h take the mountain pine,
And make him stoop to th' vale."

Here are two similes, of the right Shakespeare mintage. As metaphors
from the same hand, take this from Iachimo's temptation of Imogen,
"This object, which takes prisoner the wild motion of mine eye"; and
this from Viola, urging Orsino's suit to the Countess,--

"Holla your name to the reverberate hills,
And make the babbling gossip of the air
Cry out, _Olivia_!"

and this of Cleopatra's with the asp at her bosom,--

"Dost thou not see my baby at my breast,
That sucks the nurse asleep?"

Or, as an instance of both figures together, take the following from
_King Lear_, iv. 3, where the Gentleman describes to Kent the
behaviour of Cordelia on hearing of her father's condition:

"You have seen
Sunshine and rain at once; her smiles and tears
Were like: a better way,--those happy smilets
That play'd on her ripe lip seem'd not to know
What guests were in her eyes; which parted thence
As pearls from diamonds dropp'd."

Here we have two similes, in the first two and last clauses; and also
two metaphors, severally conveyed in,--"That play'd on her ripe lip,"
and, "What guests were in her eyes." Perhaps I ought to add that a
simile is sometimes merely suggested or implied; as in these lines
from Wordsworth:

"What is glory?--in the socket
See how dying tapers fare!
What is pride?--a whizzing rocket
That would emulate a star.

What is friendship?--do not trust her,
Nor the vows which she has made;
Diamonds dart their brightest lustre
From a palsy-shaken head."

Thus much by way of analyzing the two figures, and illustrating the
difference between them. In all these instances may be seen, I think,
how in a metaphor the intensity and fire of imagination, instead of
placing the two parts side by side, melts them down into one
homogeneous mass; which mass is both of them and neither of them at
the same time; their respective properties being so interwoven and
fused together, that those of each may be affirmed of the other.

I have said that Shakespeare uses the Simile in a way somewhat
peculiar. This may require some explication.--Homer, Virgil, Dante,
Spenser, Milton, and the great Italian poets of the sixteenth century,
all deal largely in what may be styled full-drawn similes; that is,
similes carefully elaborated through all their parts, these bein