"As for Instance, when the Poet says of Dido, that she is devoured by an inward Flame."
— Murphy, Arthur (1727-1805)
Author
Work Title
Date
Saturday, Aug. 3, 1754; 1756
Metaphor
"As for Instance, when the Poet says of Dido, that she is devoured by an inward Flame."
Metaphor in Context
These Advantages, however, are derived to the tragic Queen from supernumerary Embellishments, and from the Labours of another Art, I mean that of acting, which is in itself a Mode of Imitation, and serves to render the Touches of the Writer more striking, and more feelingly expressive. This Superiority the Drama certainly has over the Epic, and in Consequence of all its additional Aids, it can boast a more powerful Command over the human Heart. It imitates the very Voice of Nature, and speaks the same simple and affecting Language. All that Profusion of Figures, which mere Poetry admits, is discarded from the Stage. When I mention Figures, I must observe, that Men of critical Knowledge have justly distinguished between Figures of Speech, and Figures of the Sentiment; the former including Metaphor and all Translations of Phrases, and the latter consisting of such Breaks and Transitions in Discourse, as the Mind is known to make when under the Compunction of warring Passions. As for Instance, when the Poet says of Dido, that she is devoured by an inward Flame.
Et caeco carpitur igne.
He then expresses Love by a figurative Expression; but when he says,
Ignoscenda quidem, scirent si ignoscere manes.
The Repetition expresses the natural workings of the Mind, when other Ideas are awakened, and serve to excite a new Conflict of Passions. The use of these kind of Figures in Tragedy should be as free and bold as possible, and with Respect to Expression, no other Regard is to be paid to it, than to chuse such Words as may be most significantly picturesque, in order to have the more lively Effect on the Imagination, the Passions being then in a stronger Ferment when lively Images are presented to the Fancy. (II, pp. 265-6)
Et caeco carpitur igne.
He then expresses Love by a figurative Expression; but when he says,
Ignoscenda quidem, scirent si ignoscere manes.
The Repetition expresses the natural workings of the Mind, when other Ideas are awakened, and serve to excite a new Conflict of Passions. The use of these kind of Figures in Tragedy should be as free and bold as possible, and with Respect to Expression, no other Regard is to be paid to it, than to chuse such Words as may be most significantly picturesque, in order to have the more lively Effect on the Imagination, the Passions being then in a stronger Ferment when lively Images are presented to the Fancy. (II, pp. 265-6)
Categories
Provenance
ECCO-TCP
Citation
4 entries in ESTC (1756).
Text from The Gray's-Inn Journal: In Two Volumes. (London: Printed by W. Faden, for P. Vaillant, 1756. <Link to Vol. I in ECCO-TCP><Link to Vol. II>
Text from The Gray's-Inn Journal: In Two Volumes. (London: Printed by W. Faden, for P. Vaillant, 1756. <Link to Vol. I in ECCO-TCP><Link to Vol. II>
Date of Entry
11/11/2013
