PART VII. ON FIGURATIVE LANGUAGE. THERE is in man's nature a principle which strongly urges him to believe that inanimate objects and abstract qualities are endowed with passion and power, and that they can think, feel, and act like human beings. Certain minds, by reason of their temperament, have a stronger tendency to this belief than others, but all possess it in some degree. It may be observed almost from the cradle, and few men are wholly exempt from its influence through life. When a child talks to her doll, or beats the table against which she has struck herself, this poetical nature is exhibited. The boy, who loves to range alone through woods and rocks, has the same feeling still more strongly within him; and the man, though every year may tend to unpoetise him, and make him more philosophical, can never entirely cast it off. The expression of this feeling is, in truth, poetry; and every form of what is called figurative language has its origin in this universal belief. It is worthy of notice that, as the poetical principle is seen to exist from the very infancy of the child, so it is known to have been most intense and abundant in the earliest ages of the world. The saying that 'Man begins by being a poet, and ends by becoming a philosopher,' is as true of society collectively as of its members individually; and though figurative language is not now so common as in ancient times, it still exercises a much more powerful influence on thought than many may imagine. Its proper domain is, of course, poetry; but poetical figures are also used with great effect in prose language, where they assist in giving clearness, as well as beauty and vivacity, to expression. In the first place, such language, when well chosen, imparts perspicuity, and makes a deeper impression. Take the following sentence: When we dip too deeply into pleasure, we always stir a sediment that renders it impure and noxious.' The thought is here expressed by a figure of speech. Now, if this sentence were stated in ordinary language-When we indulge too freely in pleasure, we are sure to receive injury from the excess the language, though intelligible, would certainly not be so impressive. A child will see the relation between cause and effect as expressed in the former sentence. The language is picturesque, and the commonest understanding will more readily perceive truth in this form; whereas, in the latter, the expression is less lively, and requires more consideration to comprehend it fully. Again, figures give elevation and dignity to style. In truth, whenever a writer wishes to impart loftiness to the expression, he always uses figure. In all impassioned appeals, descriptions of the sublime or beautiful, and in expressions of the nobler passions, he must have recourse to these forms of language to give an adequate representation of his inner feelings. The language even of our common and everyday conversation abounds in figure: here, single words are often used figuratively, as when we speak of a country 'flourishing,' or of anyone 'melting' into tears; of his 'hard' heart, or of his being 'inflamed' with rage; of his acute' judgment, &c. All these are common terms, and, indeed, the best we could adopt in such cases, and yet they are all figurative. This sort of language is divided into two classes— figures of words, and figures of thought. The former are generally called 'tropes,' from a Greek word signifying to turn,' because, in these cases, the word is turned from its original meaning, and used in a new sense. Thus, 'To the upright there ariseth light in darkness.' The figure here consists in the words 'light' and 'darkness' being used, respectively, for 'comfort' and 'adversity.' In the other class, the words are used in their proper and literal meaning, but the figure consists in the turn of thought. All forms of comparison belong to this class, as they imply a likeness in the things, and not in the symbols by which they are represented; as, 'Why did I not pass away in secret, like the flower of the rock that lifts its fair head unseen, and strews its withered leaves on the blast ? ' Here there are two conditions compared, but the words are all used in their original and literal sense. It may be said, perhaps, that this distinction has no practical use, and is not always very clear. But, without insisting on artificial distinctions, surely, if there is a difference, it should be clearly understood, and whenever a well-founded classification can be made, it should be adopted, if only on the general grounds of giving system and method to our knowledge. PERSONIFICATION. We shall now proceed to make some remarks on those figures of speech which are in most frequent use, and 1st, Personification. By this figure, life, action, and sensibility are bestowed on abstract ideas or inanimate objects. There are two forms of this figure,—1, when an inanimate object or abstract quality is represented in an active state: and 2, when such an object is addressed as if possessing a capacity to listen to us and be affected by our words. To the first of these classes belong such expressions as the following: 'Morality and religion forbid war.'-Justice demands a compensation. The storm raged through the whole night.'—'The billows seem to fear the blast.''The thunder hath spent his shafts.'- Thoughts that wander.'' The stars hide their diminished heads.''The sun impressed his beams.'-' Old ocean smiles.''Rich trees wept gums,' &c. The following are examples of a passive personification, i. e., of inanimate objects addressed. This form is almost exclusively confined to poetry. 'Thou sure and firm-set earth, Hear not my steps which way they walk, for fear 'Come, gentle Spring, ethereal mildness, come,' &c. R 'Time, thou anticipat'st my dread exploits,' &c. 'Arm, arm, you heavens, against these perjur'd kings!' 'Death, death! -O amiable, lovely death! Arise from forth the couch of lasting night,' &c. There are two rules for the management of this figure. The first is, never to introduce it unless when the passage requires the expression of strong feeling; and never to continue it when that feeling begins to subside. It is a figure which requires the greatest delicacy of handling, and should be used with judgment and moderation. We may add, that passive personification is better adapted to poetry than to a prose form of composition. The second rule is that no objects should be personified but such as have in themselves a certain dignity. If extraordinary marks of respect for a person of low condition are ridiculous, so is the personification of an insignificant object. Blair observes, that 'to address the corpse of a deceased friend is natural; but to address the clothes he wore, introduces mean and degrading ideas.' APOSTROPHE. The figure apostrophe very closely resembles a passive personification. The only difference is, that in the former, the writer or poet addresses those who are either dead or absent; whereas, in the latter, an address is made to an abstraction, or to some inanimate object. Apostrophe does not require so violent an effort of the imagination as personification; but it should never be introduced except when the speaker is supposed to be |