partis ultores. "Others, dissevered and cut in twain by chain-shot, fought with one half of their bodies that remained, in revenge of the other half that was slain."

Homer, Horace, and even the chaste Virgil, is not free from conceits. The latter, speaking of a man's hand cut off in battle, says,

Te decisa suum, Laride, dextera quærit :

Semianimesque micant digiti, ferrumque retractant :

thus enduing the amputated hand with sense and volition. This, to be sure, is a violent figure, and hath been justly condemned by some accurate critics: but we think they are too severe in extending the same censure to some other passages in the most admired authors.

Virgil in his Sixth Eclogue says,

Omnia quæ, Phabo quondam meditante, beatus
Audiit Eurotas, jussitque ediscere lauros,{

Ille canit.

Whate'er when Phoebus bless'd th' Arcadian plain,
Eurotas heard and taught his bays the strain,
The senior sung........

And Pope has copied the conceit in his Pastorals,

Thames heard the numbers as he flow'd along,
And bade his willows learn the mourning song.

Vida thus begins his First Eclogue:

Dicite, vos muse, et juvenum memorate querelas ;
Dicite: nam motas ipsas ad carmina cautes,
Et requiésse suos perhibent vaga flumina cursus.

Say heav'nly muse, their youthful frays rehearse ;
Begin, ye daughters of immortal verse;
Exulting rocks have own'd the power of song,
And rivers listen'd as they flow'd along....

Racine adopts the same bold figure in his Phædra :

Le flot qui l'apporta recule epouvanté :

The wave that bore him, backwards shrunk appall'd.

Even Milton has indulged himself in the same licence of expression.

...

As when to them who sail

Beyond the Cape of Hope, and now are past
Mozambic, off at sea north-east winds blow
Sabæan odour from the spicy shore

Of Araby the blest! with such delay

Well pleas'd, they slack their course, and many a league
Chear'd with the grateful smell, old ocean smiles.

Shakespeare says,

....I've seen

Th' ambitious ocean swell; and rage, and foam,
To be exalted with the threat'ning clouds.

And indeed more correct writers, both ancient and modern, abound with the same kind of figure, which is reconciled to propriety, and even invested with beauty, by the efficacy of the prosopopoeia, which personifies the object. Thus, when Virgil says Enipeus heard the songs of Apollo, he raises up, as by enchantment, the idea of a river god crowned with sedges, his head raised above the stream, and in his countenance the expression of pleased attention. By the same magic we see, in the couplet quoted from Pope's Pastorals, old father Thames leaning upon his urn, and listening to the Poet's strain.

Thus in the regions of Poetry, all Nature, even the passions and affections of the mind, may be personified into picturesque figures for the entertainment of the reader. Ocean smiles or frowns, as the sea is calm or tempestuous; a Triton rules on every angry billow; every mountain has its Nymph; every stream its Naiad; every tree its Hamadryad; and every art its Genius. We cannot

therefore assent to those, who censure Thomson as licentious for using the following figure;

O vale of bliss! O softly swelling hills!
On which the power of cultivation lies,
And joys to see the wonders of his toil.

We cannot conceive a more beautiful image than that of the Genius of Agriculture distinguished by the implements of his art, imbrowned with labour, glowing with health, crowned with a garland of foliage, flowers, and fruit, lying stretched at his ease on the brow of a gentle swelling hill, and contemplating with pleasure the happy effects of his own industry.

Neither can we join issue against Shakespeare for this comparison, which hath likewise incurred the censure of the Critics:

.The noble sister of Poplicola,

The moon of Rome; chaste as the icicle,
That's curdled by the frost from purest snow,
And hangs on Dian's temple....

This is no more than illustrating a quality of the mind, by comparing it with a sensible object. If there is no impropriety in saying such a man is true as steel, firm as a rock, inflexible as an oak, unsteady as the ocean, or in describing a disposition cold as ice, or fickle as the wind; and these expressions are justified by constant practice; we shall hazard an assertion, that the comparison of a chaste woman to an icicle is proper and picturesque, as it obtains only in the circumstances of cold and purity; but that the addition of its being curdled from the purest snow, and hanging on the temple of Diana, the patroness of virginity, heightens the whole into a most beautiful simile, that gives a very respectable and amiable idea of the character in question.

The simile is no more than an extended metaphor, introduced to illustrate and beautify the subject: it ought to be apt, striking, properly pursued, and adorned with all the graces of poetical melody. But a simile of this kind

ought never to proceed from the mouth of a person under any great agitation of spirit; such as a tragic character overwhelmed with grief, distracted by contending cares, or agonising in the pangs of death. The language of passion will not admit simile, which is always the result of study and deliberation. We will not allow a hero the privilege of a dying swan, which is said to chant its approaching fate in the most melodious strain; and therefore nothing can be more ridiculously unnatural, than the representation of a lover dying upon the stage with a laboured simile in his mouth.

The orientals, whose language was extremely figurative, have been very careless in the choice of their similes: provided the resemblance obtained in one circumstance, they minded not whether they disagreed with the subject in every other respect. Many instances of this defect in congruity may be culled from the most sublime parts of Scripture.

Homer has been blamed for the bad choice of his similes on some particular occasions. He compares Ajax to an ass in the Iliad, and Ulysses to a steak broiling on the coals in the Odyssey. His admirers have endeavoured to excuse him, by reminding us of the simplicity of the age in which he wrote; but they have not been able to prove that any ideas of dignity or importance wets, even in those days, affixed to the character of an ass, or the quality of a beefcollop; therefore they were very improper illustrations for any situation, in which a hero ought to be represented. Virgil has degraded the wife of king Latinus by comparing her, when she was actuated by the fury, to a top which the boys lash for diversion. This doubtless is a low image, though in other respects the comparison is not destitute of propriety; but he is much more justly censured for the following simile, which has no sort of reference to the subject. Speaking of Turnus he says,

.........medio dux agmine Turnus

Vertitur arma tenens, et toto vertice supra est.)
Ceu septem surgens sedatis amnibus altus
Per tacitum Ganges: aut pingui flumine Nilus
Cum refluit campis, et jam se condidit alveo.

But Turnus, chief amidst the warrior train,
In armour tow'rs the tallest on the plain.
The Ganges thus by seven rich streams supply'd,
A mighty mass devolves in silent pride.

Thus Nilus pours from his prolific urn,

When from the fields o'erflow'd his vagrant streams return.

These no doubt are majestic images; but they bear no sort of resemblance to an hero glittering in armour at the head of his forces.

Horace has been ridiculed by some shrewd critics for this comparison, which however we think is more defensible than the former. Addressing himself to Munatius Plancus, he says:

Albus ut obscuro deterget nubila calo
Sæpe Notus, neque parturit imbres
Perpetuos: sic tu sapiens finire memento
Tristitiam, vitæque labores

Molli, Plance, mero........

As Notus often, when the welkin low'rs,
Sweeps off the clouds, nor teems perpetual show'rs,
So let thy wisdom, free from anxious strife,
In mellow wine dissolve the cares of life.

DUNKIN,

The analogy, it must be confessed, is not very striking: but nevertheless it is not altogether void of propriety. The Poet reasons thus: as the South-wind, though generally attended with rain, is often known to dispel the clouds and render the weather serene; so do you, though generally on the rack of thought, remember to relax sometimes, and drown your cares in wine. As the South-wind is not always moist, so you ought not always to be dry.

A few instances of inaccuracy, or mediocrity, can never derogate from the superlative merit of Homer and Virgil, whose poems are the great magazines, replete with every species of beauty and magnificence, particularly abounding with similes which astonish, delight, and transport the reader.