man may not be interpreted in many times its own length. A common difficulty in reading Shakespere is to capture the kernel of his pregnant metaphors. His figures are difficult through condensation, Chapman's through extension. Thus of the six lines of this citation the first four are purely impressionistic, and leave the entire figure vague and dilated. The last two citations are, of course, far less eccentric. Webster like Chapman is lavish in the use of metaphor in reflective passages. His figures however are as a rule concise and rarely confused. My soul like to a ship in a black storm Is driven I know not whither. I am acquainted with sad misery 50 As the tanned galley slave is with his oar. 86 We think caged birds sing when indeed they cry. 46 Some striking Expansive images of reflection occur in the Introduction of Sir John Davies' philosophical poem, Nosce Teipsum. Of these the following is representative. We that acquaint ourselves with every zone And pass both tropics and behold each pole, When we come back are to ourselves unknown, And unacquainted still with our own soul. A discovery in the soul is a land-fall in the South Seas! With the philosophical verse of Sir John Davies may be associated the meditative verse and prose of Fulke Greville, Lord Brooke. In his Life of Sir Philip Sidney are found these figures, no less typical of their author than of his age. if the excellent image-maker had lived to finish and bring to perfection the extraordinary frame of our common. ... wealth. I say what a large field an active, able spirit should have had to walk in. I ... to the end that in tribute I owe him our nation may see a sea mark raised upon this native coast above the level of any private Pharos abroad; and so by a right meridian line of their own learn to sail through the straits of true virtue into the calm and spacious ocean of human honor. I Sir Francis Bacon presents one of the most remarkable bodies of imagery attributable to any writer in the lifetime of Shakespere. In his metaphor he "set the very wings of reason to his heels." All critics of Bacon agree in emphasizing the poetic as well as the technical value of such writing as The Advancement of Learing or the Filum Labyrinthi. A part of the glory of Bacon is the success with which he discloses Science as an ideal worthy of devotion. He was her first poet in England and remains there perhaps to this day her best. But a large measure of his eloquence lies in his figurative language. His metaphors may be compared to the flying buttresses of a gothic cathedral which are a support as well as an adornment. The gift which Taylor brought later to theology and Burke to political justice, Bacon brought to science: an imagery at once ennobled by its theme and ennobling it. If it be true that the power of an image increases with the weight of its subject, the artful figures of Bacon may well be regarded as a summit in the record of the Expansive metaphors of philosophy. The following citations must suffice to represent them. Therefore no doubt the sovereignity of man lieth hid in knowledge, wherein many things are reserved which kings with their treasure cannot buy nor with their force command; their spials and intelligencers can give no news of them, their seamen and discoverers cannot sail where they grow. In Praise of Knowledge As if according to the innocent play of children the Divine Majesty took delight to hide his works, to the end to have them found out; and as if kings could not obtain a greater honor than to be God's playfellows in that game. Advancement of Learning, Part I As if there were sought in knowledge a couch whereon to rest a searching and restless spirit, or a terrace for a wandering and variable mind to walk up and down with a fair prospect, or a tower of state for a proud mind to raise itself upon, or a fort or commanding ground for strife and contention, or a shop for profit and sale, and not a rich storehouse for the glory of the Creator and the relief of man's estate. Ib. So that if the invention of the ship was thought so noble, which carrieth riches and commodities from place to place and consociateth the most remote regions in fortification of their fruits, how much more are letters to be magnified, which as ships pass through the vast seas of time, and make ages so distant to participate of the wisdom, illumination and inventions, the one of the other. Ib. VIII THE EXUBERANT IMAGE The Exuberant image is characterized by the impressionistic relation of two broad and imaginatively valuable terms. These terms though in an entirely aesthetic relation parallel each other as the parts of an analogy. The Exuberant figure may be contrasted with the Expansive by supposing two broad and smooth surfaces in a face-to-face contact and two such surfaces not only in close contact but interlocking at some critical points. A typical Exuberant figure is spoken by Marlowe's Faustus at the sight of the ghost of Helen. Oh thou art fairer than the evening air Doctor Faustus, XIII, 104 Both ideas are here of high imaginative value. Beauty is opposed to beauty. There is no other element in the metaphor. To such a powerful but impressionistic image may be opposed a series of figures previously examined as representing the highest type of Expansive metaphor. In a sentence from Bacon's Advancement of Learning seven metaphors are used with specific as well as accumulative effect. Bacon accuses Scholasticism of assuming that the motive for study is a love of retirement, variety, pride, contention or greed, and of forgetting that the true motive is the glory of God and the relief of human ills. These conceptions are enlivened and enforced in figures pregnant in linguistic form and Expansive in imaginative effect. The philosopher directs his metaphor to the precise points at which his enemies' armour is weak. The disciplined images of Bacon contrast sharply with the Exuberant image cited from Marlowe. In the chapter dealing with the Violent metaphor we observed the distinction between the fustian figures of melodrama and Marlowe's pure Helicon. The fustian in literature is the profane, and where beauty is profanation comes with difficulty. The spirit of the beautiful dominates Marlowe's figures. She is, indeed, the presiding deity over that doctrine of pagan exuberance under which Marlowe abandoned the teachings of medieval Christianity, espoused the spirit of the Renaissance and heralded the poetry and philosophy of the great Elizabethan stage. His poetry, to use his own language, is a throne Where Beauty, Mother of the Muses, sits, And comments volumes with her ivory pen. Though there may be extravagance in his figures there is unquestionably a fine exuberance, which proclaims them of the Muses. Consider for example his metaphor for dawn: The horse that guide the golden eye of heaven The Exuberant is also to be distinguished from the Intensive figure. When the same object which contributes the minor term to an Intensive metaphor becomes dilated. by enthusiasm to supernatural activity the figure becomes Exuberant. In the lines cited from Doctor Faustus, for instance, the midnight air cзts its veil about the ghost of Helen while the spirit pervades the darkness. An essential point in the description of the Intensive image is that the emblem shall retain its integrity of outline and significance. An intellectual discipline is required in holding the emblem at arm's length from the primary idea. The two are never confused. In the psychology of the |