of none; didactic style of very little, while poetry demands the most of all. 6. The force and brilliancy which a description possesses are often due to a judicious introduction of the Ornaments of Language treated on in the following pages. § 2. THE ORNAMENTS OF LANGUAGE IN GENERAL. 1. The Ornaments of Language are divided into two classes, viz: a. Tropes. b. Figures. 2. A Trope is the symbolical expression of an idea, or a deflection of words from their primary signification to another for the sake of giving life and elegance to our thoughts. Thus, when we call beautiful eyes "stars", old age "the sunset of life", we use the the words "stars", and "sunset" not in their primitive or literal meaning, but in an emblematical or typical sense. 3. By Figure is understood an artistically formed sentence or phrase, where the words are placed in an order different from that us ually observed. Thus, when the statement - "A Few has eyes", assumes an interrogative form, it becomes "Has not a Few eyes?” a Figure which appeals more directly to the mind of the hearer than the simple assertion. 4. It is exceedingly difficult to draw a line between Tropes and Figures. This subject has been discussed at great length by writers of antiquity (Quintilian and others), and modern writers are still in doubt as to which class certain expressions ought to be assigned. 5. Tropes and Figures, the language of imagination and the passions, are more beautiful and emphatic than the ordinary mode of speaking; and are employed to call attention more forcibly to the thoughts we desire to convey. But where the ordinary manner of speaking is capable of giving full expression to our thoughts, the use of typical language would not only be superfluous but unjustifiable. 6. Figurative or metaphorical language is so considerable an element in our ordinary reading, and even in our every day conversation, that it frequently fails to strike us as being emblematical. For example, when we read: "Grey hairs should be respected", we understand the words at once as meaning "that aged people should be respected." There is immediately present in our mind the image of a person grey-headed with age, whilst "hair" is merely a secondary notion associated with the individual, whom the mention of it has, as it were, called before us. EXERCISE I. 1. With respect to Animation or Vigour of style say: a. Upon what it depends; b. In what way the want of it affects a description; c. What kinds of writing require respectively the most and the least. 2. Into what classes are the Ornaments of Language divided? 3. Distinguish between Trope and Figure. b. Gold is a dust that blinds all eyes; c. Truth is the daughter of Time; are Tropes, and express the same thoughts in plain words. 5. To what ends are the Ornaments of Language employed? 6. When are they superfluous? § 3. DIVISION OF THE TROPES. The principal Tropes may be generally classified as 1. Simile expresses by comparison the resemblance that one object bears to another. Ex. Charity, like the sun, brightens every object on which it shines. The two objects here compared are Charity and the Sun: and the purpose of this Trope is to illustrate the influence of charity by likening it to the well-known effects of sun-light. 2. The Point of resemblance which a simile indicates as existing between two objects, however different in other respects, is called tertium comparationis. Ex. a. Little deeds are like little seeds, They grow to flowers or to weeds. Objects compared: seeds (picture). Point of resemblance: little deeds (idea), and little their growth and develop ment into either flowers (virtues and noble actions), or weeds (vices and crimes). Objects compared: - pleasures (idea), and poppies and snow-flakes (pictures). Point of resemblance: their transitory nature. 3. Simile has been a favourite Trope with all writers, and it is most impressive when its types are taken from nature. Ex. a. Deep, deep the briny sea, Where corals grow and twine, But deeper, deeper far My love than any sea, And swifter, swifter are My thoughts that fly to thee. (Anon.) b. The tear down childhood's cheek that flows, Is like the dew-drop on the rose, When next the summer-breeze comes by, And waves the bush, the flower is dry. (Scott.) c. The eloquence of Demosthenes was like a rapid torrent; that of Cicero like a large stream that glides smoothly along with majestic tranquillity. (Dryden.) d. White as a white sail on a dusky sea, When half the horizon's clouded and half free, 4. When the pictures precede the idea, connective words as: like, as, etc. are frequently omitted: Ex. The day is dark, and cold and dreary, It rains and the wind is never weary, The vine still clings to the mouldering wall, My life is dark, and cold and dreary, It rains and the wind is never weary; My thoughts still cling to the mouldering past, And the days are dark and dreary. Be still, sad heart! and cease repining, Behind the clouds is the sun still shining, Thy fate is the common fate of all, Into each life some rain must fall, Some days must be dark and dreary. (Longfellow.) § 5. PROPERTIES OF SIMILE. 1. In order that a Simile may be lucid and effective, it should not have reference to circumstances or objects of which little is known. Comparisons involving mythological subjects, technicalities of art and science, should be only exceptionally used as being obscure to the great majority of people. Thus: Thou art beautiful my love as Tirzah! (Solomon's song.) is unintelligible to persons who have never heard of Tirzah. But the Simile: Mirth is like a flash of lightning, that breaks through a gloom of clouds, and glitters for a moment, (Addison) is clear to all, from the fact that it alludes to phenomena, with which even a child is acquainted. |