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XL.

SIMILE, OR COMPARISON.*

A simile is the likening of the subject, of which we speak, to another subject having some similarity, in order to render the description more forcible and perspicuous. In a strict sense, it differs from comparison, in which the subject may have an obvious likeness. But many rhetoricians consider the terms as synonymous, and in this light they are presented in this connexion. This figure is extremely frequent both in prose and poetry; and it is often as necessary to the exhibition of the thought, as it is ornamental to the language in which that thought is conveyed.

In all comparisons there should be found something new or surprising, in order to please. and illustrate. Consequently they must never be instituted between things of the same species. ‡

*Every simile is more or less a comparison,· but every comparison is not a simile; the latter compares things only as far as they are alike; but the former extends to those things which are different. In this manner there may be a comparison between large things and small, although there can be no good simile.

†The distinction between simile and comparison is, that the former has reference to the quality; the latter to the quantity. Comparison is between more and less; similitude is between good and bad. "Hannibal hung like a tempest on the declivities of the Alps"-is a likeness by similitude. "The sublimity of the Scriptural prophets exceeds that of Homer, as much as thunder is louder than a whisper" is a likeness by comparison. — J. Q. Adams, Lec. 9.

The simile, or comparison, may be considered as differing in form only from a Metaphor, the resemblance being stated in the comparison, which in the metaphor is only implied. Each may be founded on actual resemblance or on analogy. Metaphors and comparisons founded on analogy are the more frequent and the more striking, because the more remote and unlike in themselves any two objects are, the more is the mind impressed and gratified by the perception of some point in which they agree. Intimately connected with Simile and Comparison is the Emblem; the literal meaning of which is, "something inserted in the body of another;" but the word is used to express "a picture, representing one thing to the eye, and another to the understanding:" or, a painting, or representation, intended to hold forth some moral, or political instruction. Thus, a balance is an emblem of justice; a crown is the emblem of royalty; a sceptre, of power or sove reignty. Any thing, which represents another thing in its predominant qualities, is also an emblem. Thus a looking glass, which shows spots, without magnifying them, is an emblem of a true friend, who will show us our faults without exaggemtion. A torch, reversed and expiring, with the

All comparisons, says Dr. Blair, may be reduced under two heads, explaining, and embellishing. But embellishing comparisons are those which most frequently occur.

Resemblance, it has been observed, is the foundation of this figure but resemblance must not be taken in too strict a sense for actual simili tude. Two objects may raise a train of concordant ideas in the mind, though they resemble each other, strictly speaking, in nothing. For example, to describe the natnre of soft and melancholy music, Ossian says:

"The music of Carryl, like the memory of joys that are past, was pleas ant and mournful to the soul."

This is happy and delicate; yet no kind of music bears any actual resemblance to the memory of past joys.

Comparisons should not be introduced on all occasions. As they are the language of imagination, rather than of passion, an author can hardly commit a greater fault, than in the midst of passion or strong feeling to introduce a simile. Even in poetry it should be employed with moderation; but in prose much more so.

The following rules are laid down bv Dr. Blair in the use of comparisons:

In the first, they must not be drawn from things which have too near and obvious a resemblance of the object with which they are compared; for 'he pleasure which we receive from the act of comparing arises from the discovery of likenesses among things of different species where we should not, at first sight expect, a resemblance.

In the second place, as comparisons ought not to be founded on likenesses too obvious, much less ought they to be founded on those which are too faint and distant. These, instead of assisting, strain the fancy to compre hend them, and throw no light upon the subject.

In the third place, the object from which a comparison is drawn ought never to be an unknown object, nor one of which few people can have a clear idea. Therefore similes founded on philosophical discoveries, or on any thing with which persons of a particular trade only, or a particular profession, are acquainted, produce not their proper effect. They should be drawn from those illustrious and noted objects, which most readers have either seen, or can strongly conceive.

In the fourth place, in compositions of a serious or elevated kind, similes should not be drawn from low or mean objects. These degrade and vilify; whereas similes are generally intended to embellish and dignify. There fore, except in burlesque writings, or where an object is meant to be degraded, mean ideas should never be presented.

motto, "My nourishment is my bane," is an emblem of the improper use we are too apt to make of things, when either by using them improperly, or too freely, we subvert the design for which they were at first intended.

"The oil thus feeds, thus quenches flame :
So love gives honor;-love gives shame."

Quarles' Book of Emblems.

Emblems are frequently the foundations of both Simile and Comparison. Analogy is the foundation of the three.

