Kitabı oku: «The Philosophy of Style», sayfa 4

 
    "Ingratitude! thou marble-hearted fiend,"
 

would lose part of its effect were it changed into —

 
    "Ingratitude! thou fiend with heart like marble;"
 

and the loss would result partly from the position of the simile and partly from the extra number of words required. When the comparison is an involved one, the greater force of the metaphor, consequent on its greater brevity, becomes much more conspicuous. If, drawing an analogy between mental and physical phenomena, we say, "As, in passing through the crystal, beams of white light are decomposed into the colours of the rainbow; so, in traversing the soul of the poet, the colourless rays of truth are transformed into brightly tinted poetry"; it is clear that in receiving the double set of words expressing the two halves of the comparison, and in carrying the one half to the other, considerable attention is absorbed. Most of this is saved, however, by putting the comparison in a metaphorical form, thus: "The white light of truth, in traversing the many sided transparent soul of the poet, is refracted into iris-hued poetry."

§ 42. How much is conveyed in a few words by the help of the Metaphor, and how vivid the effect consequently produced, may be abundantly exemplified. From 'A Life Drama' may be quoted the phrase —

 
    "I spear'd him with a jest,"
 

as a fine instance among the many which that poem contains. A passage in the 'Prometheus Unbound,' of Shelley, displays the power of the metaphor to great advantage:

 
    "Methought among the lawns together
     We wandered, underneath the young gray dawn,
     And multitudes of dense white fleecy clouds
     Were wandering, in thick flocks along the mountains
     Shepherded by the slow unwilling wind."
 

This last expression is remarkable for the distinctness with which it realizes the features of the scene: bringing the mind, as it were, by a bound to the desired conception.

§ 43. But a limit is put to the advantageous use of the Metaphor, by the condition that it must be sufficiently simple to be understood from a hint. Evidently, if there be any obscurity in the meaning or application of it, no economy of attention will be gained; but rather the reverse. Hence, when the comparison is complex, it is usual to have recourse to the Simile. There is, however, a species of figure, sometimes classed under Allegory, but which might, perhaps, be better called Compound Metaphor, that enables us to retain the brevity of the metaphorical form even where the analogy is intricate. This is done by indicating the application of the figure at the outset, and then leaving the mind to continue the parallel.' Emerson has employed it with great effect in the first of his I Lectures on the Times': – "The main interest which any aspects of the Times can have for us is the great spirit which gazes through them, the light which they can shed on the wonderful questions, What are we, and Whither we tend? We do not wish to be deceived. Here we drift, like white sail across the wild ocean, now bright on the wave, now darkling in the trough of the sea; but from what port did we sail? Who knows? Or to what port are we bound? Who knows? There is no one to tell us but such poor weather-tossed mariners as ourselves, whom we speak as we pass, or who have hoisted some signal, or floated to us some letter in a bottle from far. But what know they more than we? They also found themselves on this wondrous sea. No; from the older sailors nothing. Over all their speaking trumpets the gray sea and the loud winds answer, Not in us; not in Time."

§ 44. The division of the Simile from the Metaphor is by no means a definite one. Between the one extreme in which the two elements of the comparison are detailed at full length and the analogy pointed out, and the other extreme in which the comparison is implied instead of stated, come intermediate forms, in which the comparison is partly stated and partly implied. For instance: – "Astonished at the performances of the English plow, the Hindoos paint it, set it up, and worship it; thus turning a tool into an idol: linguists do the same with language." There is an evident advantage in leaving the reader or hearer to complete the figure. And generally these intermediate forms are good in proportion as they do this; provided the mode of completing it be obvious.

