(_αα_) _First_, we have it for the sake of _reinforcing_ an effect. The emotional life, under the pressure and movement of its passions, gives visible utterance to these forces by means of the piling up of sensuous image. More than this, it strives to express its own whirl and tumble, or persistence in the ideas which crowd upon it by means of a similar letting itself go into phenomena cognate with such a condition, and its own free movement among images of the greatest variety. In Calderon's supplication to the Cross Julia utters the following words when she looks upon the dead body of her only just deceased brother, and her lover, Eusebio, the man who has killed Lisardo, stands before her: /$ O that I might close for ever Eyes before this blood here guiltless, Blood which cries for vengeance with its Flooding stream of purple flowers! Would that I could deem thee pardoned In the rush of tears that blind thee: Wounds and eyes are mouths which swallow Lies which seek admittance never, etc. $/ With a still more vehement burst of passion Eusebio starts back from the sight of her, when Julia finally is for surrendering herself to him, as he exclaims: /$ Flaming sparks thine eyeballs scatter; Every sigh is breath that scorches; Every word is a volcano, Every hair a scribbled lightning, Every word is Death, and every Soft caress is Hell's own anguish; Such the horror stirs within me As I see--O awful symbol, Crucifix thy bosom carries. $/ The human soul on the swell of its emotion keeps adding image on image to that immediately confronting it, and with all this impetuous seeking to and fro for new means of expression barely lays to rest its own tumult. (_ββ_) A _second_ rationale of the metaphorical consists in this that the human soul, after adding to its own depth by this the motion of its own life into the varied survey of objects cognate with it, is stirred at the same time to cast itself free of the externality of such objects, to the extent that it seeks to rediscover itself in what is external; it transmutes that external in its own free activity, and by clothing both itself and its passions in the forms of beauty, proclaims furthermore its power to present in visible semblance its own exaltation above the bare fact.