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The third species of comparison seems to hold a middle rank between the two preceding: and the sole intent of it is, by a mixture of new and varied imagery with the principal matter, to prevent satiety or disgust, and to promote the entertainment of the reader. It neither descends to the humility of the one, nor emulates the sublimity of the other. It pursues rather the agreeable, the ornamental, the elegant, and ranges through all the variety, all the exuberance of nature. In so extensive a field it would be an infinite task to collect all that might be observed of each particular. I shall remark one circumstance only, which though it sometimes take place in the two former species of comparison, may be said notwithstanding to be chiefly appropriated to this

last.

There are two operations of the mind, evidently contrary to each other. The one consists in combining ideas, the other in separating and distinguishing them. For in contemplating the innumerable forms of things, one of the first reflections which occurs is, that there are some which have an immediate agreement, and some which are directly contrary to each other. The mind, therefore, contemplates those objects which have a resemblance in their universal nature in such a manner, as naturally to inquire whether in any respect they so disagree, as to furnish any mark of discrimination; on the contrary, it investigates those which are generally different in such a manner, as to remark whether, in their circumstances or adjuncts, they may not possess something in common, which may serve as a bond of connexion or association to class or unite them. The final cause of the former of these operations seems to be -to caution and guard us against error, in confounding one with another; of the latter, to form a kind of

repository of knowledge, which may be resorted to, as occasion serves, either for utility or pleasure. These constitute the two faculties, which are distinguished by the names of judgement and imagination." As accuracy of judgement is demonstrated by discovering in things, which have in general a very strong resemblance, some partial disagreement; so the genius or fancy is entitled to the highest commendation, when in those objects, which upon the whole have the least agreement, some striking similarity is traced out.18 In those comparisons, therefore, the chief purpose of which is ornament or pleasure, thus far may pass for an established principle, that they are most likely to accomplish this end, when the image is not only elegant and agreeable, but is also taken from an object, which in the general is materially different from the subject of comparison, and only aptly and pertinently agrees with it in one or two of its attributes.

But I shall probably explain myself better by an example. There is in Virgil a comparison, borrowed from Homer, of a boiling caldron." Supposing in each poet the versification and description equally elegant; still, as the relation between the things compared is different, so the grace and beauty of the comparison is different in the two poets. In Homer the waters of the river Xanthus boiling in their channel by the fire, which Vulcan

17 See HOBBES of Human Nature, c. x. sect. 4. and LOCKE of Human Understanding, B. xi. c. 11. sect. 2.

18 Elegance of expression consists in metaphors, neither too remote, "which are difficult to be understood; nor too simple and superficial, " which do not affect the passions." ARIST. Rhet. iii. 10. "For, as was "before observed, metaphors must be taken from objects that are familiar, yet not too plain and common: As in philosophy it is a mark of sagacity "to discern smilitude even in very dissimilar things."

86

19 En. vii. 462. "Il. xxi. 362.

Ib. c. ii.

Author's Note.

has thrown into the river, are compared with the boiling of a heated caldron; but Virgil compares with the same object the mind of Turnus agitated by the torch of the fury Alecto. The one brings together ideas manifestly alike, or rather indeed the same, and only differing in circumstances; the other, on the contrary, assimilates objects, which are evidently very different in their nature, but aptly agreeing in some of their adjuncts or circumstances. Thus the comparison of the Latin poet is new, diversified, and agreeable; but that of the Greek, although not destitute of force in illustrating the subject, is undoubtedly wanting in all the graces of variety, ornament, and splendour.

For the same reason, there is perhaps no comparison of any poet extant more ingenious, more elegant or perfect in its kind, than the following of the same excellent poet :

"The hero floating in a flood of care,

"Beholds the tempest which his foes prepare:
"To different objects turns his anxious mind;
"Thinks, and rejects the counsels he design'd;
"Explores himself in vain, in every part,
❝ And gives no rest to his distracted heart.
"So when the sun by day, or moon by night,
"Strike on the polish'd brass their trembling light,
« The glittʼring species variously divide,

"And cast their dubious beams from side to side;
"Now on the walls, now on the pavement play,
"And to the cieling flash the glaring day."

