tions what is viewed through a fog' (2). (Whately.) The harmony of each figure applied to the subject, is a feature in such finished writers as Gray and Campbell. Compare, for example, the figures in the two stanzas of the Eley' beginning

But knowledge to their eyes her ample page

or the six lines beginning

Forbade to wade through slaughter to a throne-

or the lines

Even from the tomb the voice of natures cries,
Even in our ashes live their wonted fires.

When words do not readily suggest their metaphorical basis, the incongruity is not felt. In the line of YoungHer voice is but the shadow of a sound,

the mixture is not objectionable.

So

A touch of shame upon her check.

In these instances, the metaphorical usage is so habitual as to prevent the original meaning from asserting itself. Somewhat similar is the case with the lines in Tennyson, describing death as

The shadow cloaked from head to foot,
Who keeps the keys of all the creeds.

Here term shadow is employed to designate a being conceived as unsubstantial, yet dark; and, with this application, there is nothing inharmonious in ascribing to the 'shadow' the personal attributes of being cloaked and keeping keys.

There are, however, many words that have ceased to be metaphors, but still so far suggest their original meaning as to give the sense of harmony when the figure is attended to. Thus, to say the impression was conveyed' is not in keeping, although quite intelligible. Upon the style it is that these perplexities depend for their illumination.'

"Fetter' properly means a chain or bond for the feet. It is often used for bonds in general; but has not so lost its primary signification that we may speak, without inconsistency, of beneficial legislation that has struck the fetters from the hands of industry'.

So in this instance: The decline of the material comforts of the working classes had been incessant, and had

now reached an alarming height. Decline' is often used with little feeling of its metaphorical nature; but its conjunction with height' is realized as a discord.

The metaphorical word 'point' cannot always be used in harmony with its original sense. One of its meanings is the same as subject-matter, or subject of discourse; and we must often use such combinations as 'embracing, enlarging upon, contesting, opening up, a point '-expressions highly incongruous with the literal meaning. But the phrase 'point of view' retains enough of its literal meaning to render the following incongruous: Nothing could be more one-sided than the point of view adopted by the writers'; ‘a more extended point of view'. So, to approach from a standpoint' does not give the sense of harmony that is felt in the expression, to view from a standpoint'.

The mixture of the metaphorical and the plain or literal is also objectionable. Dryden, speaking of the aids he had in his translations, says, 'I was sailing in a vast ocean without other help than the pole-star of the ancients, and the rules of the French stage among the moderns'.

4. A Metaphor must not be strained.

By this is meant pursuing the figure into irrelevant details.

Young, speaking of old age, says—

It should

Walk thoughtful on the silent, solemn shore
Of that vast ocean it must sail so soon:

And put good works on board: and wait the wind
That shortly blows us into worlds unknown.

In the two last lines, the feelings suggested are out of keeping with what goes before. At first, an emotion of deep solemnity is awakened; then the figure changes to the prosaic and calculating operations of a sea-faring enterprise.* Take now the famous passage—

There is a tide in the affairs of men,

Which, taken at the flood, leads on to fortune⚫
Omitted, all the voyage of their life

Is bound in shallows and in miseries.

* "Lord Shaftesbury is sometimes guilty of pursuing his metaphors too far: fond to an uncommon degree of every decoration of style, when he has once started a figure which pleases him, he always seems unwilling to discontinue the chase. Thus having represented soliloquy under the metaphor of a proper method of evacua tion for an author, he pursues the figure through several pages, under all the forms of discharging crudities, throwing off froth and scum, bodily operation, taking physic, curing indigestion, giving vent to choler, bile, flatulencies and tumours, till at last the idea becomes nauseous and disgusting." (Irving.)

STRAINING OF METAPHORS.

169

Here we have both impropriety and straining. The tides rise and fall twice every twenty-five hours; it is, therefore, a contradiction to speak of a man's experiencing only one high tide in his life. Used for a lucky or favourable conjuncture, the figure is wholly inappropriate. Then as to the bearing on the voyage of life: to miss a tide is merely half a day's delay in starting; while it can have nothing to do with sailing in shallows, a mishap that would simply imply the want of a good chart or other equipment of navigation. Lastly, the union of 'shallows' and 'miseries' is an example of mixing the metaphorical and the literal.

In the following instance from Pope, the first application of the figure is appropriate, but the fitness is wanting in the last two lines.

Vice is a monster of so frightful mien,
As, to be hated, needs but to be seen;
Yet seen too oft, familiar with her face,`
We first endure, then pity, then embrace.

To a 'monster' we should certainly not be tempted to act in this manner; to express this aspect of vice we should require some other comparison, such as the siren. The figure of the monster' is unfitting after the second line. So, in this other example from the same poet. Having spoken of man as 'a wild where weeds and flowers promiscuous shoot,' he proceeds

Together let us beat this ample field,

Try what the open, what the covert yield!
The latent tracts, the giddy heights, explore
Of all who blindly creep, or sightless soar;
Eye nature's walks, shoot folly as it flies,
And catch the manners living as they rise.

The Metaphor, in its simplest and most characteristic form, begins and ends with a single word or phrase, as in many of the instances above quoted. In many cases, however, as has been seen, the idea is developed or expanded into circumstantial details. It is only in such instances that the fault of straining the metaphor can be committed. It is, however, in the Simile that the expansion of a figure into numerous circumstances most naturally occurs, and, consequently, where the special rules and precautions for maintaining consistency are most applicable.

now reached an alarming height.' 'Decline' is with little feeling of its metaphorical nature; L junction with 'height' is realized as a discord.

The metaphorical word 'point' cannot alw in harmony with its original sense. One of is the same as subject-matter, or subject of di. we must often use such combinations as 'embr. ing upon, contesting, opening up, a point' highly incongruous with the literal meani phrase point of view' retains enough of its 1. to render the following incongruous: 'Not more one-sided than the point of view adopted 'a more extended point of view'. So, to a standpoint' does not give the sense of harm in the expression, to view from a standpoint

6

The mixture of the metaphorical and the is also objectionable. Dryden, speaking of in his translations, says, 'I was sailing i without other help than the pole-star of the rules of the French stage among the moderns 4. A Metaphor must not be strained. By this is meant pursuing the figure details.

Young, speaking of old age, says

It should

Walk thoughtful on the silent, solemn sl Of that vast ocean it must sail so soon: And put good works on board: and wait ' That shortly blows us into worlds unknow In the two last lines, the feelings sug keeping with what goes before. At first, a solemnity is awakened; then the figur prosaic and calculating operations of a seaTake now the famous passage—

There is a tide in the affairs of men,
Which, taken at the flood, leads on t
Omitted, all the voyage of their life
and in miseries.

Is bound i

• "Lord Shaffe fond to an uncom a figure which pl Thus having repre tion for an author, of discharging cruc physic, curing indig at last the idea beco

ty of pursuin
on of style.
unwilling
taphor of
several

ad scum,
bile, flat
(Irei