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His setting indescribable, which fills
My eyes with pleasant tears as I behold

Him sink, and feel my heart float softly with him
Along the western paradise of clouds-

The forest shade-the green bough-the bird's voice,
The vesper bird's, which seems to sing of love,
And mingles with the song of cherubim,

As the day closes over Eden's walls—

All these are nothing to my eyes and heart,
Like Adah's face; I turn from earth to heaven
To gaze on it.

BYRON.

6.-PITY.

PITY shows itself in a compassionate tenderness of voice; a feeling of pain in the countenance, and a gentle raising and falling of the hands and eyes, as if mourning over the unhappy object. The mouth is open, the eyebrows are drawn down, and the features contracted or drawn together.

EXAMPLE.

As in a theatre, the eyes of men,

After a well-graced actor leaves the stage,
Are idly bent on him that enters next,

Thinking his prattle to be tedious:

Even so, or with much more contempt, men's eyes
Did scowl on Richard; no man cried, God save him;
No joyful tongue gave him his welcome home:

But dust was thrown upon his sacred head;
Which with such gentle sorrow he shook off,

His face still combating with tears and smiles,

The badges of his grief and patience,

That had not Heaven for some strong purpose steeled
The hearts of men, they must perforce have melted,
And barbarism itself have pitied him.

SHAKSPEARE.

7.-HOPE.

HOPE erects and brightens the countenance, spreads the arms with the hands open, as to receive the object of its wishes: the voice is plaintive, and inclining to eagerness; the breath drawn inwards more forcibly than usual, in order to express our desires the more strongly, and our earnest expectation of receiving the object of them.

EXAMPLE.

AUSPICIOUS hope! in thy sweet garden grow
Wreaths for each toil, a charm for every woe;
Won by their sweets, in Nature's languid hour,

The way-worn pilgrim seeks thy summer bower;
There, as the wild bee murmurs on the wing,
What peaceful dreams thy handmaid spirits bring!
What viewless forms the Eolian organ play,

And sweep the furrowed lines of anxious thought away!

CAMPBELL.

8.-HATRED.

HATRED, or aversion, draws back the body as if to avoid the hated object; the hands at the same time thrown out spread, as if to keep it off. The face is turned away from that side towards which the hands are thrown out; the eyes looking angrily, and obliquely, the same way the hands are directed; the eyebrows are contracted, the upper lip disdainfully drawn up, and the teeth set; the pitch of the voice is low, but loud and harsh, the tone chiding, unequal, surly, and vehement, the sentences are short and abrupt.

EXAMPLE.

WHY, get thee gone! horror and night go with thee!
Sisters of Acheron, go hand in hand,

Go dance around the bower, and close them in;
And tell them that I sent you to salute them.
Profane the ground, and for the ambrosial rose
And breath of jessamine, let hemlock blacken,
And deadly nightshade poison all the air:
For the sweet nightingale may ravens croak,
Toads pant, and adders rustle through the leaves:
May serpents, winding up the trees, let fall
Their hissing necks upon them from above,
And mingle kisses-such as I would give them.

YOUNG's Revenge.

9.-ANGER.

ANGER, when violent, expresses itself with rapidity, noise, harshness, and sometimes with interruption and hesitation, as if unable to utter with sufficient force. It wrinkles the brows, enlarges and heaves the nostrils, strains the muscles, clinches the fist, stamps with the foot, and gives a violent agitation to the whole body. The voice assumes the highest tone it can adopt consistently with force and loudness, though sometimes, to express anger with uncommon energy, the voice assumes a low and forcible tone.

EXAMPLE.

WHY have these banished and forbidden legs
Dared once to touch a dust of England's ground?
But more then, why, why have they dared to march
So many miles upon her peaceful bosom,

Frightening her pale-faced villagers with war,
And ostentation of despised arms?

Comest thou because the anointed king is hence?
Why, foolish boy, the king is left behind,
And in my loyal bosom lies his power.

Were I but now the lord of such hot youth
As when brave Gaunt, thy father, and myself,
Rescued the Black Prince, that young Mars of men,
From forth the ranks of many thousand French;
Oh, then, how quickly should this arm of mine,
Now prisoner to the palsy, chastise thee,
And minister correction to thy fault!

SHAKSPEARE's Richard II.

10.-REVENGE.

REVENGE expresses itself like malice (see page 411), but more openly, loudly, and triumphantly.

EXAMPLE.

