XV. "nation, loaded with grievances and provoca- LE C T. "tions, resembled a veffel that was now full, " and this fuperadded provocation, like the last "drop infused, made their rage and refent ment, as waters of bitterness, overflow." 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 bitter"nefs overflow." HAVING mentioned, with applause, 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 ftyle, it is his style only, and not his fentiments, that deserve praise. 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 merit 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 lefs merit; for they are as loofe in the style as they are flimfy in the reafoning. XV. LECT. foning. An unhappy instance, 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 pass, and are, indeed, already paffing into neglect and obli vion. RETURNING from this digreffion to the subject before us, I proceed to lay down the rules to be observed in the conduct of Metaphors; and which are much the fame for Tropes of every kind. THE firft which I fhall mention, is, that they be fuited to the nature of the subject 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 XV. there is a natural congruity between drefs, and LEC T. the character or rank of the perfon 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 employment of them, is mere foppery in writing. It gives a boyish air to compofition; and, instead of raising a subject, 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 compofition muft arife from fentiment and thought, not from ornament. The affectation and parade of ornament, detract as much from an author, as they do from a man. Figures and Metaphors, therefore, fhould, on no occafion, be stuck on too profufely; and never fhould be fuch as refufe to accord with the ftrain 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 defcription. When he reafons, we look only for perfpicuity; when he defcribes, we expect embellishment; when he divides, or relates, we defire plainnefs and fimplicity. One of the greatest secrets 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 LECT. "eft eloquens," fays Cicero, "qui et hu"milia fubtiliter, et magna graviter, et me"diocria temperatè poteft dicere.-Nam "qui nihil poteft tranquillè, nihil leniter, "nihil definitè, diftin&tè, poteft dicere, is, "cum non præparatis auribus inflammare rem cæpit, furere apud fanos, et quafi inter sobrios 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 fhowy and florid, whether in its place or not t. THE "He is truly eloquent, who can difcourfe of hum"ble subjects in a plain style, who can treat important ones "with dignity, and speak of things, which are of a middle "nature, in a temperate ftrain. For one who, upon no "occafion, can express himself in a calm, orderly, distinct manner, when he begins to be on fire before his readers "are prepared to kindle along with him, has the appear65 ance 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 least taste, can bear the following paffage, in a late historian ? He is giving an account of the famous act of parliament against 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 contefts, it was carried by a great majority of voices, and obtained the royal affent. But how does he exprefs himself in finishing the period? At length, however, it was 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 into Figures with propriety. But we muft beware of ever ufing fuch allufions as raife in the mind difagreeable, mean, vulgar, or dirty ideas. Even when Metaphors are chofen in order to vilify and degrade any object, an author should study never to be naufeous in his allufions. Cicero blames an orator of his time, for terming his enemy "Stercus "Curiæ ;""" "quamvis fit fimile," fays he, "tamen eft deformis cogitatio fimilitudinis." But, in fubjects of dignity, it is an unpardonable fault to introduce mean and vulgar Me. taphors. In the treatise on the Art of Sinking, in Dean Swift's works, there is a full and humourous collection of inftances of this kind, "was floated through both houfes, on the tide of a great "majority, and fteered into the fafe harbour of royal appro"bation." Nothing can be more puerile than fuch Language. Smollet's Hiftory of England, as quoted in Critical Review for Oct. 1761, p. 251. wherein |