what
he has personally seen and felt, but is also to be extended to every
thing he has seen and felt through vital sympathy with facts, scenes,
events, and characters, which he has learned by conversation with other
men and through books. Webster laid great emphasis on conversation as
one of the most important sources of imagery as well as of positive
knowledge. "In my education," he once remarked to Charles Sumner, "I
have found that conversation with the intelligent men I have had the
good fortune to meet has done more for me than books ever did; for I
learn more from them in a talk of half an hour than I could possibly
learn from their books. Their minds, in conversation, come into intimate
contact with my own mind; and I absorb certain secrets of their power,
whatever may be its quality, which I could not have detected in their
works. Converse, _converse_, CONVERSE with living men, face to face, and
mind to mind,--that is one of the best sources of knowledge."

But my present object is simply to give what may be called the natural
history of metaphor, comparison, image, trope, and the like, whether
imagery be employed by an uneducated husbandman, or by a great orator
and writer. Many readers may recollect the anecdote of the New Hampshire
farmer, who was once complimented on the extremely handsome appearance
of a horse which he was somewhat sullenly urging on to perform its work.
"Yaas," was the churlish reply, "the critter looks well enough, but then
he is as slow as--as--as--well, as slow as cold molasses." This
perfectly answers to Bacon's definition of imagination, as "thought
immersed in matter." The comparison is exactly on a level with the
experience of the person who used it. He had seen his good wife, on so
many bitter winter mornings, when he was eager for his breakfast, turn
the molasses-jug upside down, and had noted so often the reluctance of
the congealed sweetness to assume its liquid nature, that the thing had
become to him the visible image of the abstract notion of slowness of
movement. An imaginative dramatist or novelist, priding himself on the
exactness with which he represented character, could not have invented a
more appropriate comparison to be put into the mouth of an imagined New
England farmer.

The only objection to such rustic poets is, that a comparatively few
images serve them for a lifetime; and one tires of such "originals"
after a few days' conversation has shown the extremely li