changed, the image is gradually advanced, and the metaphor is joined with a comparison that is repeated. “He stoopeth down, he coucheth as a lion; And as a lioness; who shall rouse him?” A similar instance occurs in the prophecy, recorded in Psalm cx, 3, which explicitly foretels the abundant increase of the Gospel on its first promulgation. This kind of allegory, however, sometimes assumes a more regular and perfect form, and then occupies the whole subject and compass of the discourse. An example of this kind occurs in Solomon’s well known allegory, Eccles. xii, 2–6, in which old age is so admirably depicted. There is also, in Isaiah xxviii, 24–29, an allegory, which, with no less elegance of imagery, is more simple and regular, as well as more just and complete, both in the form and the method of treating it. Another kind of allegory is that which, in the proper and more restricted sense, may be called a parable; and consists of a continued narration of some fictitious event, accommodated, by way of similitude, to the illustration of some important truth. The Greeks call these allegories αινοι or apologues, and the Latins _fabulæ_, or fables. (See _Parable_.) The third species of allegory, which often occurs in the prophetic poetry, is that in which a double meaning is couched under the same words, or when the same discourse, differently interpreted, designates different events, dissimilar in their nature, and remote as to time. These different relations are denominated the literal and mystical senses. This kind of allegory, which the learned prelate calls mystical, seems to derive its origin from the principles of the Jewish religion; and it differs from the two former species in a variety of respects. In these allegories the writer may adopt any imagery that is most suitable to his fancy or inclination; but the only proper materials for this allegory must be supplied from the sacred rites of the Hebrews themselves; and it can only be introduced in relation to such things as are immediately connected with the Jewish religion, or their immediate opposites. The former kinds partake of the common privileges of poetry; but the mystical allegory has its foundation in the nature of the Jewish economy, and is adapted solely to the poetry of the Hebrews. Besides, in the other forms of allegory, the exterior or ostensible imagery is mere fiction, and the truth lies altogether in the interior or remote sense; but in this allegory each idea is equally agreeable to truth. The exterior or ostensible image is itself a reality; and although it sustains another character, it does not wholly lay aside its own. There is also a great variety in the use and conduct of the mystical allegory; in the modes in which the corresponding images are arranged, and in which they are obscured or eclipsed by one another. Sometimes the obvious or literal sense is so prominent and conspicuous, both in the