Almost all the ideas we have of the moral world are expressed through metaphors: thus we say the movements or emotions of the soul; the clearness or coloring of a style; the heat or warmth of a discourse; the hardness or softness of the heart, &c., &c. Language expresses the invisible thought of the soul; in accordance with the etymology of the word (exprimere) it presses them from the soul, from the realm of internal thought, to transport them to the visible sphere. But the etymology itself is nothing but a metaphor, for the immaterial facts of the soul always remain in their own region inaccessible to the senses, and the instinctive facts of the organism always remain in the visible world, so that there can be no actual passage from one to the other, for an immaterial fact cannot be changed into a material one:—association, simultaneousness, correlation may obtain between them, but nothing more.
Saint Thomas Aquinas asserts 'that in our present state of degradation the intellect comprehends nothing without an image.' Language is in reality the association of material facts to facts of the will, heart, and intellect. Apparently insufficient to give a full idea of material things alone, it would seem almost impossible that it should ever be able to express the facts of the invisible world; but the human spirit, in accordance with the mental law impressed upon it by the Hand Divine, seizes the analogies of the moral phenomena with the phenomena of nature, and, seeing physical facts used as symbols by the Creator to convey ethical, also instinctively uses them to express the facts of the moral world; and thus is born the human Word which, invisibly ploughing the waves of the unseen air, can convey the most subtile thought, the most evanescent shade of feeling, the wildest, darkest, and deepest emotion. Language is man's expression of the finite, with its infinite meanings modified by the extent of his intelligence and his power of expression. It is truly a universal possession, but every man gifts it with his own individualities, his own idiosyncrasies. The style, one might almost say, is the man.
Thus the imagery of language finds its base in the very essence of our being. The poet is one gifted to seize upon these hidden analogies, to read these mystic symbols, and, through the force of his own imagination, to reveal them to his brethren in truth and love.
The imagination has two distinct functions. It combines, and by combination creates new forms; it penetrates, analyzes, and realizes truths discoverable by no other faculty.
An imagination of high power of combination seizes and associates at the same moment all the important ideas of its work or poem, so that while it is working with any one of them, it is at the same instant working with and modifying them all in their several relations to it. It never once loses sight of their bearings upon each other—as the volition moves through every part of the body of a snake at the same moment, uncoiling some of its involute rings at the very instant it is coiling others. This faculty is inconceivable, admirable, almost divine; yet no less an operation is necessary for the production of any great work, for by the definition of unity of membership above given, not only certain couples or groups of parts, but all the parts of a noble work must be separately imperfect; each must imply and ask for all the rest; the glory of every one of them must consist in its relation to the rest; neither while so much as one is wanting can any be right. This faculty is indeed something that looks as if its possessor were made in the Divine image!
'The hand that rounded Peter's dome,
And groined the aisles of Christian Rome,
Wrought in a sad sincerity;
Himself from God he could not free;
He builded better than he knew;—
The conscious stone to beauty grew.'
Emerson.
By the power of the combining imagination various ideas are chosen from an infinite mass, ideas which are separately imperfect, but which shall together be perfect, and of whose unity therefore the idea must be formed at the very moment they are seized, as it is only in that unity that their appropriateness consists, and therefore only the conception of that unity can prompt the preference. Therefore he alone can conceive and compose who sees the whole at once before him.
Shakspeare is the great example of this marvellous power. Not only is every word which falls from the lips of his various characters true to his first conception of them, so true that we always know how they will act under any given circumstances, and we could substitute no other words than the words used by them without contradicting our first impression of them; but every character with which they come in contact is not only ever true to itself, but is precisely of the nature best fitted to develop the traits, vices, or virtues of the main figure. So perfect and complete is this lifelike unity, that we can scarcely think of one of his leading characters without recalling all those with whom it is associated. If we name Juliet, for instance, not only is her idea inseparable from that of Romeo, but the whole train of Montagues and Capulets, Mercutio, Tybalt, the garrulous nurse, the lean apothecary, the lonely friar, sweep by. What an exquisite trait of the poetic temperament, tenderness, and human sympathies of this same lonely friar is given us in his exclamation:
'Here comes the lady: O, so light a foot
Will ne'er wear out the everlasting flint.'