LECTURE XVIII. FIGURATIVE LANGUAGE-GENERAL CHARACTERS OF STYLE-DIFFUSE, CONCISE -FEEBLE, NÉRVOUS-DRY, PLAIN, NEAT, ELEGANT, FLOWERY. HAVING treated, at considerable length, of the figures of speech, of their origin, of their their nature, and of the management of such of them as are important enough to require a particular discussion, before finally dismissing this subject, I think it incumbent on me to make some observations concerning the proper use of figurative language in general. These, indeed, I have, in part, already anticipated. But, as great errors are often committed in this part of style, especially by young writers, it may be of use that I bring together, under one view, the most material directions on this head. I BEGIN with repeating an observation, formerly made, that neither all the beauties, nor even the chief beauties of composition, depend upon tropes and figures. Some of the most sublime and most VOL. II. B pathetic passages of the most admired authors, both in prose and poetry, are expressed in the most simple style, without any figure at all; instances of which I have before given. On the other hand, a composition may abound with these studied ornaments; the language may be artful, splendid, and highly figured, and yet the composition be on the whole frigid and unaffecting. Not to speak of sentiment and thought, which constitute the real and lasting merit of any work, if the style be stiff and affected, if it be deficient in perspicuity or precision, or in ease and neatness, all the figures that can be employed will never render it agreeable: they may dazzle a vulgar, but will never please a judicious eye. In the second place, figures, in order to be beautiful, must always rise naturally from the subject. I have shewn that all of them are the language either of imagination, or of passion; some of them suggested by imagination, when it is awakened and sprightly, such as metaphors and comparisons; others by passion or more heated emotion, such as personifications and apostrophes. Of course they are beautiful then only, when they are prompted by fancy, or by passion. They must rise of their own accord; they must flow from a mind warmed by the object which it seeks to describe; we should never interrupt the course of thought to cast about for figures. If they be sought after coolly, and fastened on as designed ornaments, they will have a miserable effect. It is a very erroneous idea, which many have of the or naments of style, as if they were things detached from the subject, and that could be stuck to it like lace upon a coat: this is indeed, Purpureus late qui splendeat unus aut alter ARS POET. And it is this false idea which has often brought attention to the beauties of writing into disrepute. Whereas, the real and proper ornaments of style arise from sentiment. They flow in the same stream with the current of thought. A writer of genius conceives his subject strongly; his imagination is filled and impressed with it; and pours itself forth in that figurative language which imagination naturally speaks. He puts on no emotion which his subject does not raise in him; he speaks as he feels; but his style will be beautiful, because his feelings are lively. On occasions, when fancy is languid, or finds nothing to rouse it, we should never attempt to hunt for figures. We then work, as it is said, "invita Minerva ;" supposing figures invented, they will have the appearance of being forced; and in this case, they had much better be omitted. IN the third place, even when imagination prompts, and the subject naturally gives rise * "Shreds of purple with broad lustre shine, FRANCIS to figures, they must, however, not be employed too frequently. In all beauty, simplex munditiis" is a capital quality. Nothing derogates more from the weight and dignity of any composition, than too great attention to ornament. When the ornaments cost labour, that labour always appears; though they should cost us none, still the reader or hearer may be surfeited with them; and when they come too thick, they give the impression of a light and frothy genius, that evaporates in show, rather than brings forth what is solid. The directions of the ancient critics, on this head, are full of good sense, and deserve careful attention. " Voluptatibus "maximis," says Cicero, de Orat. 1. iii. " fasti"dium finitimum est in rebus omnibus ; quo hoc "minus in oratione miremur. In qua vel ex poetis, vel oratoribus possumus judicare, con" cinnam, ornatam, festivam sine intermissione, "quamvis claris sit coloribus picta, vel poesis, vel "oratio, non posse in delectatione esse diuturna. Quare, bene et præclare, quamvis nobis sæpe "dicatur, belle et festive nimium sæpe nolo*." To *“ In all human things, disgust borders so nearly on the most "lively pleasures, that we need not be surprised to find this "hold in eloquence. From reading either poets or orators we may easily satisfy ourselves, that neither a poem nor an ora"tion, which, without intermission, is showy and sparkling, ❝ can please us long. Wherefore, though we may wish for the "frequent praise of having expressed ourselves well and pro"perly, we should not covet repeated applause for being bright and splendid.". 46 |