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or the battle of life," etc. In this we have a metaphor. But when it is said, "Unity gives strength," or "Dissension brings weakness," a general truth is asserted. This truth may be conveyed figuratively, as in the story of the old man and the bundle of sticks; we have then an allegory. The essential difference between the allegory and the other tropes is, not that the former is extended while the latter are brief-the allegory may be short, as in many proverbs-but that the one is the figurative expression of a thought or general truth, the other of notions or general ideas.

An allegory, then, is a continuous narration or description intelligible when taken literally, which is intended to inculcate a truth different from what is contained in the literal statement, but bearing some relation to it. It is like a hieroglyphic-one thing is said, another thing is meant. We are called upon to interpret it, and to collect from what appears that which the writer wishes us to understand. If we do not go beyond the literal statement, we know nothing of what is meant.

The laws for the structure and use of tropes in general apply to allegories.

1. They must be perspicuous. "The allegory must dwell in a transparent palace." The relation of its two parts-the image, or proper literal sense, and that which is intended to be declared, the secondary, allegorical sense-must be such that the meaning can be immediately seized.

2. The various details of the image must have their counterpart in the fact which is to be set forth. This rule, however, must not be enforced too rigidly. Minor details are admitted for ornament, which are not to be considered as parts of the allegory.

3. The literal and figurative must not be mingled or confused. It must be in itself an intelligible, consistent statement. All the terms employed should be literally applicable to the image or representative subject; no conditions or acts should be ascribed to it that are not in accordance with its real nature.

Parable.—The parable is one form of the allegory. It is properly the exhibition of a religious truth by means of facts from nature and human life. It is not pretended, however, that the statements are historically true; they are offered only as a means of conveying a higher general truth. But they are always true to nature; the laws of the nature of the different beings introduced are strictly observed, and the events are such as might have taken place.

Fable. The fable differs from the parable in this, that it attributes the actions and words of rational beings to what is inanimate and irrational. They are purely fictitious-brutes and plants are made to think, and speak, and act like men. The laws of the nature of the actors in the fable are thus violated, and what is ascribed to them could not take place.

Allegory, parable, and fable are also distinct species of composition, the nature and laws of which are treated of in the Theory of Poetry.

Ex. The student may consult the following passages: Isa. v: 1-7; Ps. lxxx: 8-16; the parable of Nathan, 2 Sam. xii: 1-4; and the parables of the Savior; the fable of Jotham, Judges ix: 7–15.

56. Personification.-Personification consists in representing inanimate objects and abstract notions as living, and ascribing to them the actions of persons. The tropes give to notions a visible form; this endows them with life, intelligence, and activity. The other figures tend to this, and blend with it, so that it is often an essential part of them.

It is founded on the natural tendency of the mind when agitated by passion, to transfer to outward objects the mental and moral qualities of which it is conscious. Its force and beauty arise from its exhibiting lifeless things in a human form, and as possessing human sensibility and affection.

The qualities and acts of inanimate things are sometimes described by attributes belonging to living and intelligent beings; as when it is said, "a furious dart," "a raging tempest," "a frowning mountain." In such expressions we have

the germ of personification, but it is more convenient to class them with the tropes, and confine personification to those forms in which inanimate objects, physical phenomena, and mental processes and qualities are represented as performing the actions of living persons. Thus, inanimate objects are exhibited as addressing us, or as addressed by us, or as acting like intelligent beings; abstract qualities, as hope, fear, death, religion, slander, etc., are represented with the form and qualities of

persons.

Ex.-"O eloquent, just, and mighty Death! whom none could advise, thou hast persuaded; what none hath dared, thou hast done; and whom all the world hath flattered, thou only hast cast out of the world and despised; thou hast drawn together all the far-stretched greatness, all the pride, cruelty, and ambition of man, and covered it all over with these two narrow words, hic jacet." Raleigh.

Cautions with respect to using it.-1. As the use of this figure is prompted by the instinctive craving of our nature for sympathy, no objects should be personified that are not of sufficient dignity and importance to awaken such feelings; not only low, trivial objects, but as a general rule artificial productions can not be personified with a good effect.

2. As each one is intended to gratify a particular passion, it should be confined to it, and whatever is contrary or foreign to it should be excluded.

