broken arches, which added to those that were entire, made up the number about an hundred. As I was counting the arches, the genius told me that this bridge consisted at first of a thousand arches; but that a great flood swept away the rest, and left the bridge in the ruinous condition I now beheld it. 'But tell me farther,' said he, 'what thou discoverest on it.' 'I see multitudes of people passing over it,' said I, 'and a black cloud hanging on each end of it.' As I looked more attentively, I saw several of the passengers dropping through the bridge into the great tide that flowed underneath it, and upon farther examination, perceived there were innumerable trapdoors that lay concealed in the bridge, which the passengers no sooner trod upon, but they fell through them into the tide, and immediately disappeared. These hidden pitfalls were set very thick at the entrance of the bridge, so that throngs of people no sooner broke through the cloud, but many of them fell into them. They grew thinner towards the middle, but multiplied and lay closer together towards the end of the arches that were entire.

"There were indeed some persons but their number was very smallthat continued a kind of hobbling march on the broken arches, but fell through one after another, being quite tired and spent with so long a walk.

"I passed some time in the contemplation of this wonderful structure, and the great variety of objects which it presented. My heart was filled with a deep melancholy to see several dropping unexpectedly in the midst of mirth and jollity, and catching at everything that stood by them to save themselves. Some were looking up towards the heavens in a thoughtful posture, and in the midst of a speculation stumbled and fell out of sight. Multitudes were very busy in the pursuit of bubbles that glittered in their eyes and danced before them; but often when they thought themselves within the reach of them, their footing failed and down they sunk. In this confusion of objects, I observed some with scimiters in their hands, who ran to and fro

upon the bridge, thrusting several persons on trapdoors which did not seem to lie in their way, and which they might have escaped had they not been thus forced upon them.

"The genius, seeing me indulge myself on this melancholy prospect, told me I had dwelt long enough upon it. 'Take thine eyes off the bridge,' said he, 'and tell me if thou yet seest anything thou dost not comprehend.' Upon looking up, 'What mean,' said I, 'those great flights of birds that are perpetually hovering about the bridge, and settling upon it from time to time? I see vultures, harpies, ravens, cormorants, and among many other feathered creatures several little winged boys, that perch in great numbers upon the middle arches.' 'These,' said the genius, are Envy, Avarice, Superstition, Despair, Love, with the like cares and passions that infect human life.'

"I here fetched a deep sigh. Alas,' said I, ‘man was made in vain! how is he given away to misery and mortality! tortured in life, and swallowed up in death!' The genius being moved with compassion towards me, bid me quit so uncomfortable a prospect. 'Look no more,' said he, ‘on man in the first stage of his existence, in his setting out for eternity; but cast thine eye on that thick mist into which the tide bears several generations of mortals that fall into it.' I directed my sight as I was ordered, and (whether or no the good genius strengthened it with any supernatural force, or dissipated part of the mist that was before too thick for the eye to penetrate) I saw the valley opening at the farther end, and spreading forth into an immense ocean, that had a huge rock of adamant running through the midst of it, and dividing it into two equal parts. The clouds still rested on one half of it, insomuch that I could discover nothing in it but the other appeared to me a vast ocean planted with innumerable islands, that were covered with fruit and flowers, and interwoven with a thousand little shining seas that ran among them. I could see persons dressed in glorious habits with garlands upon their heads, passing among the trees,

lying down by the sides of fountains, or resting on beds of flowers; and could hear a confused harmony of singing birds, falling waters, human voices, and musical instruments. Gladness grew in me upon the discovery of so delightful a scene. I wished for the wings of an eagle, that I might fly away to those happy seats; but the genius told me there was no passage to them, except through the gates of death, that I saw opening every moment upon the bridge. 'The islands,' said he, 'that lie so fresh and green before thee, and with which the whole face of the ocean appears spotted as far as thou canst see, are more in number than the sands on the seashore; there are myriads of islands behind those which thou here discoverest, reaching farther than thine eye, or even thine imagination, can extend itself. These are the mansions of good men after death, who, according to the degree and kinds of virtue in which they excelled, are distributed among these several islands, which abound with pleasures of different kinds and degrees, suitable to the relishes and perfections of those who are settled in them; every island is a Paradise accommodated to its respective inhabitants. Are not these, O Mirza, habitations worth contending for? Does not life appear miserable, that gives thee opportunities of earning such a reward? Is death to be feared, that will convey thee to so happy an existence? Think not man was made in vain, who has such an eternity reserved for him.' I gazed with inexpressible pleasure on these happy islands. At length, said I, 'Show me now, I beseech thee, the secrets that lie hid under those dark clouds which cover the ocean on the other side of the rock of adamant.' The genius making me no answer, I turned me about to address myself to him a second time, but I found that he had left me; I then turned again to the vision which I had been so long contemplating but instead of the rolling tide, the arched bridge, and the happy islands, I saw nothing but the long hollow valley of Bagdat, with oxen, sheep, and camels grazing upon the sides of it."

CHAPTER VI.

ERRORS IN THE USE OF FIGURES.

Originality Essential. — Figures have been defined and illustrated, not with a view to giving the student something new to put into his writing; for the charm of any production would be entirely lost, if the writer should feel that having just finished a chapter on figures of speech, he must keep on the lookout for a chance to put in a simile, or ask himself what would be a good metaphor for this thought, or how this idea could be best personified. Originality and spontaneity are absolutely necessary to happy expression, and no author could inform us how he found his bright ideas, or by what rule he constructed the lines which have since become familiar quotations to us all.

But genius must receive its inspiration from some source; and it is possible that reading and reflecting upon the examples and selections given may awaken in the mind of some pupils the power needing only to be aroused and guided.

Figures as Stumbling-blocks. Few men have written well when very young. Shakespeare became the wonder of all ages after years of writing, so aptly named the "workshop period." The youthful work of most poets is valuable mainly for completing the collections of their poems. Figurative language has been a stumblingblock for all grades of genius. Eminent critics have

shown this to be true even with the princes of song; and when the schoolboy, consciously or unconsciously, begins to put his thoughts in pictured phrase, in lifting his eyes toward the sky for inspiration, he takes them from the stony road, and is thus too often overturned.

Errors in the use of figures are frequently found in the work of promising scholars; for it takes boldness for a boy to give his imagination any play at all. It would be a great wrong to ridicule any genuine outburst of youthful enthusiasm, and therefore careful criticism and guidance are necessary here.

Errors Classified. One pupil is prone to pick up and weave into his writing all the old hackneyed figures he can find; another pupil will mix his figurative expressions so they can with difficulty be understood; another will think that he is doing well, if only he can put his words in high-sounding flowery phrase, without regard to its fitness for the expression of his meager thoughts.

But where a figure fails to suggest the thought as well as the literal expression would state it, the figure does not accomplish the purpose for which it was intended, and hence is useless; for not only is no force gained, but clearness also is lost.

Errors of this sort can be definitely pointed out, and suggestions can be given for their correction, only after the pupil has learned the names and definitions of the various figures which it is possible to use or misuse. We shall now classify the faults most frequently made in the use of figures.

I. When the relation between the words used and the thought to be suggested is too remote or obscure, the