Motum ex Metello consule civicum,
Bellique causas, et vitia, et modos,
Ludumque fortunæ, gravesque
Principum amicitias, et arma
Nondum expiatis uncta cruoribus,
Periculosæ plenum opus aleæ,
Tractas, et incedis per ignes
Subpositos cineri doloso.
Horat. Carm. l. 2, ode 1.
In the last place, It is still worse to jumble together metaphorical and natural expression, or to construct a period so as that it must be understood partly metaphorically partly literally. The imagination cannot follow with sufficient ease changes so sudden and unprepared. A metaphor begun and not carried on, hath no beauty; and instead of light there is nothing but obscurity and confusion. Instances of such incorrect composition are without number. I shall, for a specimen, select a few from different authors:
Speaking of Britain,
This precious stone set in the sea
Which serves it in the office of a wall,
Or as a moat defensive to a house
Against the envy of less happier lands.
Richard II. act 2. sc. 1.
In the first line Britain is figured to be a precious stone. In the following lines, Britain, divested of her metaphorical dress, is presented to the reader in her natural appearance.
These growing feathers pluck’d from Cæsar’s wing,
Will make him fly an ordinary pitch,
Who else would soar above the view of men,
And keep us all in servile fearfulness.
Julius Cæsar, act 1. sc. 1.
Rebus angustis animosus atque
Fortis adpare: sapienter idem
Contrahes vento nimium secundo
Turgida vela.
The following is a miserable jumble of expressions, arising from an unsteady view of the subject betwixt its figurative and natural appearance.
But now from gath’ring clouds destruction pours,
Which ruins with mad rage our halcyon hours:
Mists from black jealousies the tempest form,
Whilst late divisions reinforce the storm.
Dispensary, canto 3.
To thee, the world its present homage pays,
The harvest early, but mature the praise.
Pope’s imitation of Horace, b. 2.