If it will feed nothing else, it will feed my revenge. He hath disgraced me, and hindered me of half a million; laughed at my losses, mocked at my gains, scorned my nation, thwarted my bargains, cooled my friends, heated my enemies. And what's his reason? I am a Jew! Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions? Is he not fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same summer and winter, as a Christian is? If you stab us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die? And if you wrong us, shall we not revenge? If we are like you in the rest, we will resemble you in that. If a Jew wrong a Christian, what is his humility? Revenge. If a Christian wrong a Jew, what should his sufferance be by Christian example? Why, revenge. The villany you teach me, I will execute; and it shall go hard but I will better the instruction. SHAKSPEARE'S Merchant of Venice.

11.-REPROACH.

IN reproach, the brow is contracted, the lip turned up with scorn, the head shaken, the voice low, as if abhorring, and the whole body expressive of aversion.

EXAMPLE.

THOυ slave, thou wretch, thou coward,
Thou little valiant, great in villany!

Thou ever strong upon the stronger side!
Thou Fortune's champion, that dost never fight
But when her humorous ladyship is by
To teach thee safety! thou art perjured too,
And soothest up greatness. What a fool art thou,
A ramping fool; to brag, and stamp, and swear,
Upon my party! Thou cold-blooded slave,
Hast thou not spoke like thunder on my side?
Been sworn my soldier? Bidding me depend
Upon thy stars, thy fortune, and thy strength?
And dost thou now fall over to my foes?
Thou wear a lion's hide! doff it for shame,
And hang a calf's skin on those recreant limbs.
SHAKSPEARE'S King John.

12.-FEAR AND TERROR.

FEAR, violent and sudden, opens wide the eyes and mouth, shortens the nose, gives the countenance an air of wildness, covers it with deadly paleness, draws back the elbows parallel with the sides, lifts up the open hands, with the fingers spread, to the height of the breast, at some distance before it, so as to shield it from the dreadful object. One foot is drawn back behind the other, so that the body seems shrinking from the danger, and putting itself in a posture for flight. The heart beats violently, the breath is quick and short, and the whole body is thrown into a general tremor. The voice is weak and trembling, the sentences are short, and the meaning confused. and incoherent.

EXAMPLE.

NEXT him was Fear, all arm'd from top to toe,
Yet thought himself not safe enough thereby,

But feared each shadow moving to and fro;
And his own arms when glittering he did spy;
Or clashing heard, he fast away did fly;
As ashes pale of hue, and wingy-heel'd;

And evermore on danger fix'd his eye,

'Gainst whom he always bent a brazen shield, Which his right hand unarmed fearfully did wield.

You make me strange

Even to the disposition that I owe,

When now I think you can behold such sights,
And keep the natural ruby of your cheeks,
When mine are blanched with fear.

SPENSER.

SHAKSPEARE.

13. SORROW.

In moderate sorrow, the countenance is dejected, the eyes are cast downward, the arms hang loose, sometimes a little raised, suddenly to fall again; the hands open, the fingers spread, and the voice plaintive, frequently interrupted with sighs. But when this passion is in excess, it distorts the countenance, as if in agonies of pain; it raises the voice to the loudest complainings, and sometimes even to cries and shrieks; it wrings the hands, beats the head and breast, tears the hair, and throws itself on the ground; and, like other passions in excess, seems to border on frenzy.

EXAMPLE.

SEEMS, madam! nay, it is: I know not seems.
'Tis not alone my inky cloak, good mother,
Nor customary suits of solemn black,
Nor windy suspiration of forced breath;
No, nor the fruitful river in the eye,
Nor the dejected 'haviour of the visage,
Together with all forms, moods, shows of grief,
That can denote me truly: these indeed seem,
For they are actions that a man might play;
But I have that within which passeth show,
These, but the trappings and the suits of wo.

SHAKSPEARE's Hamlet.

14.-REMORSE.

REMORSE, or a painful remembrance of criminal actions or pursuits, casts down the countenance, and clouds it with anxiety, hangs down the head, shakes it with regret, just raises the eyes as if to look up, and suddenly casts them down again with sighs; the right hand sometimes beats the breast, and the whole body writhes as if with self-aversion. The voice has a harshness as in hatred, and inclines to a low and reproachful tone.

EXAMPLE.

Он, when the last account 'twixt heaven and earth
Is to be made, then shall this hand and seal

Witness against us to damnation!

How oft the sight of means to do ill deeds

Makes ill deeds done! Hadst not thou been by,
A fellow by the hand of Nature marked,

Quoted, and signed, to do a deed of shame,
This murder had not come into my mind:

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