We say, a truth “figured” by a fable, by a parable; the church “figured” by the young spouse in Solomon’s Song; ancient Rome “figured” by Babylon. A figurative style is constituted by metaphorical expressions, figuring the things spoken of — and disfiguring them when the metaphors are not correct.

Ardent imagination, passion, desire — frequently deceived — produce the figurative style. We do not admit it into history, for too many metaphors are hurtful, not only to perspicuity, but also to truth, by saying more or less than the thing itself.

In didactic works, this style should be rejected. It is much more out of place in a sermon than in a funeral oration, because the sermon is a piece of instruction in which the truth is to be announced; while the funeral oration is a declaration in which it is to be exaggerated.

The poetry of enthusiasm, as the epopee and the ode, is that to which this style is best adapted. It is less admissible in tragedy, where the dialogue should be natural as well as elevated; and still less in comedy, where the style must be more simple.

The limits to be set to the figurative style, in each kind, are determined by taste. Baltasar Gracian says, that “our thoughts depart from the vast shores of memory, embark on the sea of imagination, arrive in the harbor of intelligence, and are entered at the custom house of the understanding.”

This is precisely the style of Harlequin. He says to his master, “The ball of your commands has rebounded from the racquet of my obedience.” Must it not be owned that such is frequently that oriental style which people try to admire? Another fault of the figurative style is the accumulating of incoherent figures. A poet, speaking of some philosophers, has called them:

?D’ambitieux pygmées

Qui sur leurs pieds vainement redressés

Et sur des monts d’argumens entassés

De jour en jour superbes Encelades,

Vont redoublant leurs folles escalades.

When philosophers are to be written agains............