use of metaphors wonderfully raises, sublimes, and adorns oratory or elocution, yet they should seem to flow naturally from the subject; and too great a redundancy of them inflates the discourse to a mere rhapsody. The same observation will hold in poetry; and the more liberal or sparing use of them will depend in a great measure on the nature of the subject.

Passion itself is very figurative, and often bursts out into metaphors; but in touching the pathos, the poet must be perfectly well acquainted with the emotions of the human soul, and carefully distinguish between those metaphors which rise glowing from the heart, and those cold conceits which are engendered in the fancy. Should one of these last unfortunately intervene, it will be apt to destroy the whole effect of the most pathetical incident or situation. Indeed, it requires the most delicate taste, and a consummate knowledge of propriety, to employ metaphors in such a manner, as to avoid what the ancients called the Touxpo, the frigid, or false sublime. Instances of this kind were frequent even among the cor- . rect ancients. Sappho herself is blamed for using the hyperbole λευκότεροι χίονος, whiter than snow. Deme. trius is so nice as to be disgusted at the simile of swift as the wind; though, in speaking of a race-horse, we know from experience that this is not even a hyperbole. He would have had more reason to censure that kind of me

taphor, which Aristotle styles xal EvEyelas, exhibiting things inanimate as endued with sense and reason; such as that of the sharp-pointed arrow eager to take wing among the crowd. σε Οξυβελης καθ' όμιλον επιπλεστ θαι μενεαινων.” Not but that in descriptive poetry this figure is often allowed and admired. The cruel sword,

the ruthless dagger, the ruffian blast, are epithets which frequently occur. The faithful bosom of the earth, the joyous boughs, the trees that admire their images reflected in the stream, and many other examples of this kind, are found disseminated through the works of our best modern poets; yet still they must be sheltered under the privilege of the poetica licentia; and, except in poetry, they would give offence.

More chaste metaphors are freely used in all kinds of writing; more sparingly in history; and more abundantly in rhetoric: we have seen that Plato indulges in them even to excess. The orations of Demosthenes are animated, and even inflamed with metaphors, some of them so bold as even to entail upon him the censure of the critics.

"Then I did not yield to Python, the orator, when he overflowed you with a tide of eloquence." Cicero is still more liberal in the use of them; he ransacks all nature, and pours forth a redundancy of figures, even with a lavish hand. Even the chaste Xenophon, who generally illustrates his subject by way of simile, sometimes ventures to produce an expressive metaphor, such as part of the phalanx fluctuated in the march: and indeed nothing can be more significant than this word sexuμnve, to represent a body of men staggered, and on the point of giving way. Armstrong has used the word fluctuate with admirable efficacy, in his philosophical poem, entitled, The Art of Preserving Health.

O! when the growling winds contend, and all
The sounding forest fluctuates in the storm,
To sink in warm repose, and hear the din
Howl o'er the steady battlements-

The word fluctuate on this occasion not only exhibits an idea of struggling, but also echoes to the sense like the εppiε de pan of Homer; which, by the by, it is impossible to render into English: for the verb proow signifies not only to stand erect like prickles, as a grove of lances, but also to make a noise like the crashing of armour, the hissing of javelins, and the splinters of spears.

Over and above an excess of figures, a young author is apt to run into a confusion of mixed metaphors, which leave the sense disjointed, and distract the imagination. Shakespeare himself is often guilty of these irregularities. The soliloquy in Hamlet, which we have so often heard extolled in terms of admiration, is, in our opinion, a heap of absurdities, whether we consider the situation, the sen. timent, the argumentation, or the poetry. Hamlet is informed by the ghost, that his father was murdered, and therefore he is tempted to murder himself, even after he had promised to take vengeance on the usurper, and expressed the utmost eagerness to achieve this enterprize. It does not appear that he had the least reason to wish for death; but every motive, which may be supposed to influence the mind of a young prince, concurred to render life desirable-revenge towards the usurper; love for the fair Ophelia; and the ambition of reigning. Besides, when he had an opportunity of dying without being accessary to his own death; when he had nothing to do but, in obedience to his uncle's command, to allow himself to be conveyed quietly to England, where he was sure of suffering death; instead of amusing himself with meditations on mortality, he very wisely consulted the means of self-preservation, turned the tables upon his attendants, and returned to Denmark. But granting him to have

been reduced to the lowest state of despondence, surrounded with nothing but horror and despair, sick of this life, and eager to tempt futurity, we shall see how far he argues like a philosopher.

In order to support this general charge against an author so universally held in veneration, whose very errors have helped to sanctify his character among the multitude, we will descend to particulars, and analyze this famous soliloquy.

Hamlet having assumed the disguise of madness, as a cloak, under which he might the more effectually revenge his father's death upon the murderer and usurper, appears alone upon the stage in a pensive and melancholy attitude, and communes with himself in these words:

To be, or not to be? That is the question.
Whether 'tis nobler in the mind, to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And by opposing, end them?—To die—to sleep-
No more; and by a sleep, to say we end
The heart-ach, and the thousand natural shocks
That flesh is heir to; 'tis a consummation
Devoutly to be wished.-To die—to sleep-
To sleep! perchance to dream; ay, there's the rub-
For in that sleep of death what dreams may come,
When we have shuffled off this mortal coil,

Must give us pause.- -There's the respect
That makes calamity of so long life.

For who would bear the whips and scorns of time,
The oppressor's wrong, the proud man's contumely,
The pangs of despised love, the law's delay,
The insolence of office, and the spurns
That patient merit of the unworthy takes,
When he himself might his quietus make
With a bare bodkin? who would fardles bear,
To groan and sweat under a weary life,

But that the dread of something after death
(That undiscovered country, from whose bourne
No traveller returns) puzzles the will;

And makes us rather bear those ills we have,
Than fly to others that we know not of.
Thus conscience does make cowards of us all;
And thus the native hue of resolution

Is sicklied o'er with the pale cast of thought;
And enterprizes of great pith and moment,
With this regard their currents turn away,
And lose the name of action.

We have already observed, that there is not any apparent circumstance in the fate or situation of Hamlet, that should prompt him to harbour one thought of self-murder; and therefore these expressions of despair imply an impropriety in point of character. But, supposing his condition was truly desperate, and he saw no possibility of repose but in the uncertain harbour of death, let us see in what manner he argues on that subject. The question is, "To be, or not to be?" to die by my own hand, or live and suffer the miseries of life. He proceeds to explain the alternative in these terms: "Whether 'tis nobler in the mind to suffer, or endure the frowns of fortune, or to take arms, and by opposing, end them." Here he deviates from his first proposition, and death is no longer the question. The only doubt is, whether he will stoop to misfortune, or exert his faculties in order to surmount it. This surely is the obvious meaning, and indeed the only meaning that can be implied in these words:

Whether 'tis nobler in the mind, to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And by opposing, end them.