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We shall now confider, when comparisons may be introduced with propriety. Since they are the language of imagination rather, than of paffion, an author can hardly commit a greater fault, than in the midst of paffion to introduce a fimile. Our writers of tragedies often err in this refpect. Thus Addison in his Cato makes Portius, juft after Lucia had bid him farewell. for ever, express himself in a studied comparison.

Thus o'er the dying lamp the unsteady flame
Hangs quivering on a point, leaps off by fits,
And falls again, as loath to quit its hold.

Thou must not go; my foul still hovers o'er thee,
And can't get loofe.

As comparison is not the style of strong paffion; so, when defigned for embellishment, it is not the language of a mind totally unmoved. Being a figure of dignity, it always requires fome elevation in the fubject, to make it proper. It fuppofes the imagination to be enlivened, though the heart is not agitated by paffion. The language of fimile lies in the middle region between the highly pathetic and the very humble ftyle. It is however a sparkling ornament; and must confequently dazzle and fatigue, if it recur too often. Similies even in poetry fhould be employed with moderation; but in profe much more fo; otherwife the ftyle will become difguftingly luscious, and the ornament lofe its beauty and effect.

We fhall now confider the nature of those objects, from which comparisons should be drawn.

In the firft place they must not be drawn from things, which have too near and obvious a resemblance of the object, with which they are compared. The pleafure, we receive from the act of comparing, arifes from the discovery of likenesses among things of different fpecies, where we should not at first fight expect a refemBlance.

But in the fecond place, as comparisons ought not to be founded on likeneffes too obvious; much lefs ought they to be founded on thofe, which are too faint and diftant. These instead of affifting strain the fancy to comprehend them, and throw no light upon the fubject.

In the third place the object, from which a comparifon is drawn, ought never to be an unknown object, nor one, of which few people can have a clear idea. Therefore fimilies, founded on philofophical discoveries, or on any thing, with which persons of a particular trade only, or a particular profeffion, are acquainted, produce not their proper effect. They fhould be drawn from those illuftrious and noted objects, which most readers have either feen, or can ftrongly conceive.

In the fourth place in compofitions of a ferious or elevated kind similies fhould never be drawn from low

or mean objects. Thefe degrade and vilify; whereas fimilies are generally intended to embellish and dignify Therefore, except in burlesque writings, or where an object is meant to be degraded, mean ideas should never be prefented.

ANTITHESIS is founded on the contraft or oppofi tion of two objects. By contraft objects, opposed to each ether, appear in a ftronger light. Beauty, for inftance, never appears fo charming, as when contrafted with ugliness. Antithefis therefore may on many occafions be used advantageouíly, to ftrengthen the impreffion, which we propofe that any object should make. Thus Cicero in his oration for Milo, representing the improbability of Milo's defigning to take away the life of Clodius, when every thing was unfavorable to fuch defign, after he had omitted many opportunities of effecting fuch a purpose, heightens our conviction of this improbability by a skilful ufe of this figure.

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Quem igitur cum " omnium gratia interficere noluit; hunc voluit cum aliquorum querela? Quem jure, quem loco, quem tempore, quem "impune, non eft aufus; hunc injuria, iniquo loco, alieno

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tempore, periculo capitis, non dubitavit occidere?" Here the antithefis is rendered complete by the words and members of the fentence, expreffing the contrafted ob jects, being fimilarly conftructed, and made to corref pond with each other.

We must however acknowledge that frequent use of

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antithefis, efpecially where the oppofition in the words is nice and quaint, is apt to make style unpleafing. A maxim or moral saying very properly receives this form ; because it is fuppofed to be the effect of meditation, and is defigned to be engraven on the memory, which recalls it more eafily by the aid of contrafted expreffions. But, where feveral fuch fentences fucceed each other; where this is an author's favorite and prevailing mode of expreffion; his ftyle is expofed to cenfure.

INTERROGATIONS and Exclamations are paffionate figures. The literal ufe of interrogation is to ask a question; but, when men are prompted by paffion, whatever they would affirm, or deny with great earnestnefs, they naturally put in the form of a queftion; expreffing thereby the firmeft confidence of the truth of their own opinion; and appealing to their hearers for the impoffibility of the contrary. Thus in fcripture ; "God is not a man, that he should lie; nor the son of "man, that he should repent. Hath he faid it? And “ shall he not do it? Hath he spoken it? And shall he "not make it good?"

Interrogations may be employed in the profecution of clofe and earneft reafoning; but exclamations belong only to stronger emotions of the mind; to furprise, anger, joy, grief, and the like. Thefe, being natural figns of a moved and agitated mind, always, when properly employed, make us fympathife with those,

who use them, and enter into their feelings. Nothing however has a worse effect, than frequent and unfeafonable use of exclamations. Young, unexperienced wri ters fuppofe that by pouring them forth plenteously they render their compofitions warm and animated.. But the contrary follows; they render them frigid to excefs. When an author is always calling upon us to enter into tranfports, which he has faid nothing to inspire, he excites our disgust and indignation.

Another figure of speech, fit only for animated compofition, is called VISION; when instead of relating fomething, that is paft, we ufe the prefent tenfe, and defcribe it, as if paffing before our eyes. Thus Cicero in his fourth oration against Catiline; " Videor enim "mihi hanc urbem videre, lucem orbis terrarum atque arcem *omnium gentium, fubito uno incendio concidentum ; cerno "animo fepulta in patria miferos atque infepultos acervos ci

vium; verfatur mihi ante oculos afpectus Cethegi, et furor, "in veftra cade bacchantis." This figure has great force, when it is well executed, and when it flows from genuine enthusiasm. Otherwife it fhares the fame fate with all feeble attempts toward paffionate figures; that of throwing ridicule upon the author, and leaving the reader more cool and uninterested, than he was before.

The last figure, which we fhall mention, and which is of frequent ufe among all public fpeakers, is CLIMAX.,

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