_A figure, which, among related objects, extends properties of one to
another._
This figure is not dignified with a proper name, because it has been
overlooked by all writers. It merits, however, place in this work; and
must be distinguished from those formerly handled, as depending on a
different principle. _Giddy brink_, _jovial wine_, _daring wound_, are
examples of this figure. Here are expressions that certainly import not
the ordinary relation of an adjective to its substantive. A _brink_, for
example, cannot be termed _giddy_ in a proper sense: neither can it be
termed _giddy_ in any figurative sense that can import any of its
qualities or attributes. When we attend to the expression, we discover
that a _brink_ is termed _giddy_ from producing that effect in those who
stand on it. In the same manner a wound is said to be daring, not with
respect to itself, but with respect to the boldness of the person who
inflicts it: and wine is said to be jovial, as inspiring mirth and
jollity. Thus the attributes of one subject, are extended to another
with which it is connected; and such expression must be considered as a
figure, because it deviates from ordinary language.
How are we to account for this figure, for we see it lies in the
thought, and to what principle shall we refer it? Have poets a privilege
to alter the nature of things, and at pleasure to bestow attributes upon
subjects to which these attributes do not belong? It is an evident
truth, which we have had often occasion to inculcate, that the mind, in
idea, passeth easily and sweetly along a train of connected objects;
and, where the objects are intimately connected, that it is disposed to
carry along the good or bad properties of one to another; especially
where it is in any degree inflamed with these properties[24]. From this
principle is derived the figure under consideration. Language, invented
for the communication of thought, would be imperfect, if it were not
expressive even of the slighter propensities and more delicate feelings.
But language cannot remain so imperfect, among a people who have
received any polish; because language is regulated by internal feeling,
and is gradually so improved as to express whatever passes in the mind.
Thus, for example, a sword in the hand of a coward, is, in poetical
diction, termed _a coward sword_: the expression is significative of an
internal operation; for the mind, in passing from the agent to its
instrument, is disposed to extend to the latter the properties of the
former. Governed by the same principle, we say _listening_ fear, by
extending the attribute _listening_ of the man who listens, to the
passion with which he is moved. In the expression, _bold deed_, or
_audax facinus_, we extend to the effect, what properly belongs to the
cause. But not to waste time by making a commentary upon every
expression of this kind, the best way to give a complete view of the
subject, is to exhibit a table of the different connections that may
give occasion to this figure. And in viewing this table, it will be
observed, that the figure can never have any grace but where the
connections are of the most intimate kind.