Jealousy mixed with Rage and Regret.

This fellow 's of exceeding honesty,
And knows all qualities with a learned spirit
Of human dealings: if I do prove her haggard,
Though that her jesses were my dear heart strings,
I'd whistle her off and let her down the wind
To prey at fortune. Haply, for I am black,
And have not those soft parts of conversation,
That chamberers have ; or, for I am declin'd
Into the vale of years—yet that's not much ;—
She's gone, I am abus'd, and my relief

Must be to loath her. Oh the curse of marriage,
That we can call these delicate creatures our's
And not their appetites!

MODESTY, SUBMISSION.

Shakes. Othello

Modesty is a diffidence of ourselves, accompanied with a delicacy in our sense of whatever is mean, indecent, or dishonourable; or a fear of doing these things, or of having them imputed to us. Submission is an humble sense of our inferiority, and a quiet surrender of our powers to a superiour. Modesty bends the body forward, has a placid, downcast countenance, levels the eyes to the breast, if not to the feet, of the superiour character: the voice is low, the tone submissive, and the words few. Submission adds to these a lower bending of the head, and a spreading of the arms and hands downwards towards the person we submit to.

Modesty on being appointed to a high Station.

Now, good my lord,

Let there be some more test made of my metal,

Before so noble, and so great a figure

Be stamp'd upon it.

Shakes. Meas. for Meas.

Submission on Forgiveness of Crime.

O noble sir!

Your over-kindness doth wring tears from me :

I do embrace your offer, and dispose

From henceforth of poor Claudio. Shakes. Much Ado, &c.

SHAME.

Shame, or a sense of appearing to a disadvantage before one's own fellow-creatures, turns away the face from the beholders, covers it with blushes, hangs the head, casts down the eyes, draws down and contracts the eye-brows. It either strikes the person dumb, or, if he attempts to say any thing in his own defence, causes his tongue to falter, confounds his utterance, and puts him upon making a thousand gestures and grimaces to keep himself in countenance; all which only heighten his confusion and embarrassment.

Shame at being convicted of a Crime.

Oh my dread lord---

I should be guiltier than my guiltiness,
To think I can be undiscernible

When I perceive your grace, like power divine,
Hath look'd upon my passes; then, good prince,
No longer session hold upon my shame,

But let my trial be mine own confession :
Immediate sentence then, and sequent death
Is all the grace I beg.

GRAVITY.

Ibid. Meas. for Meas.

Gravity, or seriousness, as when the mind is fixed, or deliberating on some important subject, smooths the countenance, and gives it an air of melancholy; the eye-brows are lowered, the eyes cast downwards, the mouth almost shut, and sometimes a little contracted. The posture of the body and limbs is composed, and without much motion: the speech slow and solemn, the tone without much variety.

Grave Deliberation on War and Peace.

Fathers, we once again are met in council :
Cæsar's approach has summon'd us together,

And Rome attends her fate from our resolves.
How shall we treat this bold aspiring man?
Success still follows him, and backs his crimes:
Pharsalia gave him Rome. Egypt has since
Receiv'd his yoke, and the whole Nile is Cæsar's.
Why should I mention Juba's overthrow,

Or Scipio's death? Numidia's burning sands
Still smoke with blood: 'Tis time we should decree
What course to take; our foe advances on us,
And envies us even Lybia's sultry deserts.

Fathers, pronounce your thoughts; are they still fix'd
To hold it out and fight it to the last?

Or are your hearts subdu'd at length, and wrought,
By time and ill success, to a submission?
Sempronius, speak.

INQUIRY.

Addison's Cate.

Inquiry into some difficult subject, fixes the body nearly in one posture, the head somewhat stooping, the eyes poring, andthe eye-brows contracted.

Is not your

Inquiry mixed with Suspicion.

Pray you, once more—

father grown incapable

Of reas'nable affairs? is he not stupid

With age and altering rheums? Can he speak, hear,
Know man from man, dispute his own estate?

Lies he not bed-rid, and again does nothing

But what he did being childish?

Shakespeare's Winter's Tale,

ATTENTION.

Attention to an esteemed or superiour character has nearly the same aspect as Inquiry, and requires silence; the eyes often cast down upon the ground; sometimes fixed upon the face of the speaker, but not too familiarly.

TEACHING OR INSTRUCTING.

Teaching, explaining, or inculcating, requires a mild serene air, sometimes approaching to an authori

tative gravity; the features and gestures altering according to the age or dignity of the pupil, and importance of the subject inculcated. To youth it should be mild, open, serene, and condescending; to equals and superiours, modest, and diffident; but when the subject is of great dignity or importance, the air and manner of conveying the instruction ought to be firm and emphatical, the eye steady and open, the eye-brow a little drawn down over it, but not so much as to look surly or dogmatical; the pitch of voice ought to be strong, steady, and clear, the articulation distinct, the utterance slow, and the manner approaching to confidence.

Instruction to modest Youth.

Pol. Wherefore, gentle maiden,

Do you neglect your gilly-flowers and carnations ?
Per. I have heard it said,

There is an art which in their piedness shares

With great creating nature.

Pol. Say there be,

Yet nature is made better by no mean,

But nature makes that mean; so over that art

Which

you say adds to nature, is an art

Which nature makes; you see, sweet maid, we marry
A gentler scyon to the wildest stock;

And make conceive a bark of baser kind

By bud of nobler race. This is an art

Which does mend nature, change it rather; but

The art itself is nature.

Shakespeare's Winter's Tale.

Instruction to an Inferiour.

Angelo

There is a kind of character in thy life
That to the observer doth thy history
Fully unfold: Thyself and thy belongings
Are not thine own so proper, as to waste
Thyself upon thy virtues, them on thee.
Heav'n doth with us as we with torches do,
Not light them for themselves: for if our virtues
Did not go forth of us, 'twere all alike

As if we had them not. Spirits are not finely touch'd
But to fine issues; nature never lends
The smallest scruple of her excellence;
But like a thrifty goddess she determines
Herself the glory of a creditor,

Both thanks and use.

But I do bend my speech

To one that can in my part me advertise.
Hold therefore, Angelo-

In our remove be thou at full ourself.

Mortality and mercy in Vienna

Live in thy tongue and heart: Old Escalus,
Though first in question, is thy secondary :

Take thy commission.

Shakes. Meas. for Meas

ARGUING.

Arguing requires a cool, sedate, attentive aspect, and a clear, slow, and emphatical accent, with much demonstration by the hand; it assumes somewhat of authority, as if fully convinced of the truth of what it pleads for, and sometimes rises to great vehemence ' and energy of assertion; the voice clear, bold, distinct, and firm, as in confidence.

Reasoning with deference to others.

Ay, but yet

Let us be keen, and rather cut a little,

Than fall and bruise to death. Alas! this gentleman,
Whom I would save, had a most noble father!

Let but your honour know, (whom I believe

To be most straight in virtue,)

That in the working of your own affections,

Had time coher'd with place, or place with wishing,
Or that the resolute acting of your blood

Could have attain'd th' effect of your own purpose,

Whether you had not some time in your life

Err'd in this point which now you censure him,
And pulled the law upon you.

Reasoning warmly.

By my white beard,

Shakes. Meas. for Meas

You offer him, if this be so, a wrong,