Language, invented for the communication of thought, would be imperfect, if it were not expreffive even of the flighter propenfities and more delicate feelings. But language cannot remain fo imperfect, among a people who have received any polish; because language is regulated by internal feeling, and is gradually fo improved as to express whatever paffes in the mind. Thus, for example, a fword in the hand of a coward, is, in poetical diction, termed a coward fword: the expreffion is fignificative of an internal operation; for the mind, in paffing from the agent to its inftrument, is difpofed to extend to the latter the properties of the former. Governed by the fame principle, we fay liftening fear, by extending the attribute liftening of the man who liftens, to the paffion with which he is mo ved. In the expreffion, bold deed, or audax facinus, we extend to the effect, what properly belongs to the caufe. But not to wafte time by making a commentary upon every expreffion of this kind, the best way to give a complete view of the fubject, is to

exhibit

exhibit a table of the different connections that may give occafion to this figure. And in viewing this table, it will be observed, that the figure can never have any grace but where the connections are of the most intimate kind.

1. An attribute of the cause expreffed as an attribute of the effect.

Audax facinus.

Of yonder fleet a bold discovery make.

An impious mortal gave the daring wound.

To my adventrous song,

That with no middle flight intends to foar.

Paradife Loft,

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2. An attribute of the effect expreffed as an attribute of the cause.

3. An effect expreffed as an attribute of the cause.

Jovial wine, Giddy brink, Drowfy night, Mufing midnight, Panting height, Aftonifh'd thought, Mournful gloom,

Çafting a dim religious light.

And the merry bells ring round,

Milton, Comus.

And the jocund rebecks found.

Milton, Allegro,

4. An attribute of a fubject bestowed upon one of its parts or members.

Longing arms.

It was the nightingale, and not the lark,
That pierc'd the fearful hollow of thine ear.

Romeo and Juliet, alt 3. Sc. 7.

Oh, lay by

Those most ungentle looks and angry weapons; Unless you mean my griefs and killing fears Should ftretch me out at your relentless feet..

Fair Penitent, alt 3.

And

And ready now

To stoop with wearied wing, and willing feet,
On the bare outfide of this world.

Paradife Loft, b. 3.

5. A quality of the agent given to the inftrument with which it operates.

Why peep your coward fwords half out their fhells?

6. An attribute of the agent given to the subject upon which it operates.

When fapless age, and weak unable limbs,
Should bring thy father to his drooping chair.

Shakespear.

By art, the pilot through the boiling deep
And howling tempeft, fteers the fearless fhip.

Then, nothing loath, th' enamour'd fair he led,

And funk, tranfported on the confcious bed.

Odyf. viii. 337.

A ftupid moment motionless the ftood.

Summer, l. 1336,

8. A circumstance connected with a subject, expreffed as a quality of the fubject.

Breezy fummit.

'Tis ours the chance of fighting fields to try.

Oh! had I dy'd before that well-fought wall.

Ody. v. 395,

From this table it appears, that the expreffing an effect as an attribute of the caufe, is not fo agreeable as the oppofite expreffion. The defcent from cause to effect is natural and eafy: the oppofite direc tion resembles retrograde motion Pant ing beight, for example, aftonish'd thought, are ftrained and uncouth expreffions, which

* See chap. 1q