We have slightly touched upon the ornaments of language, both in single words, and in words as they stand connected with each other;--in which our Orator will so indulge himself, that not a single expression may escape him, but what is either elegant or weighty. But he will most abound in the _metaphor_; which, by an aptness of similitude, conveys and transports the mind from object to object, and hurries it backwards and forwards through a pleasing variety of images;--a motion which, in its own nature, (as being full of life and action) can never fail to be highly delightful. As to the other ornaments of language which regard words as they are connected with each other, an Oration will derive much of its lustre from these. They are like the decorations in the Theatre, or the Forum, which not only embellish, but surprize. [Footnote: In the following Abstract of the Figures of _Language_ and _Sentiment_, I have often paraphrased upon my author, to make him intelligible to the English reader;--a liberty which I have likewise taken in several other places, where I judged it necessary.] For such also is the effect of the various _figures_ or decorations of language;--such as the doubling or repetition of the same word;--the repeating it with a slight variation; --the beginning or concluding several sentences in the same manner, or both at once;--the making a word, which concludes a preceding sentence, to begin the following;--the concluding a sentence with the same expression which began it;--the repeating the same word with a different meaning; --the using several corresponding words in the same case, or with the same termination;--the contrasting opposite expressions;--the using words whose meaning rises in gradation;--the leaving out the conjunctive particles to shew our earnestness;--the passing by, or suddenly dropping a circumstance we were going to mention, and assigning a reason for so doing; --[Footnote: We have an instance of this, considered as a figure of language, in the following line of Virgil; Quos ego--, sed praestat motos componere fluctus. Aeneid. I. Whom I--, but let me still the raging waves. This may likewise serve as an example of the figure which is next mentioned.] the pretending to correct or reprove ourselves, that we may seem to speak without artifice or partiality;--the breaking out into a sudden exclamation, to express our wonder, our abhorrence, or our grief;-- and the using the same noun in different cases.