happy and delicate; yet no kind of music bears any resemblance to the memory of past joys.

We shall now consider when comparisons may be introduced with propriety. Since they are the language of imagination, rather than of passion, an author can hardly commit a greater fault than in the midst of passion to introduce a simile. Our writers of tragedies often err in this respect. Thus Addison, in his Cato, makes Portius, just after Lucia had bade 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 soul still hovers o'er thee,
And can't get loose.

As comparison is not the style of strong passion, so when designed for embellishment, it is not the language of a mind totally unmoved. Being a figure of dignity, it always requires some elevation. in the subject to make it proper. It supposes the imagination to be enlivened, though the heart is not agitated by passion. The language of simile lies in the middle region between the highly pathetic and the very humble style. It is, however, a sparkling ornament, and must consequently dazzle and fatigue, if it. recur too often. Similes, even in poetry, should be employed with moderation; but in prose much more so; otherwise the style will become disgustingly luscious, and the ornament lose its beauty and effect.

We shall now consider the nature of those objects from which comparisons should be drawn.

In the first 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 pleasure we receive from the act of comparing, arises from the discovery of likenesses among things of different species, where we should not at first sight expect a resemblance.

But, in the second place, as comparisons ought not to be founded on likenesses too obvious, much less ought they to be founded on those which are too faint and

distant. These, instead of assisting, strain the fancy to comprehend them, and throw no light upon the subject

In the third place, the object, from which a comparison is drawn, ought never to be an unknown object, nor one of which few people can have a clear idea. Therefore similes, founded on philosophical discoveries, or any thing with which persons of a particular trade only, or a particular profession, are acquainted, produce not their proper effect. They should be drawn from those illustrious and noted objects, which most readers have either seen, or can strongly conceive.

In the fourth place, in compositions of a serious or elevated kind, similes should never be drawn from low or mean objects. These degrade and vilify; whereas similes 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 presented.

ANTITHESIS is founded on the contrast or opposition of two objects. By contrast, objects, opposed to each other, appear in a stronger light. Beauty, for instance, never appears so charming, as when contrasted with ugliness. Antithesis, therefore, may, on many occasions, be used advantageously, to strengthen the impression which we propose that any object should make. Thus Cicero, in his oration for Milo, representing the improbability of Milo's designing to take away the life of Clodius, when every thing was unfavourable to such a design, after he had omitted many opportunities of effecting such a purpose, heightens our conviction of this improbability by a skilful use of this figure: "Quem igitur cum omnium gratia interficere noluit; hunc voluit cum aliquorum querela? Quem jure, quem loco, quem tempore, quem impune, non est auṣus; hunc injuria, iniquo loco, alieno tempore, periculo capitis, non dubitavit occidere?" Here the antithesis is rendered complete by the words and members of the sentence, expressing the contrasted objects, being similarly constructed, and made to correspond with each other.

We must, however, acknowledge that frequent use of antithesis, especially where the opposition in the

words is nice and quaint, is apt to make style unpleasing. A maxim or moral saying very properly receives this form; because it is supposed to be the effect of meditation, and is designed to be engraven on the memory, which recalls it more easily by the aid of contrasted expressions. But, where several such sentences succeed each other; where this is an author's favourite and prevailing mode of expression, his style is exposed to censure.

INTERROGATIONS and exclamations are passionate figures. The literal use of interrogation is to ask a question; but, when men are prompted by passion, whatever they would affirm, or deny with great earnestness, they naturally put in the form of a question; expressing thereby the firmest confidence of the truth of their own opinion; and appealing to their hearers for the impossibility of the contrary. Thus in scripture; "God is not a man, that he should lie; nor the son of man, that he should repent. Hath he said it? And shall he not do it? Hath he spoken it? And shall he not make it good?"

Interrogations may be employed in the prosecution of close and earnest reasonings; but exclamations belong only to stronger emotions of the mind; to surprise, anger, joy, grief, and the like. These being natural signs of a moved and agitated mind, always, when properly employed, make us sympathize with those who use them, and enter into their feelings. Nothing, however, has a worse effect, than frequent and unseasonable use of exclamations. Young, inexperienced writers suppose, that by pouring them forth plenteously, they render their compositions warm and animated. But the contrary follows; they render them frigid to excess. When an author is always calling upon us to enter into transports, which he has said nothing to inspire, he excites our disgust and indignation.

Another figure of speech, fit only for animated composition, is called VISION; when, instead of relating something that is past, we use the present tense, and describe it as passing before our eyes. Thus Cicero, in his fourth oration against Catiline : "Videor enim mihi hanc urbem videre, lucem orbis terrarum atque arcem omnium gentium, subito uno incendio con

cidentum ; cerno animo sepulta in patria miseros atque in sepultos acervos civium; versatur mihi ante oculo: aspectus Cethegi, et furor, in vestra cæde bacchantis." This figure has great force when it is well executed, and when it flows from genuine enthusiasm. Otherwise, it shares the same fate with all feeble attempts toward passionate 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 shall mention, and which is of frequent use among all public speakers, is CLIMAX. It consists in an artful exaggeration of all the circumstances of some object or action which we wish to place in a strong light. It operates by a gradual rise of one circumstance above another, till our idea is raised to the highest pitch. We shall give an instance of this figure from a printed pleading of a celebrated lawyer, in a charge to the jury in the case of a woman, who was accused of murdering her own child. Gentlemen, if one man had any how slain another; if an adversary had killed his opposer; or a woman occasioned the death of her enemy; even these criminals would have been capitally punished by the Cornelian law. But, if this guiltless infant, who could make no enemy, had been murdered by its own nurse; what punishment would not the mother have demanded? With what cries and exclamations would she have stunned your ears? What shall we say, then, when a woman, guilty of homicide; a mother, of the murder of her innocent child, hath comprised all those misdeeds in one single crime; a crime, in its own nature detestable; in a woman prodigious; in a mother incredible; and perpetrated against one, whose age called for compassion; whose near relation claimed affection; and whose innocence deserved the highest fayour?" Such regular climaxes, however, though they have great beauty, yet at the same time have the appearance of art and study; and, therefore, though they inay be admitted into formal harangues, yet they are not the language of passion, which seidon proceeds by steps so regular.

What is a comparison?
Give an example.

How many kinds are there?

In explaining comparisons what must be studied?
May comparisons be introduced in the midst of passion?
In what region does the language of simile he?
What is the first rule respecting comparisons?

What the second?

What the third?
What the fourth?

On what is antithesis founded?

What effect has it?

May it be used frequently?

What is interrogation?

When may it be employed?

What is the effect of a too frequent use of interrogation and

exclamation?

What is vision?

What is climax ?

What instance is given?

When may such climaxes be used?

GENERAL CHARACTERS OF STYLE.-DIFFUSE, CONCISE, FEEBLE, NERVOUS, DRY, PLAIN, NEAT, ELEGANT, FLOWERY.

THAT different subjects ought to be treated in different kinds of style, is a position so obvious, that it requires no illustration. Every one knows, that treatises of philosophy should not be composed in the same style with orations. It is equally apparent, that different parts of the same composition require a variation in the style. Yet amid this variety, we still expect to find in the compositions of any one man some degree of uniformity in manner; we expect to find some prevailing character of style impressed on all his writings, which will mark his particular genius and turn of mind. The orations in Livy differ considerably in style, as they ought to do, from the rest of his history. The same may be observed in those of Tacitus. Yet in the orations of both these historians, the distinguishing manner of each may be clearly traced; the splendid fulness of the one, and the sententious brevity of