§ 45. Passing over much that may be said of like purport upon Hyperbole, Personification, Apostrophe, &c., let us close our remarks upon construction by a typical example. The general principle which has been enunciated is, that other things equal, the force of all verbal forms and arrangements is great, in proportion as the time and mental effort they demand from the recipient is small. The corollaries from this general principle have been severally illustrated; and it has been shown that the relative goodness of any two modes of expressing an idea, may be determined by observing which requires the shortest process of thought for its comprehension. But though conformity in particular points has been exemplified, no cases of complete conformity have yet been quoted. It is indeed difficult to find them; for the English idiom does not commonly permit the order which theory dictates. A few, however, occur in Ossian. Here is one: – "As autumn's dark storms pour from two echoing hills, so towards each other approached the heroes. As two dark streams from high rocks meet and mix, and roar on the plain: loud, rough, and dark in battle meet Lochlin and Inisfail…As the troubled noise of the ocean when roll the waves on high; as the last peal of the thunder of heaven; such is noise of the battle."

§ 46. Except in the position of the verb in the first two similes, the theoretically best arrangement is fully carried out in each of these sentences. The simile comes before the qualified image, the adjectives before the substantives, the predicate and copula before the subject, and their respective complements before them. That the passage is open to the charge of being bombastic proves nothing; or rather, proves our case. For what is bombast but a force of expression too great for the magnitude of the ideas embodied? All that may rightly be inferred is, that only in very rare cases, and then only to produce a climax, should all the conditions of effective expression be fulfilled.

v. Suggestion as a Means of Economy

§ 47. Passing on to a more complex application of the doctrine with which we set out, it must now be remarked, that not only in the structure of sentences, and the use of figures of speech, may economy of the recipient's mental energy be assigned as the cause of force; but that in the choice and arrangement of the minor images, out of which some large thought is to be built up, we may trace the same condition to effect. To select from the sentiment, scene, or event described those typical elements which carry many others along with them; and so, by saying a few things but suggesting many, to abridge the description; is the secret of producing a vivid impression. An extract from Tennyson's 'Mariana' will well illustrate this:

 
    "All day within the dreamy house,
     The door upon the hinges creaked,
     The blue fly sung i' the pane; the mouse
     Behind the mouldering wainscot shrieked,
     Or from the crevice peered about."
 

§ 48. The several circumstances here specified bring with them many appropriate associations. Our attention is rarely drawn by the buzzing of a fly in the window, save when everything is still. While the inmates are moving about the house, mice usually keep silence; and it is only when extreme quietness reigns that they peep from their retreats. Hence each of the facts mentioned, presupposing numerous others, calls up these with more or less distinctness; and revives the feeling of dull solitude with which they are connected in our experience. Were all these facts detailed instead of suggested, the attention would be so frittered away that little impression of dreariness would be produced. Similarly in other cases. Whatever the nature of the thought to be conveyed, this skilful selection of a few particulars which imply the rest, is the key to success. In the choice of component ideas, as in the choice of expressions, the aim must be to convey the greatest quantity of thoughts with the smallest quantity of words.

§ 49. The same principle may in some cases be advantageously carried yet further, by indirectly suggesting some entirely distinct thought in addition to the one expressed. Thus, if we say, "The head of a good classic is as full of ancient myths, as that of a servant-girl of ghost stories"; it is manifest that besides the fact asserted, there is an implied opinion respecting the small value of classical knowledge: and as this implied opinion is recognized much sooner than it can be put into words, there is gain in omitting it. In other cases, again, great effect is produced by an overt omission; provided the nature of the idea left out is obvious. A good instance of this occurs in 'Heroes and Heroworship.' After describing the way in which Burns was sacrificed to the idle curiosity of Lion-hunters – people who came not out of sympathy, but merely to see him – people who sought a little amusement, and who got their amusement while "the Hero's life went for it!" Carlyle suggests a parallel thus: "Richter says, in the Island of Sumatra there is a kind of 'Light-chafers,' large Fire-flies, which people stick upon spits, and illuminate the ways with at night. Persons of condition can thus travel with a pleasant radiance, which they much admire. Great honour to the Fire-flies! But – ! – "