Call me not fool, till Heav'n hath sent me fortune; Thus may we see, quoth he, how the world wags; And after one hour more 'twill be eleven: An hour by his dial. O noble fool! A worthy fool! Motley's the only wear. Shakespeare's As You Like it. 3.-Raillery. RAILLERY without animosity, puts on the aspect of cheerfulness; the countenance smiling, and the tone of voice sprightly. LET me play the fool Example. With mirth and laughter; so let wrinkles come, Sleep when he wakes, and creep into the jaundice Shakespeare's Merchant of Venice. 4.-Joy. Joy, when moderate, opens the countenance with smiles, and throws, as it were, a sunshine of delectation over the whole frame: when it is sudden and violent, it expresses itself by clapping the hands, raising the eyes towards heaven, and giving such a spring to the body as to make it attempt to mount up as if it could fly: when joy is extreme, and goes into transport, rapture, and ecstacy, it has a wildness of look and gesture that borders on folly, madness, and sorrow. Example. IMOINDA, Oh! this separation Has made you dearer, if it can be so, I have a thousand things to ask of her, Have words or power to tell you. Captain, you, I'll think you but the minister of fate Who follow fortune live upon her smiles, Southern's Oroonoke. 5.-Love. LOVE gives a soft serenity to the countenance, a languishing to the eyes, a sweetness to the voice, and a tenderness to the whole frame; when entreating, it clasps the hands, with intermingled fingers to the breast; when declaring, the right hand, open, is pressed with force upon the breast exactly over the heart; it makes its approaches with the utmost delicacy, and is attended with trembling hesitation and confusion. Example. What you do Still betters what is done. When you speak, sweet, I'd have you do it ever: when you sing, And own no other function: each your doing, Crowns what you are doing in the present deeds, Shakespeare's Winter's Tale. 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 eye-brows are drawn down, and the features contracted or drawn together. Example. Alas! poor Yorick! I knew him, Horatio; a fellow of infinite jest, of most excellent fancy: he hath borne me on his back a thousand times; and now how abhorred in my imagination it is; my gorge rises at it. Here hung those lips that I have kissed I know not how oft. Where be your gibes now? Your gambols? Your songs? Your flashes of merriment, that were wont to set the table on a roar? Not one now to mock your own grinning? Quite chop-fallen? Now get you to my lady's chamber, and tell her, let her paint an inch thick, to this favour she must come; make her laugh at that. Shakespeare's Hamlet. 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. O HOPE, Sweet flatterer, whose delusive touch Glover's Boadicea. 8.-Hatred. HATRED, or aversion, draws back the body as 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 eye-brows 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, Go dance about the bow'r, and close them in ; 9.-Anger. Young's Revenge. 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 those banish'd and forbidden legs Frighting her pale-fac'd villagers with war, And ostentation of despised arms? Com'st thou because the anointed king is hence? Why, foolish boy, the king is left behind, And in my loyal bosom lies his pow'r. Were I but now the lord of such hot youth As when brave Gaunt, thy father and myself, Shakespeare's Richard II. 10.-Revenge. REVENGE expresses itself like malice, (see page 436), but more openly, loudly, and triumphantly. Example. If it will feed nothing else', it will feed my revenge'. He hath disgrac'd' 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. Shakespeare'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. -Thou slave, thou wretch, thou coward, Thou little valiant, great in villany! Shakespeare's King John. |