Examples.

1. Wit and humor are like those volatile essences, which, being too delicate to bear the open air, evaporate almost as soon as they are exposed to it.

2. Like birds whose beauties languish, half concealed,
Till mounted on the wing their glossy plumes
Expanded, shine with azure, green, and gold,
How blessings brighten as they take their flight!

3.

4.

5.

6.

And in the smoke the pennons flew,
As in the storm the white sea-mew.

Then marked they dashing broad and far
The broken billows of the war,

And plumed crests of chieftains brave,
Floating like foam upon the wave.

She never told her love,

But let concealment, like a worm in the bud,
Feed on her damask cheek. She pined in thought,
And with a green and yellow melancholy

She sat, like Patience on a monument,

Smiling at Grief.

Oh Night,

And Storm and Darkness, ye are wondrous strong,
Yet lovely in your strength as is the light
Of a dark eye in woman.

7. This quiet sail is as a noiseless wing

To waft me from distraction; once I loved
Torn ocean's roar; but thy soft murmuring
Sounds sweet as if a sister's voice reproved

That I with stern delights should e'er have been so moved.

8. They are the native courtesies of a feeling mind, showing themselves amid stern virtues and masculine energies like gleams of light on points of rocks.

9.

10.

11.

I never tempted her with word too large;
But as a brother to a sister showed

Bashful sincerity and comely love.

Curses, like chickens, always come home to roost.

As no roads are so rough as those which have just been mended, so no sinners are so intolerant as those that have just turned saints.

12. True friendship is like sound health, the value of it is seldom known until it is lost.

Exercises.

Let the student compare a man of integrity with a rock; and show the circumstances of resemblance.

Compare Life, with the Ocean.

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Adversity, with a storm.

Affluence, with a fountain.

the life of man with the leaves on the tree.

Death with the falling of the leaf.

Youth, with Spring.

Manhood, with Summer.

Old age, with Autumn.

Death, with Winter.

The reflection of light from the water, with the sparkling of the diamond.

Wit and Humor with a volatile essence.

The minds of the aged, with the tombs which they are approaching.

The style of two writers; one with a convex mirror, scattering the light, the other with the concave speculum, concentrating the rays to a focus.

Departing blessings to the flight of birds.

XLI.

ANTITHESIS.

Antithesis is the counterpart of comparison, and is founded on the contrast or opposition of two objects. By contrast,

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objects opposed to each other appear in a stronger light, and their peculiar beauties or defects appear in bold relief.

Antitheses, like comparisons, must be subjected to some rules. They must take place between things of the same species. Substantives, attri butes, qualities, faculties of the same kind, must be set in opposition. To constitute an antithesis between a man and a lion, virtue and hunger, figure and color, would be to form a contrast where there is no opposition. But to contrast one man with another, virtues with virtues, figures with figures, is pertinent and proper, because in these cases there must be striking opposition.

Antithesis makes the most brilliant appearance in the delineation of characters, particularly in history. The historian, in the performance of this delicate part of his task has a good opportunity for displaying his discernment and knowledge of human nature; and of distinguishing those nice shades by which virtues and vices run into one another. It is by such colors only that a character can be strongly painted, and antithesis is necessary to denote those distinctions.

Antithesis, also, by placing subjects in contrast, prompts the judgement; and is therefore a very common figure in argumentative writing. Antithesis is also used with great advantage in descriptions or representations of the power and extent of a quality, as follows:

"I can command the lightnings, and am dust."

Again. In the description of the power of the steam-engine, a late writer says: "The trunk of an elephant, that can pick up a pin or rend an oak, is as nothing to it. It can engrave a seal and crush masses of obdurate metal before it, draw out, without breaking, a thread as fine as gossamer, and lift up a ship of war like a bauble in the air. It can embroider muslin and forge anchors, -cut steel into ribands, and impel loaded vessels against the fury of the winds and waves."*

Examples.

1. Behold my servants shall eat, but ye shall be hungry; behold my servants shall drink, but ye shall be thirsty; behold my servants shall rejoice, but ye shall be ashamed.

2. Religion and Superstition, contrasted.

Religion is the offspring of Truth and Love, and the parent of Benevolence, Hope and Joy. Superstition is the child of

*The author of Lacon very justly remarks: "To extirpate antithesis from literature altogether, would be to destroy at one stroke about eight tenths of all the wit, ancient and modern, now existing in the world. It is a figure capable not only of the greatest wit, but sometimes of the greatest beauty, and sometimes of the greatest sublinity."

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