is most perfect in drama-poetic expression. It is exquisite in its contempt; it is ever visible in its movement; it is ludicrous too. Here lies the highest triumph of poetry, to do that which ordinary speech can barely effect in any single sentence—to attain to the most beautiful expression without a single metaphor; that is, by absolute simplicity of speech.
Of course, metaphor is a great resource in composition; it involves not only the fact, but its simile in one and the same epithet.
The line in Hamlet—
“Whose lightest word would harrow up thy soul,”
has as strong a simile in it, through “harrow up,” as is contained in the expression—
“Thy matted and combined locks to part …
Like quills upon a fretful porcupine.”
But the last is pure poetry; the other is dramatic poetry.
Of course, pure poetry has the highest quality of all; it is so sincere, so convincing, that it requires no help to render it beautiful and effective.
The whole address in Hamlet delivered by the Ghost is free from metaphor with few exceptions towards the end, as—