After these apologies for the descriptive turn of the following odes,
something remains to be said on the origin and use of allegory in
poetical composition.

By this we are not to understand the trope in the schools, which is
defined aliud verbis, aliud sensu ostendere; and of which Quintilian
says, usus est, ut tristia dicamus melioribus verbis, aut bonae rei
gratia quaedam contrariis significemus, &c. It is not the verbal, but the
sentimental allegory, not allegorical expression (which, indeed, might
come under the term of metaphor), but allegorical imagery, that is here
in question.

When we endeavour to trace this species of figurative sentiment to its
origin, we find it coeval with literature itself. It is generally
agreed, that the most ancient productions are poetical; and it is
certain that the most ancient poems abound with allegorical imagery.

If, then, it be allowed that the first literary productions were
poetical; we shall have little or no difficulty in discovering the
origin of allegory.

At the birth of letters, in the transition from hieroglyphical to
literal expression, it is not to be wondered if the custom of
expressing ideas by personal images, which had so long prevailed, should
still retain its influence on the mind, though the use of letters had
rendered the practical application of it superfluous. Those who had been
accustomed to express strength by the image of an elephant, swiftness by
that of a panther, and courage by that of a lion, would make no scruple
of substituting, in letters, the symbols for the ideas they had been
used to represent.

Here we plainly see the origin of allegorical expression, that it arose
from the ashes of hieroglyphics; and if to the same cause we should
refer that figurative boldness of style and imagery which distinguish
the oriental writings, we shall, perhaps, conclude more justly, than if
we should impute it to the superior grandeur of eastern genius.

From the same source with the verbal, we are to derive the sentimental
allegory, which is nothing more than a continuation of the metaphorical
or symbolical expression of the several agents in an action, or the
different objects in a scene.

The latter most peculiarly comes under the denomination of allegorical
imagery; and in this species of allegory, we include the impersonation
of passions, affections, virtues, and vices, &c. on account of which,
principally, the following odes were properly termed,