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thou, was neighbour unto him that fell among the thieves?"

In Allegorical composition, the following points are to be remembered;

(a). The narrative must be so constructed that its literal meaning may please and interest, even though the figurative lesson should be overlooked.

(b). The real object or lesson of the Allegory should be easily understood.

(c). Both meanings of the Allegory should, if possible, be valuable.

SYNECDOCHE.

32. The name Synecdoche is applied to different kinds of figures. Some of these are founded on similarity, others on contiguity. (see 11 and 12).

*

(a). Of Synecdoche founded on similarity we may
distinguish the following kinds; -
(I). Using the species for the genus; thus, "How
does he earn his bread?" (bread == food = liveli-
hood). The use of special or concrete terms natu-
rally produces a greater impression on the mind
than that of more general or abstract words.
(II). Using an individual or proper name to denote
a species or class. Examples; —

"A Daniel, a second Daniel, come to judgment."

* By "Genus" is meant a very general class name; while “species" denotes a subdivision of such class. Thus in the series - animal, quadruped, canidae, dog, hound, stag-hound --, each word constitutes a species in regard to those that precede it, and a genus with respect to those that follow.

"Neros and Catilines are found in every country

and in every age."

(III). Using the genus for the species. This is a rarc and exceptional form, to which the name Euphemism is often given. It is commonly used to indicate something that delicacy prevents us from naming specifically: it should be very sparingly used in composition, as false delicacy is an unsufferable kind of affectation. We sometimes speak of a dead person as "the deceased," "the departed," "fallen asleep," "gone to rest," &c. (IV). Using the concrete for the abstract. Definite expressions are always more forcible than indefinite. Examples;

"A tyrant's power in rigour is expressed,

The father (= fatherly affection) yearns in the true prince's breast."

"Three-fourths (= a large majority) of the people demand this change."

The opposite case of using the abstract for the concrete is, like the general for the particular, an exception. Example;

"Youth on the prow, and Pleasure at the helm." Here the figurative effect lies in seizing on the principal quality and giving it the chief place.

(b). Of Synecdoche founded on Contiguity we may distinguish the following kinds;

(I). Naming a thing by some part of it. Examples:

"The sea is covered with sails." "They sought his blood."

"The captain gave the cheering order for the boatswain to call the hands to go in swimming."

(II). Sometimes the whole of a thing is used for some "The smiling year"

part of it. spring.

Thus,

= the

(III). The name of the material of which a thing is made is used instead of the thing itself. Examples; "The glittering steel" (= sword). "The canvas (picture) glows." This is said to be one of the picturesque figures.

(IV). The name of a passion is sometimes used for the object or person that inspires it. Examples;Dryden describes the Duke of Monmouth as

The people's prayer, the glad diviner's theme,

The young men's vision, and the old men's dream." 23. Here we may notice the Transferred Epithet, which is an imitation of a classical poetic usage, and consists in the grammatical attribution to a word of an adjunct which really qualifies some other word. Examples; "Hence With easy eye thou mayst behold." "But now the wonnded quene with heavie care

to his idle bed."

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Through out the vaines doth nourishe ay the plage."

"And ever, as he rode, his hart did earne

(Surrey).

To prove his puissance in battell brave." (Spenser).

METONYMY.

04. While Synecdoche names a thing by some part, Metonymy indicates it by some accompanying circumstance. Metonymies have been classified as follow;

(a). Using the sign, or some principal adjunct, for the thing signified. Sometimes the sign is more striking than the main subject; often, however, this kind of

Metonymy is used merely to give variety of expression.
Examples; -

Royalty is represented by the crown, the sceptre, tho
purple.

A bishop is represented by the mitre, the lawn.

(b). Using the instrument for the agent. Examples ; is mightier than the sword."

"The pen

"A hundred lances."

(c). Using the container for the thing contained. Ex

amples;

With equal pace, impartial Fate

Knocks at the palace and the cottage gate."

"France would not consent."

"Blossoms, and fruits, and flowers, together riso,

"And the whole year in gay confusion lies."

(d). Using an effect for a cause, or a cause for an effect.

Example; "Let us sit in the shade."

(e). Using the name of a man for his works. Exam-
ples:

"Do you prefer Tennyson or Longfellow?"
"Have you seen the last number of Bentley?"

CONTRAST.

35. On the subject of Contrast generally, Professor Bain says "It is a first principle of the human mind that we are affected only by changes of impression, us by passing from hot to cold, from hunger to repletion, from sound to silence. This applies both to feeling and to knowledge. Every outburst of feeling implies that we have changed

from one condition to another. In some emotions, as
Wonder, the prominent fact is a transition from a previ-
ous state; the shock of change is the cause of the feeling.
Other emotions of the same nature are Liberty, which
presupposes Restraint, and the sentiment of power,
which is felt only by comparison with some other state
of impotence or weakness. In knowledge, likewise, there
is a shock of transition. Light is known by passing out
of the dark. So high by comparison with low; hard
with soft; straight with crooked; parent with child. In
short, knowledge is never single; there must be at least
two things. Sometimes there are more than two."
In ordinary language, only one idea at a time is put
before the mind, which, however, is assumed to be able
to supply the contrast. But very often it happens that
we can better understand a fact, or sympathise with an
emotion, by having the opposite fact or feeling also
put clearly before us. Hence arise the Rhetorical
Figures of Contrast.

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ANTITHESIS.

86. Antithesis is the placing together of words or expressions of directly opposite meanings, so as to produce a strong contrast. Referring to Antitheses, Mr. Herbert Spencer says, Every one knows that a patch of black on a white ground looks blacker, and a patch of white on a black ground looks whiter, than elsewhere. As the blackness and the whiteness must really be the same, the only assignable cause for this, is a difference in their actions upon us, dependent upon the different states of our faculties. It is simply a visual antithesis." And