But the most common personification of death is as a skeleton brandishing a dart; and then he is called the grisly king of terrors; and people tremble at the thought of him, as children do at the name of a bugbear in the dark. What sophistry this is! It is as if we should identify the trophy with the conqueror, the vestiges left in the track of a traveller with the traveller himself. Death literally makes a skeleton of man; so man metaphorically makes a skeleton of Death! All these representations of death, however beautiful, or pathetic, or horrible, are based on superficial appearances, misleading analogies, arbitrary fancies, perturbed sensibilities, not on a firm hold of realities, insight of truth, and philosophical analysis. They are all to be brushed aside as phantoms of nightmare or artificial creations of fiction. Poetry has mostly rested, hitherto, on no veritable foundation of science, but on a visionary foundation of emotion. It has wrought upon flitting, sensible phenomena rather than upon abiding substrata of facts. For example, a tender Greek bard personified the life of a tree as a Hamadryad, the moving trunk and limbs her undulating form and beckoning arms, the drooping boughs her hair, the rustling foliage her voice. A modern poet, endowed with the same strength of sympathy, but acquainted with vegetable chemistry, might personify sap as a pale, liquid maiden, ascending through the roots and veins to meet air, a blue boy robed in golden warmth, descending through the leaves, with a whisper, to her embrace. So the personifications of death in literature, thus far, give us no penetrative glance into what it really is, help us to no acute definition of it, but poetically fasten on some feature, or accident, or emotion, associated with it. There are in popular usage various metaphors to express what is meant by death. The principal ones are, extinction of the vital spark, departing, expiring, cutting the thread of life, giving up the ghost, falling asleep. These figurative modes of speech spring from extremely imperfect correspondences. Indeed, the unlikenesses are more important and more numerous than the likenesses. They are simply artifices to indicate what is so deeply obscure and intangible. They do not lay the secret bare, nor furnish us any aid in reaching to the true essence of the question. Moreover, several of them, when sharply examined, involve a fatal error. For example, upon the admitted supposition that in every case of dying the soul departs from the body, still, this separation of the soul from the body is not what constitutes death. Death is the state of the body when the soul has left it. An act is distinct from its effects. We must, therefore, turn from the literary inquiry to the metaphysical and scientific method, to gain any satisfactory idea and definition of death.