at he is far down the hill of life, old and
drink-corroded at fifty." (Le Gallienne.)

In the second sentence there are at least three figurative
expressions. "Bed," "choked," and "trampled like a manger" are not
literal. So, too, in the next sentence there are two beautiful
variations from literal expression. Going on through the
selection the reader will find frequently some happy change from
literalness,--sometimes just a word, sometimes a phrase.

Figurative language is of great value. It adds clearness to our
speech; it gives it more force; or it imparts to literature beauty.
The last use is the most common; indeed, it is so common that
sometimes the other uses are overlooked. However, when such a sentence
as the following is read, the comparison is of value in giving
_clearness_ to the thought, although it does not state the literal
truth.

"In the early history of our planet, the moon was flung off
into space, as mud is thrown from a turning wagon wheel."

_Force_ is often gained by the use of figurative language. The
following is a good illustration:--

"Neither the perseverance of Holland, nor the activity of
France, nor the dextrous and firm sagacity of English
enterprise, ever carried this most perilous mode of hardy
industry to the extent to which it has been pushed by these
people [Americans]; a people who are still, as it were, but
in the gristle, and not yet hardened into the bone of
manhood."

The next is an illustration of a figure used for _beauty:--_

"Two of the fairest stars in all the heaven,
Having some business, do entreat her eyes
To twinkle in their spheres till they return."

_A figure of speech is any use of words with a sense varying from
their literal definition, to secure clearness, force, or beauty of
expression._

Figures add so much to the attractiveness of literature, that every
one would like to use them. Yet figures should never be sought for.
When they come of themselves, when they insist on being used, and are
a part of the thought itself, and seem to be its only adequate
expression, then they should be used. In most cases figures are
ornaments of literature; it must be remembered that ornament is always
secondary, and that no ornament is good unless it is in entire harmony
with the thing it is to beautify. (See Preface, p. viii.)

When a figure suggests itself, it must be so clearly seen that there
can