of them, and see what figure they present when delineated with a pencil.* Q. What is an Allegory? A. A continued Metaphor.t "As glorious As is a winged messenger from heaven, Here the angel is represented, as, at one moment, bestriding the clouds, and sailing upon the air, and upon the bosom of the air too; which forms such a confused picture, that it is impossible for any imagination to comprehend it. "I bridle in my struggling muse with pain, That longs to launch into a bolder strain !" The muse, figured as a horse may be bridled; but when we speak of launching, we make it a ship; and, by no force of imagination, can it be supposed both a a horse and a ship at one moment; bridled, to hinder it from launching. + Thus, in Prior's Henry and Emma: Emma, in the following allegorical manner, describes her constancy to Henry : "Did I but purpose to embark with thee On the smooth surface of a summer's sea, Q. What rules are to be observed in the conduct of Allegories? A. The same as were given for Metaphors, on account of the affinity they bear to each other. Q. Were the Ancients fond of delivering instruction by Allegories? A. Yes. Their Fables or Parables, are no other than Allegories. Q. What is an Ænigma or Riddle? A. One thing represented by another; but purposely wrapt up under so many circumstances, as to be rendered obscure. HYPERBOLE-PERSONIFICATIONAPOSTROPHE. Q. In what does Hyperbole consist? A. In magnifying an object beyond its natural bounds. Q. How many kinds of Hyperboles are there? A. Two; such as are employed in description, and such as are suggested by the warmth of passion. Q. Which are the best? A. The latter, by far; for passion excuses But would forsake the ship and make the shore, When the winds whistle, and the tempests roar?"" daring figures, and often renders them natural and just. * Q. What must govern the use of this figure? A. Good sense and just taste.t Q. What writers most abuse this Figure? A. The Epigrammatic. They often rest the whole merit of their epigrams on some extravagant hyperbolical turn. Q. What is Personification? A. That figure by which we attribute life and action to inanimate objects. Q. Is there a strong tendency in the human mind to the use of this figure? A. Yes; and it is probably one of the sources of Pagan Theology. Q. How many different degrees of this figure are there? A. Three. The first and lowest is, when * The following sentiments of Satan, in Milton, powerfully exhibit the picture of a mind agitated with rage and despair : "Me, miserable! which way shall I fly The following picture is disgusting: "I found her on the floor In all the storm of grief, yet beautiful; That were the world on fire, they might have drown'd LEE. |