Illustrations should really cast light upon the subject in hand, otherwise they are sham windows, and all shams are an abomination. When the window-tax was still in force many people in country houses closed half their lights by plastering them up, and then they had the plaster painted to look like panes; so that there was still the appearance of a window, though no sunlight could enter. Well do I remember the dark rooms in my grandfather's parsonage, and my wonder that men should have to pay for the light of the sun. Blind windows are fit emblems of illustrations which illustrate nothing, and need themselves to be explained. Grandiloquence is never more characteristic than in its figures; there it disports itself in a very carnival of bombast. We could quote several fine specimens of sublime spread-eagleism and magnificent nonsense.
A piece of high-flown oratory sheds light upon nothing, and does not in the faintest degree enable us to understand the reasons. The object of language of this kind is not to instruct the hearer, but to dazzle him, and, if possible, to impress him with the idea that his minister is a wonderful orator. He who condescends to use clap-trap of any kind deserves to be debarred the pulpit for the term of his natural life. Let your figures of speech really represent and explain your meaning, or else they are dumb idols, which ought not to be set up in the house of the Lord.
It may be well to note that illustrations should not be too prominent, or, to pursue our figure, they should not be painted windows, attracting attention to themselves rather than letting in the clear light of day. I am not pronouncing any judgment upon windows adorned with "glass of various colors which shine like meadows decked in the flowers of spring"; I am looking only to my illustration. Our figures are meant not so much to be seen as to be seen through. If you take the hearer's mind away from the subject by exciting his admiration of your own skill in imagery, you are doing evil rather than good. I saw in one of our exhibitions a portrait of a king; but the artist had surrounded his majesty with a bower of flowers so exquisitely painted that every one's eye was taken away from the royal figure. All the resources of the painter's art had been lavished upon the accessories, and the result was that the portrait, which should have been all in all, had fallen into a secondary place. This was surely an error in portrait-painting, even though it might be a success in art. We have to set forth Christ before the people, "evidently crucified among them," and the loveliest emblem or the most charming image which calls the mind away from our divine subject is to be conscientiously forsworn. Jesus must be all in all: his gospel must be the beginning and end of all our discoursing; parable and poesy must be under his feet, and eloquence must wait upon him as his servant. Never by any possibility must the minister's speech become a rival to his subject; that were to dishonor Christ, and not to glorify him. Hence the caution that the illustrations be not too conspicuous.
Out of this last observation comes the further remark that illustrations are best when they are natural and grow out of the subject. They should be like those well-arranged windows which are evidently part of the plan of a structure, and not inserted as an afterthought, or for mere adornment. The cathedral of Milan inspires my mind with extreme admiration; it always appears to me as if it must have grown out of the earth like a colossal tree, or rather like a forest of marble. From its base to its loftiest pinnacle every detail is a natural outgrowth, a portion of a well-developed whole, essential to the main idea; indeed, part and parcel of it. Such should a sermon be; its exordium, divisions, arguments, appeals, and metaphors should all spring out of itself; nothing should be out of living relation to the rest; it should seem as if nothing could be added without being an excrescence, and nothing taken away without inflicting damage. There should be flowers in a sermon, but the bulk of them should be the flowers of the soil; not dainty exotics, evidently imported with much care from a distant land, but the natural upspringing of a life natural to the holy ground on which the preacher stands. Figures of speech should be congruous with the matter of the discourse; a rose upon an oak would be out of place, and a lily springing from a poplar would be unnatural: everything should be of a piece and have a manifest relationship to the rest. Occasionally a little barbaric splendor may be allowed, after the manner of Thomas Adams and Jeremy Taylor and other masters in Israel, who adorn truth with rare gems and gold of Ophir, fetched from far. Yet I would have you note what Dr. Hamilton says of Taylor, for it is a warning to those who aim at winning the ear of the multitude: "Thoughts, epithets, incidents, images came trooping round with irrepressible profusion, and they were all so apt and beautiful that it was hard to send any of them away. And so he tried to find a place and use for all—for 'flowers and wings of butterflies,' as well as 'wheat'; and if he could not fabricate links of his logical chain out of 'the little rings of the vine' and 'the locks of a new-weaned boy,' he could at least decorate his subject with exquisite adornments. The passages from his loved Austin and Chrysostom, and not less beloved Seneca and Plutarch, the scholar knows how to pardon. The squirrel is not more tempted to carry nuts to his hoard than the bookish author is tempted to transfer to his own pages fine passages from his favorite authors. Alas! he little knows how flat and meaningless they are to those who have not traversed the same walks, and shared the delight with which he found great spoil. To him each polished shell recalls its autumnal tale of woods, and groves, and sunshine showering through the yellow leaves; but to the quaint collection 'the general public' very much prefer a pint of filberts from a huckster's barrow." No illustrations are half so telling as those which are taken from familiar objects. Many fair flowers grow in foreign lands, but those are dearest to the heart which bloom at our own cottage door.
Elaboration into minute points is not commendable when we are using figures. The best light comes in through the clearest glass: too much paint keeps out the sun. God's altar of old was to be made of earth, or of unhewn stone, "for," said the Word, "if thou lift up thy tool upon it, thou hast polluted it" (Ex. xx. 25). A labored, artificial style, upon which the graver's tool has left abundant marks, is more consistent with human pleadings in courts of law, or in the forum, or in the senate, than with prophetic utterances delivered in the name of God and for the promotion of his glory. Our Lord's parables were as simple as tales for children, and as naturally beautiful as the lilies which sprang up in the valleys where he taught the people. He borrowed no legend from the Talmud, nor fairy tale from Persia, neither fetched he his emblems from beyond the sea; but he dwelt among his own people, and talked of common things in homely style, as never man spake before, and yet as any observant man should speak. His parables were like himself and his surroundings, and were never strained, fantastic, pedantic, or artificial. Let us imitate him, for we shall never find a model more complete, or more suitable for the present age. Opening our eyes, we shall discover abundant imagery all around. As it is written, "The word is nigh thee," so also is the analogy of that word near at hand:
"All things around me, whate'er they be,
That I meet as the chance may come.
Have a voice and a speech in them all—
Birds that hover and bees that hum;
The beast of the field or the stall;