When a trope is founded on the relation between an antecedent and its consequent, it is called a metalepsis; as in the Roman phrase, “fuit,” or “ vixit," to signify that one was dead. "Fuit Ilium et ingens gloria Teucrum" expresses that the glory of Troy is no more.

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; the singular number for the plural, or the plural for the singular; in general, when any thing less, or any thing more, is put for the precise object meant; the figure is then termed a synecdoche. We say, for instance, "A fleet of so many sail," instead of so many "ships;" we frequently use the "head" for the "person," the "pole" for the "earth," the "waves" for the "sea." An attribute is often used for its subject; as, "youth and beauty," for the "young and beautiful ;" and sometimes a subject for its attribute. But the relation by far the most fruitful of tropes, is similitude, which is the sole foundation of metaphor.

METAPHOR.

METAPHOR is founded entirely on the resemblance, which one object bears to an other. It is, therefore, nearly allied to simile or comparison; and is indeed a comparison in an abridged form. When we say of a great minister," he upholds the state, like a pillar,' which supports the weight of an edifice," we evidently make a comparison; but, when we G4 880673

say of him, he is "the pillar of the state, it becomes a metaphor.

Of all the figures of speech none approaches so near to painting, as metaphor. It gives light and strength to description; makes intellectual ideas in some degree visible, by giving them colour, substance, and sensible qualities. To produce this effect, however, a delicate hand is requisite; for by a little inaccuracy we may introduce confusion instead of promoting perspi cuity. Several rules therefore must be given for the proper management of metaphors.

The first rule respecting metaphors is, they must be suited to the nature of the subject; nei ther too numerous, nor too gay,nor too elevated for it; we must neither attempt to force the subject by the use of them into a degree of el. evation, not congruous to it; nor on the contrary suffer it to fall below its proper dignity. Some metaphors are beautiful in poetry, which would be unnatural in prose; some are graceful in orations, which would be highly improper in historical or philosophical composition. Figures are the dress of sentiment. They should Consequently be adapted to the ideas which they are intended to adorn.

All

The second rule respects the choice of objects, whence metaphors are to be drawn. The field for figurative language is very wide. nature opens her stores and allows us to collect them without restraint. But we must beware of using such allusions as raise in the mind disagreeable, mean, low, or dirty ideas. To render a metaphor perfect, it must not only be apt, but pleasing; it must entertain as well as en

lighten. Dryden, therefore, can hardly escape the imputation of a very unpardonable breach of delicacy,when he observes to the Earl of Dorset, that "some bad poems carry their owners' marks about them; some brand or other on this buttock, or that ear; that it is notorious, who are the owners of the cattie." The most pleasing metaphors are derived from the frequent occurrences of art and nature, or from the civil transactions and customs of mankind. Thus, how expressive, yet at the same time how familiar, is the image which Otway has put into the mouth of Metellus in his play of Caius Marius, where he calls Sulpicius

That mad wild bull, whom Marius lets loose
On each occasion, when he'd make Rome feel him,
To toss our laws and liberties in the air.

In the third place a metaphor should be founded on a resemblance, which is clear and striking, not far fetched, nor difficult to be discovered. Harsh or forced metaphors are always displeasing, because they perplex the reader, and instead of illustrating the thought, render it in tricate and confused. Thus, for intance, Cowley, speaking of his mistress, expresses himself in the following forced and obscure verses:

Wo to her stubborn heart; if once mine come
Into the self same room,

'Twill tear and blow up all within,
Like a grenada, shot into a magazine.
Then shall love keep the ashes and torn parts
Of both our broken hearts;

Shall out of both one new one make;

From her's the alloy, from mine the metal take;

For of her heart be from the flames will find
But little left behind;

Mine only will remain entire ;
No dross was there to perish in the fire.

Metaphors, borrowed from any of the sciences, especially from particular professions, are almost always faulty by their obscurity.

In the fourth place, we must never jumble metaphorical and plain language together; never construct a period so, that part of it must be understood metaphorically, part literally; which always produces confusion. The works of OSsian afford an instance of the fault we are now censuring. "Trothal went forth with the stream of his people, but they met a rock; for Fingal stood unmoved; broken, they rolled back from his side. Nor did they roll in safety; the spear of the king pursued their flight." The metaphor at the beginning is beautiful; the

stream," the "unmoved rock," the " waves rolling back broken," are expressions in the proper and consistent language of figure; but in the end, when we are told, they did not roll in safety, because the spear of the king pursued their flight," the literal meaning is injudiciously mixed with the metaphor; they are at the same moment presented to us as waves that roll, and as men that may be pursued and wounded by a spear.

In the fifth place, take care not to make two different metaphors meet on the same object. This, which is called mixed metaphor, is one of the grossest abuses of this figure. Shake speare's expression, for example," to take arms against a sea of troubles," makes a most un

natural medley, and entirely confounds the imagination. More correct writers than Shakespeare, are sometimes guilty of this error. Mr. Addison says, "there is not a single view of human nature, which is not sufficient to extinguish the seeds of pride." Here a view is made to extinguish, and to extinguish seeds.

In examining the propriety of metaphors it is a good rule to form a picture of them, and to consider how the parts agree, and what kind of figure the whole presents, when delineated with à pencil.

Metaphors, in the sixth place, should not be crowded together on the same object. Though each of them be distinct, yet, if they be heaped on one another, they produce confusion. The following passage from Horace will exemplify this observation :

Motum ex Metello consule civicum
Bellique causas, et vitia, et modos,
Ludumque fortunæ, gravesque
Principum amicitias, et arma
Nondum expiatis uncta cruoribus,
Periculosæ plenum opus aleæ,
Tractas, et incedis per ignes
Suppositos cineri doloso.

This passage, though very poetical, is rendered harsh and obscure by three distinct metaphors crowded together. First, "arma uncta cruoribus nondum expiatis;" next, "opus ple num periculosa alea," and then, "incedis perignes suppositos cineri doloso.”

The last rule concerning metaphors is, they should not be too far pursued. For when the resemblance, which is the foundation of the fig