ORIGIN AND NATURE OF

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L V, c t. In general, they always imply fome departureXIV. from fimplicity of expreffion ; the idea which weintend to convey, not only enunciated to others,but enunciated, in a particular manner, and withfome circumftance added, which is deiigned torender the impfeffion more ftrong and vivid,When I fay,, for inftance, “ That a good man“ enjoys comfort in the midft of adverfity; ” Ijuft expivls my thought in the fimpleft mannerpoliible. But when I fay, “ To the upright there“ arifeth light in darknefs; ” the fame fentimentis expreffed in a figurative Style; a new circum-ftance is introduced . light is put in the place ofcomfort, and darknefs is ufed to fuggeft the ideaof adverfity. In the fame manner, to fay, “ It is“ iitipoffible, by any fearch we can make , to“ explore the divine nature fully, ” is, to makea fimple proportion. But when we fay, “ Canft“ thou by fearching, find out God ? Canft thou“ find out the Almighty to perfection ? It is- highcc as Heaven, what canft thou do? deeper thanC[ Hell, what canft thou know ? ” This introducesa figure into Style ; the proportion being notonly expreffed , but admiration and aftonifhmentbeing expreffed together with it.

But, though figures imply a deviation fromwhat, may be reckoned the moft fimple form 1 ofSpeech , we are not thence to conclude , that

For observations on particular Figures, the Elements ofCritlcijm rtiay be confuted, where the fubjeft is fully handled,and illuftrated by a great variety of examples.