Figure is not a late device of the rhetorician, but the earliest principle of change in language.The whole process of speech is a long series of exhilarating discoveries, whereby words, freed from the swaddling bands of their nativity, are found capable of new relations and a wider metaphorical employ.Then, with the growth of exact knowledge, the straggling associations that attended the word on its travels are straitened and confined, its meaning is settled, adjusted, and balanced, that it may bear its part in the scrupulous deposition of truth.Many are the words that have run this double course, liberated from their first homely offices and transformed by poetry, reclaimed in a more abstract sense, and appropriated to a new set of facts by science.Yet a third chance awaits them when the poet, thirsty for novelty, passes by the old ****** founts of figure to draw metaphor from the latest technical applications of specialised terms.Everywhere the intuition of poetry, impatient of the sturdy philosophic cripple that lags so far behind, is busy in advance to find likenesses not susceptible of scientific demonstration, to leap to comparisons that satisfy the heart while they leave the colder intellect only half convinced.When an elegant dilettante like Samuel Rogers is confronted with the principle of gravitation he gives voice to science in verse:-That very law which moulds a tear, And bids it trickle from its source, That law preserves the earth a sphere, And guides the planets in their course.
But a seer like Wordsworth will never be content to write tunes for a text-book of physics, he boldly confounds the arbitrary limits of matter and morals in one splendid apostrophe to Duty:-Flowers laugh before thee on their beds;
And fragrance in thy footing treads;
Thou dost preserve the stars from wrong;
And the most ancient heavens, through thee, are fresh and strong.
Poets, it is said, anticipate science; here in these four lines is work for a thousand laboratories for a thousand years.But the truth has been understated; every writer and every speaker works ahead of science, expressing analogies and contrasts, likenesses and differences, that will not abide the apparatus of proof.The world of perception and will, of passion and belief, is an uncaptured virgin, airily deriding from afar the calculated advances and practised modesty of the old bawd Science; turning again to shower a benediction of unexpected caresses on the most cavalier of her wooers, Poetry.This world, the child of Sense and Faith, shy, wild, and provocative, for ever lures her lovers to the chase, and the record of their hopes and conquests is contained in the lover's language, made up wholly of parable and figure of speech.There is nothing under the sun nor beyond it that does not concern man, and it is the unceasing effort of humanity, whether by letters or by science, to bring "the commerce of the mind and of things" to terms of nearer correspondence.But Literature, ambitious to touch life on all its sides, distrusts the way of abstraction, and can hardly be brought to abandon the point of view whence things are seen in their immediate relation to the individual soul.This kind of research is the work of letters;here are facts of human life to be noted that are never like to be numerically tabulated, changes and developments that defy all metrical standards to be traced and described.The greater men of science have been cast in so generous a mould that they have recognised the partial nature of their task; they have known how to play with science as a pastime, and to win and wear her decorations for a holiday favour.They have not emaciated the fulness of their faculties in the name of certainty, nor cramped their humanity for the promise of a future good.They have been the servants of Nature, not the slaves of method.But the grammarian of the laboratory is often the victim of his trade.He staggers forth from his workshop, where prolonged concentration on a mechanical task, directed to a provisional and doubtful goal, has dimmed his faculties; the glaring motley of the world, bathed in sunlight, dazzles him; the questions, moral, political, and personal, that his method has relegated to some future of larger knowledge, crowd upon him, clamorous for solution, not to be denied, insisting on a settlement to-day.He is forced to make a choice, and may either forsake the divinity he serves, falling back, for the practical and aesthetic conduct of life, on those common instincts of sensuality which oscillate between the conventicle and the tavern as the poles of duty and pleasure, or, more pathetically still, he may attempt to bring the code of the observatory to bear immediately on the vagaries of the untameable world, and suffer the pedant's disaster.
A martyr to the good that is to be, he has voluntarily maimed himself "for the kingdom of Heaven's sake" - if, perchance, the kingdom of Heaven might come by observation.The enthusiasm of his self-denial shows itself in his unavailing struggle to chain language also to the bare rock of ascertained fact.Metaphor, the poet's right-hand weapon, he despises; all that is tentative, individual, struck off at the urging of a mood, he disclaims and suspects.Yet the very rewards that science promises have their parallel in the domain of letters.The discovery of likeness in the midst of difference, and of difference in the midst of likeness, is the keenest pleasure of the intellect; and literary expression, as has been said, is one long series of such discoveries, each with its thrill of incommunicable happiness, all unprecedented, and perhaps unverifiable by later experiment.The finest instrument of these discoveries is metaphor, the spectroscope of letters.
