description. The form is perhaps the least laborious to conceive; hence what vivifies the picture is an indication of the color; as a "brown visage," a "scarlet lip," "the deep blue sky," "the amber stream." When, by metonymy, the material is used for the thing made of it-as, "the cold steel"-the effect of the figure is due to its suggesting surface and color.

Next to color is posture or attitude, or the momentary aspect of the thing described; as in the following from the Odyssey :

"He ceased; the whole assembly silent sat,
Charmed into ecstasy with his discourse,
Throughout the twilight hall."

Some accompanying action also gives individuality. Another principle is here involved, belonging to the art of poetical description, namely, that language is suited to express action better than still life. Thus, in Suckling's Bride :-

"Her feet beneath her petticoat,

Like little mice, stole in and out."

A river in motion is either quick or slow, uniform or interrupted with rapids, muddy or clear; and the indicating of those features makes the description individual or concrete: "the sluggish Ouse."

An interior is more vividly pictured, when a moment is chosen, and the characteristic attitude and movements are pointed out :-

"For them no more the blazing hearth shall burn,
Nor busy housewife ply her evening care;
No children run to lisp their sire's return,

Or climb his knees the envied kiss to share."

9. IV. Associated circumstances are an aid to description.

Thus, although form and color are the pictorial basis of the external world, the modifications of these suggest many other properties. For example, we have an inseparable association (accounted by some an instinct) between certain visible appearances and the distances and real magnitudes of things. Wherefore it is possible to aid the visible representation by the men

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tion of these allied facts; as, "the distant hills," "the landscape shining near."

We may also use more casual associations; as, "the solitary peaks," "a place where only mountain sheep could be at home," "the town stands high and windy."

10. The associated human feelings are often adduced in describing objects, especially in poetry.

The feelings of common utility are reflected from many things, and help to describe them; as, a cheerful home, a comfortless den, a dainty repast, a toilsome ascent, a pitiless storm.

The associations with the various emotions of Fine Art are still more frequently introduced to vivify the pictorial representation of nature. Hence such epithets as grand, imposing, solemn, awe-inspiring, soul-subduing, dreary, gloomy, gay, animated, cheerful, beautiful. We speak of a comical face, a noble pile, a terrible abyss, a sublime peak.

The picture of Dover cliff is principally made up of associated feelings.

"Come on, sir, here's the place--stand still. How dreadful

And dizzy 'tis to cast one's eyes so low!"

"I'll look no more,

Lest my brain turn, and the deficient sight
Topple down headlong."

The intermediate portion-"The crows and choughs, &c."assigns the associated circumstances of diminished size, to express great remoteness.

As each person mingles self with all outward regards, and as the object world cannot, in the concrete, be separated from a subject mind; the acts, feelings, and thoughts of an observer, real or supposed, have an individualizing effect in description. "Turning with easy eye, thou may'st behold."

11. The particulars of a description may sometimes support each other.

As mountains, valleys, and rivers are naturally inseparable, they are thereby mutually suggestive. The description of a valley implies the sides of the enclosing mountains; while the

branchings and course of a river determine the valleys. The separate detail of the three parts, therefore, though appearing only to fill up the description, in reality repeats it from different points of view; and each part supports and confirms the others.

Another case of mutual support is the harmonious combination of the different methods of description. The method of Plan and Enumeration (I) may be followed up by the Traveller's point of view (II). If the two are managed so as to fit well together, the result is highly favorable to the ease and vividness of the picture. In like manner, the associated particulars confirm the literal delineation.

If such additional and supporting particulars are not justified by the difficulty or the importance of the subject, they fall under the censure of redundancy.

12. The description of the feelings and thoughts of the mind-sometimes called the Subject World, as opposed to the Object or Extended World-has, to a certain extent, a method of its own.

I. The description of the feelings may be effected by means of the proper vocabulary of mind; as, pleasure, love, rage, fear, unconcern, trust, hope.

