The trees, leaves, rushes, and grasses;
The rivulet running away;
The bird of the air as it passes,
Or the mountains that motionless stay;
And yet those immovable masses
Keep changing, as dreams do, all day."[1]
There will be little need to borrow from the recondite mysteries of human art, nor to go deep into the theories of science; for in nature golden illustrations lie upon the surface, and the purest is that which is uppermost and most readily discerned. Of natural history in all its branches we may well say, "The gold of that land is good": the illustrations furnished by every-day phenomena seen by the plowman and the wagoner are the very best which earth can yield. An illustration is not like a prophet, for it has most honor in its own country; and those who have oftenest seen the object are those who are most gratified by the figure drawn from it.
I trust that it is scarcely necessary to add that illustrations must never be low or mean. They may not be high-flown, but they should always be in good taste. They may be homely, and yet chastely beautiful; but rough and coarse they should never be. A house is dishonored by having dirty windows, cobwebbed and begrimed, patched with brown paper, or stuffed up with rags: such windows are the insignia of a hovel rather than a house. About our illustrations there must never be even the slightest trace of anything that would shock the most delicate modesty. We like not that window out of which Jezebel is looking. Like the bells upon the horses, our lightest expressions must be holiness unto the Lord. Of that which suggests the groveling and the base we may say with the Apostle, "Let it not be once named among you, as becometh saints." All our windows should open toward Jerusalem, and none toward Sodom. We will gather our flowers always and only from Emmanuel's land, and Jesus himself shall be their savor and sweetness, so that when he lingers at the lattice to hear us speak of himself he may say, "Thy lips, O my spouse, drop as the honeycomb: honey and milk are under thy tongue." That which grows beyond the border of purity and good repute must never be bound up in our garlands, nor placed among the decorations of our discourses. That which would be exceedingly clever and telling in a stump orator's speech, or in a cheap-jack's harangue, would be disgusting from a minister of the gospel. Time was when we could have found far too many specimens of censurable coarseness, but it would be ungenerous to mention them now that such things are on all hands condemned.
Gentlemen, take care that your windows are not broken, or even cracked: in other words, guard against confused metaphors and limping illustrations. Sir Boyle Roche is generally credited with some of the finest specimens of metaphorical conglomerate. We should imagine that the passage is mythical in which he is represented as saying, "I smell a rat; I see it floating in the air; I'll nip it in the bud." Minor blunderings are frequent enough in the speech of our own countrymen. An excellent temperance advocate exclaimed, "Comrades, let us be up and doing! Let us take our axes on our shoulders, and plow the waste places till the good ship Temperance sails gaily over the land." We well remember, years ago, hearing a fervent Irish clergyman exclaim, "Garibaldi, sir, he is far too great a man to play second fiddle to such a wretched luminary as Victor Emmanuel." It was at a public meeting, and therefore we were bound to be proper; but it would have been a great relief to our soul if we might have indulged in a hearty laugh at the spectacle of Garibaldi with a fiddle, playing to a luminary; for a certain nursery rhyme jingled in our ears, and sorely tried our gravity. A poetic friend thus encouragingly addresses us:
"March on, however rough the road,