After having suggested these general observations, it will be proper to descend to particular cases.

By a number of syllables in succession, an emotion is sometimes raised, similar to that excited by successive motion. In this manner slow motion may be justly imitated in a verse where long syllables prevail, especially with the aid of a slow pronunciation.

Illi inter sese magnâ vi brachia tollunt.-Virgil.

On the other hand, swift motion is imitated by a succession of short syllables.

Quadrupedante putrem sonitu quatit ungula campum.---Virgil. By the frequency of its pauses, a line composed or monosyllables makes an impression similar to what is made by laborious interrupted motion.

First march the heavy mules securely slow;

O'er hills, o'er dales, o'er crags, o'er rocks they go.---Pepe.

With many a weary step, and many a groan,

Up the high hill he heaves a huge round stone.---Broome. ane impression made by rough sounds in succession, resembles that made by rough or tumultuous motion : and, on the other hand, the impression of smooth sounds resembles that of gentle motion.

Two craggy rocks, projecting to the main,
The roaring wind's tempestuous rage restrain;
Within, the waves in softer murmurs glide,

And ships secure without their hausers ride.---Pope.

Prolonged motion is well expressed by an Alexandrine verse. The following is an example of slow

motion prolonged.

A needless Alexandrine ends the song,

That, like a wounded snake, drags its slow length along.---Pope.

The

The next example is of forcible motion prolonged.

The waves behind impel the waves before,

Wide-rolling, foaming high, and tumbling on the shore.---Pope. The last is of rapid motion prolonged.

The huge round stone, resulting with a bound,

Thunders impetuous down, and smokes along the ground.---Broome.

A period consisting mostly of long syllables, that is, of syllables pronounced slow, produces an emotion which bears a faint resemblance to that excited by gravity and solemnity. Hence the beauty of the fol lowing verse.

Olli sedato respondit corde Latinus.---Virgil.

A short syllable made long, or a long syllable made short, raises, by the difficulty of pronouncing contrary to custom, a feeling similar to that of hard labour. When Ajax strives some rock's vast weight to throw.---Pope. This enumeration might be extended to a much greater length; but the examples which have been given, may serve as a foundation for the reader's further enquiries.

I have had occasion to observe, that to complete the resemblance between sound and sense, artful pronunciation contributes in no small degree. Pronunciation may therefore be considered as a branch of the present subject; and with some observations upon it this chapter shall be concluded.

To give a just idea of pronunciation, it must be distinguished from singing. The latter is carried on by notes, requiring each of them a different aperture of the windpipe: the notes properly belonging to the former, are expressed by different apertures of the

mouth.

mouth, without varying the aperture of the windpipe.

In reading, as in singing, there is a key-note. Above this note the voice is frequently elevated, to make the sound correspond to the elevation of the subject. But the mind, in an elevated state, is disposed to action; and therefore in order to rest, it must be brought down to the key-note. Hence the term cadence.

H

The only rule that can be given for directing the pronunciation, is to sound the words in such a manner as to imitate the things which they signify. In pronouncing words denoting something elevated, the voice ought to be raised above its ordinary tone, To imitate a stern and impetuous passion, the words ought to be pronounced rough and loud. A sweet and gentle passion, on the contrary, ought to be imitated by a soft and melodious tone of voice. In general, words of the greatest importance ought to be marked with peculiar emphasis. Another circumstance which contributes to the resemblance between sense and sound, is the slowness or the rapidity of pronunciation. A period should be pronounced slow, when it expresses what is solemn or deliberate: and quick, when it expresses what is lively or impetuous.

This rule might be branched out into many particular observations: but these do not properly belong to the present undertaking, because no language furnishes words to denote the different degrees of high and low loud and soft, fast and slow. Before these circumstances can be made the subject of regular instruction, notes must be invented resembling those employed in music. We have reason to believe that in Greece

106 FIGURATIVE LANGUAGE IN GENERAL.

every tragedy was accompanied with such notes, to ascertain the pronunciation: but hitherto the moderns have not thought of this refinement. Cicero, indeed, without the help of notes, professes to give rules for ascertaining the various tones of voice which are proper in expressing the different passions; and it must be acknowledged that in this attempt he has exhausted the whole power of language. At the same time, it is evident that these rules avail little in point of instruction. The very words which he employs, ae not intelligible, except to those who are previously acquainted with the subject.

CHAP. XII.

OF FIGURATIVE LANGUAGE IN GENERAL.

FIGURES of speech always denote some departure from the simplicity of expression; they enunciate after a particular manner, the idea in which we intend to convey, and that with the addition of some circumstance designed to render the impression more strong and vivid. When I say, "A good man enjoys comfort in the midst of adversity," I express my thoughts in the simplest manner possible. But when I say, "To the upright there ariseth light in darkness," the same sentiment is expressed in a figurative style: a new circumstance is introduced; light is put in the place of comfort, and darkness is used to suggest the idea of adversity. Though figures imply a deviation from what may

be

1

be reckoned the most simple form of speech, we are not thence to infer that they imply any thing uncommon, or unnatural. This is so far from being the case, that, on many occasions, they are both the most natural, and the most common method of uttering our sentiments. It is impossible to compose any discourse without making frequent use of them; nay, there are few sentences of any length, in which there does not occur some expression that may be termed figurative. Figures are therefore to be accounted part of that language which nature dictates to mankind. They are not the invention of the schools, nor the mere product of study: on the contrary, the most illiterate speak in figures, as often perhaps as the most learned. Whenever the imagination of the vulgar is powerfully awakened, or their passions highly inflamed, they will pour forth a torrent of figurative language, as forcible as could be employed by the most artificial declaimer.

"When we attend," says Dr. Ferguson, "to the language which savages employ on any solemn occasion, it appears that man is a poet by nature. Whether at first obliged by the mere defects of his tongue, and the scantiness of proper expressions, or seduced by a pleasure of the fancy in stating the analogy of its object, he clothes every conception in image and metaphor. We have planted the tree of peace,' says an American orator; we have buried the axe under its roots we will henceforth repose under its shade ; we will join to brighten the chain that binds our nations together.' Such are the collections of metaplor which those nations employ in their public

harangues.