3. There should be a perfect consistency of the parts; the qualities ascribed should all be such as belong to intelligent beings, and should harmonize in one character.

4. The higher forms of personification can be admitted only into the most animated prose; they are employed much more freely in poetry. The personification of abstract qualities is frequent even in didactic prose.

57. Ideal Presence. This includes several figures which represent objects distant in space or time as present.

1. The present tense used for a past or future. The low

est form is that in which past or future events are narrated in the present tense, thus making the reader a spectator. This mode of narrating is especially adapted to discourses that address the passions, but it is also admissible in familiar discourse. Its use is limited by the following conditions:

(1) It should be justified by the subject and the writer's feelings. It produces an unpleasant effect when the subject does not call for such a degree of vivacity, or when there is a want of lively interest on the part of the writer.

(2) It should not be too frequently employed nor too prolonged. It becomes wearisome when excessive.

Ex. "The circumstances now clearly in evidence spread out the whole scene before us. Deep sleep had fallen on the destined victim, and on all beneath his roof. A healthful old man, to whom sleep was sweet,the first sound slumbers of the night held him in their strong embrace. The assassin enters, through the window already prepared, into an unoccupied apartment. With noiseless foot he paces the lonely hall

he winds up the ascent of the stairs, and reaches the door of the chamber. Of this he moves the lock, by soft, continued pressure, till it turns on its hinges without noise, and he enters and beholds his victim before him.

The deed is done. He retreats, retraces his steps to the window, passes out through it as he came in, and escapes." Webster.

2. Vision. Another figure of this class is vision. In this the writer declares himself an eye-witness of some event, and depicts it as taking place in his presence. It is the expression of powerful emotion, and should be used but seldom and with greatest caution.

"Would the learned

Ex.-From a speech against impressing seamen. gentleman not let one father, one brother, or one child escape in this general scene of oppression and injustice? Methinks I hear the heartfelt shrieks of the miserable wife this instant piercing my ears, and entreating, in accents of rage and despair, the midnight ruffian not to drag from her side the father of her children and her only support! I think I hear the aged, helpless parent, in accents of sinking woe, misery, and distress, bewailing the loss of his dutiful, affectionate son!"

"Methinks I see in my mind a noble and puissant nation rousing herself like a strong man after sleep, and shaking her invincible locks; methinks I see her, as an eagle, mewing her mighty youth, and kindling

her undazzled eyes at the full midday beam; purging and scaling her long abused sight at the fountain itself of heavenly radiance; while the whole noise of timorous and flocking birds, with those also that love the twilight, flutter about, amazed at what she means, and in their envious gabble would prognosticate a year of sects and schisms." Milton.

3. Apostrophe. Another figure of this class is apostrophe, which consists in addressing the absent as though they were present. It brings those who are distant in time or place into our immediate presence, and represents them as listening to us. The figure receives additional force when the address takes the form of questions.

We may thus address living persons who are absent, the dead, former ages, future ages, and invisible beings.

Ex.—“ But, alas, you are not all here. Time and the sword have thinned your ranks. Prescott, Putnam, Stark, Brooks, Read, Pomeroy, Bridge! our eyes seek for you in vain amid this broken band. You are gathered to your fathers, and live only to your country in her grateful remembrance and your own bright example." Webster.

“Yes, noble Galileo, thou art right, 'It does move.' Bigots may make thee recant it, but it moves, nevertheless. Close now, venerable sage, that sightless, tearful eye; it has seen what man never before saw; it has seen enough. Hang up that poor little spy-glass; it has done its work. .. Rest in peace, great Columbus of the heavens,—like him scorned, persecuted, broken-hearted." Everett.

4. Sermocination.-Still another of the same class is sermocination. In this figure absent, invisible, or supernatural beings are represented as addressing us. It may be combined with apostrophe; the discourse then takes the form of animated dialogue.

Ex.—“Ask the very soul of Peter, and it shall undoubtedly make you itself this answer: 'My eager protestations made in the glory of my ghostly strength, I am ashamed of; but those crystal tears wherewith my sin and weakness was bewailed have procured my endless joy; my strength hath been my ruin, and my fall my stay." Hooker.

"Suppose that God should address you in these words: 'O man, I would to-day take away this heart and give you another; you have only the power of man, I will give you that of God.'"