(_γγ_) When this takes place the invention of new metaphors, which are the exclusive product of the poetical imagination becomes for the first time a vital necessity. That in which this invention is mainly concerned consists _first_ in transferring the phenomena, activities, and conditions of a higher level of fact in a way that illustrates the content of less important material, and in bringing to light significances of such inferior matter in the form and image which stands above them. The organic, for example, is by itself essentially of higher importance than the inorganic, and to carry forward that which has no life within, the range of vital phenomenal enhances its expression. We may illustrate this with the saying of Ferdusi: "The keenness of my sword _devours_ the brain of the lion, and _drinks_ the dark blood of the courageous." In a yet more enhanced degree we find the same result when that which is of Nature and sensuous is imaged, and thereby raised and ennobled in the form of _spiritual_ phenomena. So we have such common turns of speech as "_smiling_ fields," and "_angry_ flood," or in the language of Calderon: "The waves _sigh_ beneath the burden of ships." In these examples that which exclusively applies to humanity is diverted to the expression of Nature. The Latin poets use such metaphorical language often enough, as we may find in our Virgil, take the example: _Quum graviter tunsis gemit area frugibus_ (Georg., III, 132).
Conversely and in the _second_ place that which pertains to mind is brought in the same way more close to our powers of vision through the image of natural objects. Such fanciful presentations, however, can very readily degenerate into mere trifling and far-fetched conceits, when that which is essentially without life receives notwithstanding every appearance of individuality, and really spiritual activities are assigned to it with perfect seriousness. The Italians more especially have given themselves over to illusive trickery of this kind, and even Shakespeare is not wholly free from them, as in that passage from "Richard II" (Act V, sc. I), where he makes the King say to the Queen on parting:
/$ For why, the senseless brands will sympathize The heavy accent of thy moving tongue And in compassion weep the fire out; And some will mourn in ashes, some coal-black For the deposing of a rightful king. $/