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a vast number of divifions, according to all LECT. the feveral modes in which a word may be carried from its literal meaning, into one that is Figurative, without doing any more; as if the mere knowledge of the names and claffes. of all the Tropes that can be formed, could be of any advantage towards the proper or graceful ufe of Language. All that I purpofe is, to give, in a few words, before finishing this Lecture, a general view of the several fources whence the tropical meaning of words is derived after which I fhall, in fubfequent Lectures, defcend to a more particular confideration of fome of the most confiderable Figures of Speech, and fuch as are in moft frequent ufe; by treating of which, I fhall give all the inftruction I can, concerning the proper employment of Figurative Language, and point out the errors and abuses which are apt to be committed in this part of Style.

ALL Tropes, as I before observed, 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 fuch a fubftitution, the vivacity of the idea is commonly meant to be increased. These relations, fome more, fome lefs intimate, may all give rife to Tropes.: One of the first and most obvious relations is,

that

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LECT. that between a caufe and its effect. Hence, in Figurative Language, the cause is, fometimes, put for the effect. Thus, Mr. Addison, writing of Italy:

Bloffoms, and fruits, and flowers, together rife,

Where the whole year" is plainly intended, to fignify the effects or productions of all the seasons of the year. At other times, again, the effect is put for the caufe; as, " grey "hairs" frequently for old age, which caufes grey hairs; and "fhade," for trees that produce the fhade. The relation between the container and the thing contained, is also so intimate and obvious, as naturally to give rife to Tropes:

Ille impiger haufit

Spumantem pateram & pleno fe proluit auro.

Where every one fees, that the cup and the gold are put for the liquor that was contained in the golden cup. In the fame manner, the name of any country, is often used to denote the inhabitants of that country; and Heaven, very commonly employed to fignify God, be cause he is conceived as dwelling in Heaven. To implore the affiftance of Heaven, is the fame as to implore the affiftance of God. The relation betwixt any established fign and the

thing fignified, is a further fource of Tropes. LECT. Hence,

Cedant arma toga; concedat laurea linguæ.

The "toga," being the badge of the civil profeffions, and the "laurel," of military honours, the badge of each is put for the civil and military characters themselves. To " af"fume the fceptre," is a common phrase for entering on royal authority. To Tropes, founded on thefe feveral relations, of caufe and effect, container and contained, fign and thing fignified, is given the name of Metonymy.

WHEN the Trope is founded on the relation between an antecedent and a confequent, or what goes before, and immediately follows, it is then called a Metalepfis; as in the Roman phrafe of Fuit," or " Vixit," to exprefs that one was dead. "Fuit Ilium et ingens "gloria Dardanidum," fignifies, that the glory of Troy is now no more.

WHEN the whole is put for a part, or a part for the whole; a genus for a fpecies, or a fpecies for a genus; the fingular for the plural, or the plural for the fingular number; in general, when any thing lefs, or any thing more, is put for the precife object meant; the Figure is then called a SyVOL. I. necdoche.

вь

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XIV.

LECT. necdoche. It is very common, for instance, to describe a whole object by fome remarkable part of it; as, when we say, "A fleet "of fo many fail," in the place of " ships;" when we use the "head" for the "perfon," the "pole" for the "earth," the "waves" for the "fea." In like manner, an attri

bute may be put for a fubject; as, "Youth

"and Beauty," for "the young and beau"tiful;" and fometimes a fubject for its attribute. But it is needlefs to infift longer on this enumeration, which serves little purpose. I have faid enough, to give an opening into that great variety of relations between objects, by means of which, the mind is affifted to pass eafily from one to another; and by the name of the one underftands the other to be meant. It is always fome acceffory idea, which recals the principal to the imagination; and commonly recals it with more force, than if the principal idea had been expreffed.

THE relation which is far the most fruitful of Tropes, I have not yet mentioned; that is the relation of Similitude and Refemblance. On this is founded what is

called the Metaphor:

ufing the proper name

when, in place of

of any object, we

employ, in its place, the name of fome other which is like it; which is a fort of picture

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of it, and which thereby awakens the concep- LECT. tion of it with more force or grace. This figure is more frequent than all the rest put together; and the language, both of profe and verse, owes to it much of its elegance and grace. This, therefore, deserves very full and particular confideration; and fhall be the fubject of the next Lecture.

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