Every language provides terms for describing the feelings of the mind; and the English language owns an extensive stock of such. To make known a feeling, therefore, we, in the first instance, look for the suitable name in this department of our vocabulary. We can express a large number of mental states by names appropriated to them. Hunger, repletion, cold, exhilaration, intoxication, ennui, sweetness, charm, pungency, bitterness, wonder, sorrow, despair, melancholy, depression, are a few additional examples.

We attain a more exact delineation of the feelings by assigning a genus and a specific difference; a "faint pleasure," strong affection," "noble rage," "intense curiosity."

13. Intellectual processes have also a language of

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their own; as, perception, memory, imagination, reason. The resulting ideas may be described by a reference to their several objects; as, "the recollection of one's early years," "the imagination of a feast," "the notion of the Infinite."

The matters successively thought of may be mentioned in order:-" These, however, were but the evening fancies of the mariner, who had before him fondly in his mind the wreathed pillars of the cathedral of Burgos, or the thousand-columned Christian mosque of Cordova, or the perfect fane of Seville."

The predominance of these modes constitutes a subjective style, and is an extreme to be avoided.

The following passage from Adam Smith comes almost wholly under the present head. The few objective references. are marked in italics :

"The violator of the more sacred laws of justice, can never reflect on the sentiments which mankind must entertain with regard to him, without feeling all the agonies of shame, and horror, and consternation. When his passion is gratified, and he begins coolly to reflect on his past conduct, he can enter into none of the motives which influenced it. They appear now as detestable to him as they did always to other people. By sympathizing with the hatred and abhorrence which other men must entertain for him, he becomes, in some measure, the object of his own hatred and abhorrence. The situation of the person who suffered by his injustice, now calls upon his pity. He is grieved at the thought of it; regrets the unhappy effects of his own conduct, and feels at the same time that they have rendered him the proper object of the resentment and indignation of mankind, and of what is the natural consequence of resentment, vengeance and punishment. The thought of this perpetually haunts him, and fills him with terror and amazement. He dares no longer look society in the face, but imagines himself as it were rejected, and thrown out from the affections of all mankind. He cannot hope for the consolation of sympathy in this his greatest and most dreadful distress. The remembrance of his crimes has shut out all fellow-feeling with him from the hearts of his fellowcreatures. The sentiments which they entertain with regard to him, are the very thing which he is most afraid of. Every thing seems hostile, and he would be glad to fly to some inhospitable desert, where he might never more behold the face of a human creature, nor read in the countenance of mankind the condemnation of his crimes. But solitude is still more dreadful than society. His own thoughts can present him with nothing but what is black, un

fortunate, and disastrous, the melancholy forebodings of incomprehensible misery and ruin."

14. II. The feelings may be described, or, to speak more correctly, suggested, by their various associations. And first, by their Outward Expression.

The expression of the features, the varying hues of the coun tenance, the tones of the voice, the gesticulations of the body, are characteristic of the great leading emotions. The signs of pleasure, pain, anger, fear, wonder, tender feeling, are known. and read in all times and in all countries. The description of them in language is also suggestive. Hence "the smiling coun tenance," ," "the dark frown of anger," "the stare of wonder," help us to realize the feelings. Fear has been often pictured vividly. We need only recall Job iv. 14, and the passage in Hamlet, "I could a tale unfold-."

Secondly, by their known Occasions, Causes, or Provocations.

The mention of a kind or beneficent action suggests to us, by anticipation, the grateful feeling of the recipient. An impending danger makes us conceive the terror it causes. On hearing of some great provocation, we recall the emotion of

anger.

Thirdly, by the resulting Actions or Conduct.

There is a specific line of conduct following our stronger feelings, such as to mark more especially their pleasurable or painful character. The devotion to knowledge, to art, or to sportive recreations, suggests the degree of pleasure that they severally give; intense avoidance has the contrary meaning.

While feeling and thought are mental or subjective, action is material or objective, and can be so described. Such characteristics as energetic, lively, slow, taciturn, uncouth, persistent, applied to human beings, are objective features.

Fourthly, by the External Scenes, Objects, and Circumstances, that are in harmony with them.