But thou, O Hope, with eyes so fair, what was thy delighted measure? 4. There rose a shout, prolonged and loud, that to the ocean seemed to say, Take her, O Bridegroom, old and gray. 5. Come to the bridal chamber, Death. 6. Blow, Winds, and crack your cheeks! 7. Come, old Assyria, with the dove of Nineveh upon thy emerald crown, what laid thee low? 8. Sleep, gentle Sleep, Nature's soft nurse, how have I frightened thee that thou no more wilt weigh my eyelids down! 9. Flag of the brave, thy folds shall fly the sign of hope and triumph high. 10. Sweet Flower, thou tellest how hearts as pure as tender as thy leaves will surely know the joy that peace imparts. II. Bozzaris, with the storied brave Greece nurtured in her glory's time, rest thee. 12. Great Father of your country, we heed your words, we feel them as if you uttered them with lips of flesh and blood.

Direction. Bring in as many rare apostrophes. Let them be of the different kinds given above.

LESSON 52.

ANTITHESIS.

The figures thus far considered are based upon the relation of likeness which things sustain to each other— likeness in quality or in function.

We come now to a figure which is based upon the relation of unlikeness between things. This unlikeness may be of many grades. It may extend even to one hundred and eighty degrees on the circumference of difference; in this case the things are diametrically opposed to each other, as black things to white things, things true to things false.

An antithesis is a figure of speech in which things mu

tually opposed in some particular are set over against each other. Antithesis is a striking figure, especially when things diametrically opposed to each other are contrasted by it, and is much used in oratory and in all forcible writing.

Its rhetorical value consists in this, that an object is seen most clearly when it stands relieved against its opposite. Each object, with reference to the specialty in which it is contrasted, is measured by a standard less than the ordinary, and hence in that quality is magnified. Dark objects seem black when contrasted with things that are white; a short person and a tall, standing side by side, seem the one shorter than he really is and the other taller, because each is measured by a standard having less than the average of the quality for which it is distinguished.

The second part of an antithesis sometimes contains a factor which multiplies, at least by two, the force and value of the figure. Example 15, below, taken from Macaulay, would be a good antithesis if it ran, Our Indian subjects submit patiently to a monopoly of salt; for such a restriction the fierce breed of the Puritans wrested from us an empire. How the force of the figure is increased when we are told that the Puritans did this, not because salt was monopolized, but because a trifling stamp duty was imposed!

Direction.-Point out the words below which denote the things contrasted, note how the figure brings these things into relief, and recast the sentences without using antitheses:

1. Saul, seeking his father's asses, found himself turned into a king. 2. Fit the same intellect to a man, and it is a bowstring; to a woman, and it is a harp-string. 3. The French and Germans have named their vowels; the English have nicknamed theirs. 4. Light may be defined as ether in motion; darkness

as ether at rest. 5. Truth gets well if she is run over by a locomotive, while Error dies of lockjaw if she scratches her finger. 6. I thought that this man had been a lord among wits, but I find that he is only a wit among lords. 7. In the world, a man lives in his own age; in solitude, in all ages. 8. The Athenians understand what is good, but the Lacedemonians practice it. 9. The mountains give their lost children berries and water; the sea mocks their thirst and lets them die. 10. Better to reign in hell than serve in heaven. II. Plato's arrow, aimed at the stars, was followed by a track of dazzling radiance, but it struck nothing; Bacon fixed his eye on a mark which was placed on the earth, and within bow-shot, and hit it in the white. Kings will be tyrants from policy when subjects are rebels from principle. 13. The Saxon words are simple, homely, and substantial, fitted for every-day events and natural feelings; while the French and Latin words are elegant, dignified, and artificial, fitted for the pomp of rhetoric, the subtilty of disputation, or the courtly reserve of diplomacy. 14. For fools rush in where angels fear to tread. 15. Our Indian subjects submit patiently to a monopoly of salt. We tried a stamp-duty-a duty so light as hardly to be perceptible—on the fierce breed of the old Puritans, and we lost an empire.

12.

Direction. Bring in as many good antitheses. Let some be of the kind seen in Nos. 5 and 15.

LESSON 53.

THE METONYMY.

The figures thus far considered are based either upon the relation (1) of likeness or (2) of unlikeness in which things stand to each other in quality or in office. But you were told in Lesson 44 that things are connected by some other natural law or relation than these, and in such

a way that they become intimately associated in our minds-one easily and always suggesting the other, and enabling us to use the word denoting one of them instead of that denoting the other.

A metonymy is a figure of speech in which the name of one thing connected to another by some bond not of likeness or unlikeness is taken to denote that other.

The natural laws which connect things, the laws by which we associate them, are many and diverse. The most important, not yet spoken of, are these: Things are related and associated by us, (1) as sign, or symbol, and the thing symbolized, (2) as cause and effect, or source and what flows from it, (3) as instrument and the user of it, (4) as container and the thing contained, (5) as material and the thing made out of it, (6) as contiguous to each other, and (7) as part to whole or whole to part.

This last relation is so important that the metonymy based upon it has been dignified by a separate name→ the synecdoche.

RHETORICAL VALUE.—In the metonymy, as in the metaphor, the name of the related object which is best known is taken to denote the other, and, like the metaphor, it gives clearness, vigor, and beauty to style.

Direction. Classify the metonymies below, note what they add to the expression, and recast the sentences, using plain language:

1. Uluch Ali sailed away with all his canvas spread. 2. The crescent in Europe is waning before the cross. 3. He is a slave to the cup. 4. Strike for your altars and your fires. 5. Who steals my purse steals trash. 6. He rose, and addressed the chair. 7. The sanctity of the lawn should be kept unsullied. 8. The palace should not scorn the cottage. 9. The red coats turned and fled. 10. The watched pot never boils. II. The turban yields to the tartan. 12. Iron hailed and lead rained upon the

enemy. 13. The pen is usurping the office of the sword. 14. The bullet is giving way to the ballot. 15. We have prostrated ourselves before the throne. 16. The board at the little inn was excellent. 17. But little Madeira comes to this country. 18. Death fell in showers. 19. Shoulder to shoulder, S. C. and Mass. went through the Revolution. 20. The American sailor humbled the Barbary flag. 21. The hollow oak is our palace. 22. Your flashes of merriment that were wont to set the table on a roar.

Direction. Bring in as many good metonymies, illustrating the six kinds treated above.

LESSON 54.

THE SYNECDOCHE.

TROPES.

HYPERBOLE.

Things are connected in reality, and are associated by us, in the relation of part to whole or of whole to part. The figure based upon this-really a metonymy-has, because of its importance, received a separate name—tne synecdoche. The species for the genus, the genus for the species, and the individual for his class, are all examples of a part for the whole or of the whole for a part.

A synecdoche is a figure of speech in which the name of a part denotes the whole, or the name of the whole denotes a part.

As we grasp a part of a thing more easily than the whole, that branch of the figure in which the name of the part denotes the whole presents the object more vigorously than does the other, and is more common and more valuable than the other.