20

He appears to be indebted for this passage to Apollonius Rhodius:

"In sad review dire scenes of horror rise,

"Quick beats her heart, from thought to thought she flies; "As from the stream-stor'd vase with dubious ray

20 Duro. Virg. Æn. viii. 28.

"The sun-beams dancing from the surface play;
"Now here, now there, the trembling radiance falls,
"Alternate flashing round th' illumin'd walls:

"Thus fluttering bounds the trembling virgin's blood,
"And from her eyes descends a pearly flood.""

In this description, Virgil, as usual, has much improved upon his original; and particularly in that circumstance, which is the most essential of all, that on which the fitness of the comparison depends, and which forms the hinge, as it were, upon which it turns, he has greatly surpassed the ancient author.

It appears, therefore, that in comparisons, the chief design of which is ornament or variety, the principal excellence results from the introduction of an image different in kind, but correspondent in some particular circumstances. There are, however, two capital imperfections, to which this figure is sometimes liable: one, when objects too dissimilar, and dissimilar chiefly in the adjuncts or circumstances, are forced into comparison; the other, and not less common or important, though perhaps less adverted to, when the relation or resemblance is in general too exact and minute. The comparison in the one case is monstrous and whimsical;" in the other it is groveling and inanimate.

21 FAWKES's Argonautics, B. iii. 816.

22 The principal fault which I have observed in the comparisons of the Orientals is, that the resemblance is often too fanciful and remote. They are, however, not singular in this respect: the following occurs in one of our most elegant poems, and in my opinion it is in this respect very reprehensible. Describing the Village Clergyman, and his care of his flock, the poet proceeds:

"His ready smile a parent's warmth express'd,

"Their welfare pleas'd him, and their cares distress'd;
"To them his heart, his love, his griefs were given,
"But all his serious thoughts had rest in heaven.
"As some tall cliff that lifts its awful form,

Swells from the vale, and midway leaves the storm,

Examples innumerable in illustration of the present subject might be found in the sacred poetry: I shall, however, produce not more than two from Isaiah. The first from the historical narration of the confederacy between the Syrians and the Israelites against the kingdom of Judah," which when it was told unto the king," says the prophet, "his heart was moved, and the hearts "of his people, as the trees of the wood are moved "with the wind. 23 The other is a poetical comparison, which is fuller and more diffuse than the custom of the Hebrews generally admits; the subject of correspondent application, however, is perfectly exact. The divine grace," and its effects, are compared with

"Tho' round its breast the rolling clouds are spread,

"Eternal sunshine settles on his head." Deserted Village. T. There is another defect in this passage, which perhaps is the real cause of that here pointed out, arising from the use of the term as, by which the resemblance between the mountain and the man is announced: not to mention the want of the antithetical so, which should necessarily have introduced a further application of the simile. S. H.

23 İSAT. vii. 2.

24 This passage of the prophet loses much of its poetical beauty if it be not rightly understood. He is not speaking of that grace, which the school divines treat of, and which has been celebrated since the time of Augustine in so many controversies, nor of the virtue and efficacy of the gospel in correcting the morals of mankind, but of the certain accomplishment of the prophetic word. It was very customary among the Hebrews to compare the word of God, and particularly the word of prophecy, to a shower of rain, DEUT. xxxii. 2. EZEK. XXI. 2. Mic. ii. 6. JOB xxix. 22, 23. When, therefore, it is their intention to describe the certain and inevitable accomplishment of the divine oracles, they represent the earth as impregnated and fertilized by this refreshing rain. Isaiah has celebrated in the 11th chapter, as well as in the chapter under our consideration, ver. 3, 4, and 5, the eternal covenant of God with the Israelites, and the accomplishment of that perpetual and permanent grace which he had sworn to David, namely, that an eternal and immortal King should sit upon his throne; and that he should rule and direct the heathen. If these should appear to any person above credibility, he advises him to recollect that the divine counsels are far above the reach of the human understanding; and that those things are easy to him, which appear most difficult to us. He adds,

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