odious Name to Monsters, who are involv'd in the fame enormous Guilt.

By this fhort Account 'tis plain, that there is a general Analogy or Relation between all Tropes, and that in all of them a Man ufes a foreign or strange Word instead of a proper one; and therefore fays one thing and means fomething different. When he fays one thing and means another almoft the fame, 'tis a Synecdoche or Comprehenfion: When he fays one thing and means another mutually depending, 'tis a Metonymie: When he fays one thing and means another oppofite or contrary, 'tis an Irony: When he fays one thing and means another like to it, it is a Metaphor: A Metaphor continu'd and often repeated becomes an Allegory: A Metaphor carry'd to a great Degree of Boldnefs, is an Hyperbole; and when at first found it feems a little harsh and fhocking, and may be imagin'd to carry fome Impropriety in it, 'tis a Catachrefis.

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CHAP.

CHA P. III.

Giving an Account of the Nature, Neceffity and Use of Figures in general.

S. I.

A

Figure is a Manner of Speaking different from the ordinary and plain Way, and more emphatical; expreffing a Paffion, or containing a Beauty. The best and most lively Figures do both. The Impreffions of Wonder, Love, Hatred, Fear, Hope, &c. made upon the Soul of Man, are characteriz❜d and communicated by Figures; which are the Language of the Paffions. God has planted these Paffions in our Nature, to put us upon exerting all our Abilities and Powers to guard our selves against Mifchiefs and Dangers; and to attain things which are ferviceable to our Preservation and Pleasure.

The

.

The Soul has fuch a mighty Command over that curious Organ the human Body, that it can make all the Impreffions upon it, (while it is in Health and Harmony) whereby all the different Affections and Paffions are exprefs'd. It can by its fovereignt Pleasure fo move and alter the Blood and Spirits, fo contract or relax the Nerves, that in Sorrow, a Deadness and Heavinefs fhall make the Countenance lowre: In Anger, a brutal Fierceness shall enflame the Eyes, and and ruffle the Looks into Deformity: In Joy and Chearfulness, a fprightly Gayety fhall fmile in the Eye, and enliven every Feature. The Soul likewife tunes the Organs of Speech, and fets 'em to that Key which will most effectually exprefs her prefent Sentiments. So that in Joy the Voice shall be tender, flowing and rapturous; in Anger fhrill, eager, and full of Breaks: in Fear low, confus'd, and stammering.

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S. 2. The

S. 2. The Neceffity of Figures may appear from the following Reafons.

1. Without Figures you cannot describe a Man in a Paffion; because a Man in a cool and fedate Temper, is quite another thing from himself under a Commotion and vehement Difturbance. His Eyes, his Motions and Expreffions are entirely different; and why fhou'd not the Defcription of him in fuch contrary Poftures be fo? Nay, the feveral Paffions muft be as carefully diftinguifh'd, as a State of Indolence and Tranquillity from any one Paffion. For inftance, the fame Hector taking leave of his Lady and only Son, and after pursuing the Greeks with Fire and Sword to their Ships, must be painted with very different Colours. There he muft lay afide all the Fiercenefs and Terrors of the Warrior, and appear with all the Condefcenfion and Goodness of a tender

tender Husband and indulgent Father. Here he must refume all his military Ardour; a noble Rage must fparkle in his Face, and his very Smiles must be terrible.

2. If Writers and Speakers defire to affect their Readers and Hearers. they must not only appear to be concern'd, but muft really be fo.

When a Man is vehemently mov'd with the Paffion which he wou'd infpire other People with, he speaks with Spirit and Energy; and will naturally break out into strong Figures, and all the fuitable and moving Expreffions of an undiffembled Eloquence. Unlearn'd People in Grief, Anger, Joy, &c. utter their Paffion with more Vehemence and Fluency, than the most learn'd, who are not heartily interested in the Matter, nor throughly warm'd with the Paffion which they defcribe. What the Speaker is, for the most part the Audience will be: If he be zealously concern'd, 1 4

they