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LECTURE XVIII.

FIGURATIVE LANGUAGE-GENERAL CHARACTERS OF STYLE- DIFFUSE, CONCISE - FEEBLE, NERVOUS-DRY, PLAIN, NEAT, ELEGANT, FLOWERY.

HAVING treated, at considerable length, of the Figures of Speech, of their origin, of 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 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 ornaments 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,

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, " invitâ " Minervâ;" 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 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. L. iii. " fastidium finitimum est in rebus omnibus; quo học " minus in oratione miremur. In qua vel ex poëtis,

" vel oratoribus possumus judicare, concinnam, orna"tam, festivam sine intermissione, quamvis claris " sit coloribus picta, vel poësis, vel oratio, non posse " in delectatione esse diuturna. Quare, bene et " præclare, quamvis nobis sæpe dicatur, belle et " festive nimium sæpe nolo.” * To the same purpose, are the excellent directions with which Quinctilian concludes his discourse concerning Figures, L. ix. C. 3. " Ego illud de iis figuris quæ veræ fiunt, " adjiciam breviter, sicut ornant orationem opportunæ "positæ, ita ineptissimas esse cum immodice petun"tur. Sunt, qui neglecto rerum pondere et viribus "sententiarum, si vel inania verba in hos modos " depravarunt, summos se judicant artifices; ideoque "non desinunt eas nectere; quas sine sententia sec"tare, tam est ridiculum quam quærere habitum " gestumque sine corpore. Ne hæ quidem quæ "rectæ fiunt, densandæ sunt nimis. Sciendum " imprimis quid quisque postulet locus, quid persona, " quid tempus. Major enim pars harum figurarum " posita est in delectatione. Ubi verò, atrocitate, " invidia, miseratione pugnandum est; quis ferat " verbis contrapositis, et consimilibus, et pariter " cadentibus, irascentem, flentem, rogantem? Cum "in his rebus, cura verborum deroget affectibus "fidem; et ubicunque ars ostentatur, veritas abesse " videatur." * After these judicious and useful observations, I have no more to add on this subject, except this admonition.

In the fourth place, that without a genius for Figurative Language, none should attempt it. Imagination is a power not to be acquired; it must be derived from nature. Its redundancies we may prune, its deviations we may correct, its sphere we may enlarge; but the faculty itself we cannot create; and all efforts towards a metaphorical ornamented Style, if we are destitute of the proper genius for it, will prove awkward and disgusting. Let us satisfy ourselves, however, by considering that without this talent, or at least with a very small measure of it, we may both write and speak to advantage. Good

: * " I must add concerning those figures which are proper in themselves, that as they beautify a composition when they are " seasonably introduced, so they deform it greatly if too fre"quently sought after. There are some, who, neglecting strength "of sentiment and weight of matter, if they can only force their " empty words into a Figurative Style, imagine themselves great "writers; and therefore continually string together such orna" ments; which is just as ridiculous, where there is no sentiment "to support them, as to contrive gestures and dresses for what " wants a body. Even those Figures which a subject admits, " must not come too thick. We must begin with considering "what the occasion, the time, and the person who speaks, render

proper. For the object aimed at by the greater part of these "Figures is entertainment. But when the subject becomes "deeply serious, and strong passions are to be moved, who can "bear the orator, who, in affected language and balanced phrases, " endeavours to express wrath, commiseration, or earnest entreaty? "On all such occasions, a solicitous attention to words weakens " passion; and when so much art is shewn, there is suspected to " be little sincerity."