3. Time; as, Merciful clime; Summer life' for 'agree

able life.'

4. Place.

Bleeding bosom' for 'grieving heart."

§ 339. Figurative energy as depending on the num‐ ber of words consists in a repetition or an omission of certain words which the ordinary forms of expression do not admit or require.

§ 340. This class of figures includes Figurative Repetition and Ellipsis.

FIGURATIVE REPETITION includes epizeuxis where the word is immediately repeated without any intervening word or clause, as, "The introducers of the now-established principles of political economy may fairly be considered to have made a great discovery; a discovery the more creditable," &c.; and epanalepsis, where a word or clause intervenes, as, "The persecutions undergone by the Apostles furnished both a trial to their faith, and a confirmation to ours: a trial to them," &c.

The repetition of connectives belongs to this class, and is called Polysyndeton; as, “Such a man might fall a victim to power; but truth and reason and liberty would fall with him."

And the kings of the earth, and the great men, and the rich men, and the chief-captains, and the mighty men, and every bond-man, and every freeman, hid themselves in the dens and in the rocks of the mountains.

ELLIPSIS is the omission of a word or words which would be supplied in the ordinary form of expression; as,

Hereditary bondmen! know ye not,

Who would be free, themselves must strike the blow? The Ellipsis of connectives is termed asyndeton; as, Vai, vidi, vici.

$341. Those forms of figurative energy which dethe representative imagery include three

pend on

species;

1. Those figures which consist in a change of the nature or relations of the represented object;

2. Those which consist in comparison or contrast; and

3. Those which consist in a deviation from the ordinary mode of expressing the mental condition of the speaker.

§ 312. The first class of representative figures includes those of vision, personification, and hyperbole.

VISION is a figure in which the object although really remote is represented as present in time or place.

This figure, which is founded on a represented change in the relations of the object to time or place, is exceedingly common; and is found in style of all degrees of energy and vehemence. The following are illustrations:

He was chosen: his forces were collected with the utmost diligence: he marched as if towards Cyrrha. But now, farewell at once to all regard either to the Cyrrheans or the Locrians! He seizes Elatea.-Demosthenes on the Crown.

The unhappy man, arrested as he was going to embark for his native country, is brought before the wicked praetor. With eyes darting fury, and a countenance distorted with cruelty, he orders the helpless victim of his rage to be stripped, and rods to be brought; accusing him, but without the least shadow of evidence, or even of suspicion, of having come to Sicily as a spy.-Cicero against Verres.

Advance, then, ye future generations. We would hail you, as you rise in your long succession, to fill the places which we now fill, and to taste the blessings of existence, where we are passing, and soon shall have passed our own

human duration. We bid you welcome to this pleasant land of the Fathers.-Webster.

The figure in this last example is specifically denominated an apostrophe. It is in truth, however, a combination of vision and apostrophe. § 344.

PERSONIFICATION is a figure in which inanimate objects and qualities are represented as living beings.

This likewise, is, a very common figure. Indeed, as many words in every language which were originally ap plied to inanimate objects or mere qualities only figuratively, have, by use, dropped their personifying character and are regarded as proper terms; so, likewise, phrases and extended forms of representative imagery have become the ordinary and proper modes of representation.

It is often conjoined with vision, and especially, with apostrophe.

But look, the morn, in russet mantle clad, Walks o'er the dew of yon high eastward hill.

Shakspeare.

With such delay

Well pleased, they slack their course, and many a league,
Cheered with the grateful smell, old Ocean smiles.
Milton.

Ye woods and wilds, whose melancholy gloom
Accords with my soul's sadness, and draws forth
The tear of sorrow from my bursting heart,
Farewell awhile.--Home.

The peculiar nature of the English language, which applies no distinctions of gender to objects destitute of sex, makes the use of this figure at once easy and forcible. The simple application of a personal pronoun implying sex to an inanimate object at once invests it with personality.

In like manner, liberty herself, the last and best gift of

God to his creatures, must be taken just as she is. You may pare her down into bashful regularity, and shape her into a perfect model of severe scrupulous law; but she will be liberty no longer.-Erskine.

When Natural Religion has thus viewed both, ask her, Which is the prophet of God? But her answer we have already had, when she saw part of this scene, through the eyes of the centurion, who attended at the cross. Bv. him she spoke, and said: "Truly this man was the Son of God." -Comparison of the religion of Christ and of Mahomet in Sherlock's Sermons.

The opposite of this figure, where a person is represented as a thing, has a similar energy in exposing a character to scorn and contempt.

How in the name of soldiership and sense,

Should England prosper, when such things, as smooth And tender as a girl, all essenced o'er

With odors, and as profligate as sweet;

Who sell their laurel for a myrtle wreath,

And love when they should fight: when such as these Presume to lay their hand upon the ark

Of her magnificent and awful cause?

HYPERBOLE is a figure in which the object is represented as magnified or diminished beyond reality.

As vision is founded on a change in the relations of the represented object, and personification on a change in its nature or kind, hyperbole is founded on a change in the degree of some of its properties or qualities.

I saw their chief, tall as a rock of ice; his spear, the fir; his shield the rising morn: he sat on the shore, like a cloud of mist on the hill.—Ossian.

A lover may bestride the Gossamer,

That idles in the wanton summer air,

And yet not fall-so light is vanity.-Shakspeare.

He was the owner of a bit of ground not larger than a Lacedemonian letter.

The minds of the aged are like the tombs to which they are approaching; where, though the brass and the marble remain, yet the inscriptions are effaced by time, and the imagery has mouldered away.

§ 343. The second class of representative figures being founded on a comparison of one object with another include those of comparison proper and simile; contrast, allegory, and allusion.

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This class of figures differs from the first class that while the latter confine the view to the object itself and only represent it as changed in its relations, nature or degree, those of the second class go out from the object itself and represent it only through the light of some other to which it bears some resemblance.

The COMPARISON PROPER is a figure in which the properties or relations of the object are represented by means of similar properties or relations in another object of the same class.

The comparison differs from the metaphor chiefly in being more extended. It is not essential to the comparison that the words of comparison, like,'' as,' 'so,' &c., be actually expressed; although the term "metaphor," or "metaphorical comparison," is more commonly applied when those words are omitted. The figure is in this case bolder and makes a stronger demand on the imagination of the reader; as all the properties of the representative object are in form attributed to the other, and the reader is left to distinguish and select from among them such as may be appropriate. The use of the comparative particles and words, on the other hand, indicate only a partial resemblance. If the poet had said, "Be not dumb, driven cattle," the expression, if allowed by the meter, would be felt at once to be stronger