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His brandish'd sword did blind men with its beams:
His arms spread wider than a dragon's wings:
His sparkling eyes, replete with awful fire,
More dazzled, and drove back his enemies,
Than mid-day sun fierce bent against their faces.
What should I say? his deeds exceed all speech:
He never lifted up his hand, but conquer❜d.

First Part, Henry VI. Act I. Sc. 1.

Se tutti gli alberi del mondo fossero penne,
Il cielo fosse carta, il mare inchostro,
Non basteriano a descrivere la minima
Parte delle vostre perfettioni.

Se tante lingue havessi, e tante voci,
Quant' occhi il cielo, e quante arene il mare,
Perderian tutto il suono, e la favella
Nel dire a pieno le vostri lodi immensi.

Guarini:

It is observable, that a hyperbole, even the most extravagant, commonly produces some emotion the present hyperbole is an exception; and the reason is, that numbers, in which the extravagance entirely consists, make no impression upon the imagination when they exceed what can easily be conceived.

Lastly, an hyperbole, after it is introduced with all advantages, ought to be comprehended within the fewest words possible: as it cannot be relished but in the hurry and swelling of the mind, a leisurely view dissolves the charm, and discovers the description to be extravagant at least, and perhaps also ridiculous. This fault is palpable in a sonnet which passeth for one of the most complete in the French language. Phillis, in a long and florid description, is made as far to outshine the sun as he outshines the stars,

Le silence regnoit sur la terre et sur l'onde,..
L'air devenoit serain et l'Olimpe vermeil,
Et l'amoureux Zephir affranchi du sommeil,
Ressuscitoit les fleurs d'une haleine féconde.

L'Aurore déployoit l'or de sa tresse blonde,
Et semoit de rubis le chemin du soleil ;
Enfin ce Dieu venoit au plus grand appareil
Qu'il soit jamais venu pour éclairer le monde.

Quand la jeune Phillis au visage riant,
Sortant de son palais plus clair que l'orient,
Fit voir une lumiere et plus vive et plus belle.
Sacre flambeau du jour, n'en soyez point jaloux.
Vous parûtes alors aussi peu devant elle,
Que les feux de la nuit avoient fait devant vous.

Malleville.

There is in Chaucer a thought expressed in a siagle line, which gives more lustre to a young beauty, than the whole of this much-laboured poem:

Up rose the sun, and up rose Emelie.

SECTION IV.

The Means or Instrument conceived to be the

Agent.

WHEN We survey a number of connected objects, that which makes the greatest figure employs chiefly our attention; and the emotion it raises, if lively, prompts us even to exceed nature in the conception we form of it. Take the following examples:

For Neleus' son Alcides' rage had slain.

A broken rock the force of Pirus threw.

In these instances, the rage of Hercules and the force of Pirus, being the capital circumstances, are so far exalted as to be conceived the agents that produce the effects.

In the following instances, hunger being the chief circumstance in the description, is itself imagined to be the patiente

Whose hunger has not tasted food these three days. '.!

Jane Shore.

As when the force

Of subterranean wind transports a hill.'

Paradise Lost.

Of Amram's son, in Egypt's evil day

As when the potent rod

Wav'd round the coast, upcall'd a pitchy cloud
Of locusts.

Paradise Lost.

SECTION V.

A Figure, which, among Related Objects, extends the Properties of one to another.

THIS figure is not dignified with a proper name, because it has been overlooked by writers. It merits, however, a place in this work; and must be distinguished from those formerly handled, as depending on a different principle. Giddy brink, jovial wine, daring wound, are examples of this figure. Here are adjectives that cannot be made to signify any quality of the substantives to which they are joined: a brink, for example, cannot be termed giddy in a sense, either proper or figurative, that can signify any of its qualities or attributes. When we examine attentively the expression, we discover, that a brink is term giddy from producing that effect in those who stand on it. In the same manner a wound is said to be daring, not with respect to itself, but with respect to the boldness of the person who inflicts it: and wine is said to be jovial, as inspiring mirth and jollity. Thus the attributes of one subject are extended to another with which it is connected; and the expression of such a thought must be considered as a figure, because the attribute is not applicable to the subject in any proper sense.

How are we to account for this figure, which we see lies in the thought, and to what principle shall we refer it? Have poets a privilege to alter the nature of things, and at pleasure to bestow attributes upon a subject to which they do not belong? We have had often occasion to inculcate, that the mind passeth easily and sweetly along a train of connected objects; and, where the objects are intimately connected, that it is disposed to carry along the good and bad properties of one to another; especially when it is in any degree inflamed with these properties.* From this principle is derived the figure under consideration. Language, invented for the communication of thought, would be imperfect, if it were not expressive even of the slighter propensities and more delicate feelings: but language cannot remain so imperfect among a people who have received any polish; because langutge is regulated by internal feeling, and is gradually improved to express whatever passes in the mind. Thus, for example, when a sword in the hand of a coward, is termed a coward sword, the expression is significative of an internal operation; for the mind, in passing from the agent to its instrument, is disposed to extend to the latter the properties of the former. Governed by the same principle, we say listening fear, by extending the attribute listening of the man who listens, to the passion with which he is moved. In the expression, bold deed, or audax facinus, we extend to the ef fect what properly belongs to the cause. But not to waste time by making a commentary upon every expression of this kind, the best way to give a complete view of the subject, is to exhibit a table of the different relations that may give occasion to this figure. And in viewing the table, it will be ob

VOL. II.

See Chapter II. Part i. Sect. 5
C c

served, that the figure can never have any grace but where the relations are of the most intimate kind.

1. An attribute of the cause expressed as an attribute of the effect.

Audax facinus.

Of yonder fleet à bold discovery make.

An impious mortal gave the daring wound.

To my advent'rous song,

That with no middle flight intends to soar.

Paradise Lost.

2. An attribute of the effect expressed as an attribute of the cause.

Quos periisse ambos misera censebam in mari.

No wonder, fallen such a pernicious height.

}

Plautus.

Paradise Lost.

3. An effect expressed as an attribute of the

cause.

Jovial wine, Giddy brink, Drowsy night, Musing midnight, Panting height, Astonish'd thought, Mournful gloom.

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Longing arms.

It was the nightingale and not the lark,

That pierc'd the fearful hollow of thine ear,

Oh, lay by

Romeo and Juliet, Act III. Sc. 7.

Those most ungentle looks and angry weapons;
Unless you mean my griefs and killing fears
Should stretch me out at your relentless feet.

Fair Penitent, Act III.

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