These remarks are intended to be applied with most strictness to the introduction of the language of Scripture. There may be instances, in which we may innocently make use, in the way of allusion, of historical facts found in Scripture, when there would at the same time be impropriety in introducing an expression from the same source. The reason of this distinction is obvious. Our associations with particular forms of expression are close and strong, with facts, much less so. There is more need of caution also, because the temptations in one case are much more frequent than in the other. From the antiquity of our translation of the Bible, there is often a quaintness in its expressions, and their introduction may give a point to some satirical remark, or furnish a striking form for some sally of wit. But we should beware. Scripture is a pure stream, flowing forth from the throne of God, and it should never be made to reflect the fantastic images of human folly.

In the productions of writers of taste, there are many allusions made to the literature of the times. When any literary production gains celebrity, it is supposed to be known to literary men; and allusions may be made to such writings without incurring the charge of obscurity, and often with a favorable effect. Such allusions form a kind of bond between literary men. They are the language of the fraternity, and one cause of the pleasure which they afford, is found in the complacency and pride which are felt in being able to understand them. It is unnecessary to give many examples of this class of allusions. Two only will be brought forward, which furnish opportunity for some additional remark,

Example 7. The following passage is from Greenwood on the eternity of God.

"A stone perhaps may tell some wanderer where we lie,

when we came here, and when we went away; but even that will soon refuse to bear us record: 'time's effacing fingers' will be busy on its surface, and at length will wear it smooth."

The quotation in this passage is from one of the popular poets of the day. The allusion to the admirable description, where it is originally found, will be perceived and relished by every man of taste who is familiar with the writings of Byron; and the pleasure, with which the passage that has been cited will be read, is much greater, than if the same thought had been expressed without the allusion.

We have in this instance an example of a method oftén resorted to by writers in prose to embellish their productions. Poetry is the language of the imagination. Its aim is to please, and hence the happy introduction of poetical language, is justly considered an ornament of prose. Poetry also allows of inversions of clauses, and of the use of words forbidden to prose; and hence it enables a writer to convey a thought in a sententious and striking manner. But here the caution may be given, not to introduce poetical expressions with great frequency, To say in verse what might as well be said in prose, and thus to be continually introdueing scraps of poetry, may shew a familiarity with poetical writers, but is no evidence of a good literary taste.

Example 8. As another example I quote the following passage;

"No sooner does he (W. Irving) catch a glimpse of the venerable Kaatskill, lifting its shaggy head over its white ruff of ambient clouds, and frowning on the glorious Hudson as it rolls below; no sooner do the antique gable-roofed domes of the Manhattoes, and Albany, and the classic shades

of Communipaw rise upon his fancy, than his foot is on his native heath and his name is M'Gregor.'"

Here the allusion is to one of the popular Romances of the day, and hence it is understood, and is pleasing.

Example 9. The following example is from a review of the works of Milton. The author is stating the fact, that while, in the time of the English rebellion, others were desirous only of reforming some prevalent abuses, it was Milton's aim to attain the freedom of the human mind to deliver men from moral and intellectual slavery..

"Milton was desirous that the 'people should think for themselves, as well as tax themselves, and be delivered from the dominion of prejudice, as well as from that of Charles. He knew, that those, who with the best intentions overlooked these schemes of reform, and contented themselves with pulling down the king and imprisoning the malignants, acted like the heedless brothers in his own poems, who, in their eagerness to disperse the train of the sorcerer, neglected the means of liberating the captive. They thought only of conquering, when they should have. thought of disenchanting.

6 Oh ye

mistook. Ye should have snatched the wand.. Without the rod reversed,

And backward mutters of dissevering power,

We cannot free the lady that sits there,

Bound in strong fetters, fixed and motionless."

To reverse this rod, to spell the charm backwards, to break the ties that bound a stupified people to the seat of enchantment, was the noble aim of Milton,"

In this example, a striking passage selected from the works which the reviewer is examining, is used as an illustration, and the effect is good. The pleasure which it affords us, is similar to that derived from a sprightly turn in conversation. We all know, that it adds much

to the point of a witty remark, when its author has founded it on an expression just dropped by another. There is a suddenness about it, which is an evidence that it is not premeditated, and which is pleasing to us. There is, without doubt, something of the same kind of pleasure, in meeting with allusions of the class to which the preceding example belongs.

Example 10. I shall give but one example more of the allusion, and that is worthy of notice from the manner of its introduction. It is sometimes the case, that a writer meets with a suitable object of allusion in the productions of some author, whose writings are either in a language unknown to most of his readers, or not of sufficient reputation to be regarded as classical. In such instances, the only way is, to state the fact or story, and then on this statement found the allusion.

One cau

tion in such cases should always be remembered. Be sure that the allusion is of sufficient importance to justify so formal an introduction. And if ever this is the case, it surely is so in the following example;

"Ariosto tells a pretty story of a fairy, who, by some mysterious law of her nature, was condemned to appear at certain seasons in the form of a foul and poisonous snake. Those who injured her during this period of her disguise, were forever excluded from participation in the blessings. she bestowed, But to those, who in spite of her loathsome aspect, pitied and protected her, she afterwards revealed herself in the beautiful and celestial form which was natural to her; accompanied their footsteps, granted all their wishes, filled their houses with wealth, made them happy in love and victorious in war. Such a spirit is Liberty. At times she takes the form of a hateful reptile, She grovels, she hisses, she stings. But woe to those who in disgust shall venture to crush her. And happy are those, who having dared to receive her in her degraded and frightful shape,

shall at length be rewarded by her in the time of her beauty and glory."

In the arrangement of the preceding examples of allusion, reference is had to the division of our associations into Universal and Arbitrary, which has been made by intellectual philosophers. Classical allusions, whether to standard authors in our own or foreign languages, Historical allusions, and Scriptural allusions, come under the head of those of universal associations. Other instances are those of arbitrary associations. From noticing this distinction it may be seen, why, in the writings of our best authors-those who write with the hope of being read when other writers of the age are forgotten, allusions of the former class are much more frequent, than of the latter. The passing events of the day, and the ephemeral productions of the age, will soon be forgotten; and though an allusion to them may at first cast some light on the passages where they are found, at a later time, and in a different place, such allusions will only tend to darken what before they illuminated. Not so with allusions founded on associations that are universal. While the works from which they are deriv ed go down to posterity, gathering new admiration in their progress, these allusions are understood, and constitute a bond of connexion between the literary men of different ages, being drawn from the same common storehouse of imagery and facts.

The Comparison, Metaphor, and Allusion, are founded on the fondness of the mind for tracing unexpected resemblances. There are other relations which give rise to other attempts to please. One thing is the cause of another, here is the relation of cause and effect. One thing is the symbol of another; here is the relation of the sign to the thing signified. We look on the goblet,