9.

In arms not worse, in foresight much advanced,
We may with more successful hope, resolve
To wage, by force or guile, eternal war;
Irreconcilable to our great foe,

Who now triumphs, and in the excess of joy,
Sole reigning, holds the tyranny of heaven.

Banished from Rome! what's banished, but set free From daily contact of the things I loathe ?

"Tried and convicted traitor!" Who says this?
Who'll prove it, at his peril, on my head?

Banished? I thank you for't. It breaks my chain !
I held some slack allegiance till this hour-

But now my sword's my own. Smile on, my lords;
I scorn to count what feelings, withered hopes,
Strong provocations, bitter, burning wrongs,
I have within my heart's hot cells shut up,
To leave you in your lazy dignities.

But here I stand and scoff you :-here I fling
Hatred and full defiance in your face.
Your Consul's merciful. For this all thanks.
He dares not touch a hair of Catiline.
"Traitor!" I go—but I return. This—trial!
Here I devote your senate! I've had wrongs,
To stir a fever in the blood of age,

Or make the infant's sinews strong as steel.
This day's the birth of sorrows!-This hour's work
Will breed proscriptions.-Look to your hearths, my lords,
For there henceforth shall sit, for household gods,
Shapes hot from Tartarus!—all shames and crimes ;—
Wan treachery, with his thirsty dagger drawn;
Suspicion poisoning his brother's cup;
Naked rebellion with the torch and axe,
Making his wild sport of your blazing thrones;
Till anarchy comes down on you like night,
And massacre seals Rome's eternal grave.

ILL HUMOR.

Under this head we may enumerate Dissatisfaction, Peevishness, Discontent, Impatience, Petulance, Repining, Vexation and Chagrin. The elements essential to the expression of these sentiments are the Guttural harshness of voice and the Wave of the Semitone. The Radical or Vanishing Stress prevails according as the utterance is hurried or more slow; and on emphatic syllables of long quantity the use of the Double and Unequal Wave heightens the effect of the expression. Impatience sometimes raises the voice to Loudness, and the Falsette even may be heard in the whine of peevishness. As these sentiments never occur in grave delivery, we shall illustrate them by but a single example.

Troilus. What, art thou angry, Pandarus? What, with me? Pandarus. Because she is kin to me; therefore she's not so fair as Helen; an she were not kin to me, she would be as fair on Friday, as Helen is on Sunday. But what care I? I care not an she were a blackamoor, 'tis all one to me.

Troi.

Say I, she is not fair?

Pan. I do not care whether you do or no.

She's a fool to stay

behind her father: let her to the Greeks-and so I'll tell her the next time I see her-for my part, I'll meddle nor make no more in

Pan. Pray you speak no more to me;-I will leave all as I found it, and there's an end.

SCORN, SNEER, CONTEMPT, &c.

Dignified Scorn, and the Sneer require for their expression Long Quantity, a good degree of Force, and, on the emphatic words, the Vanishing Stress or Aspiration, com

bined with the Concrete Rise or Fall through a Third or Fifth, or with the Single Waves, either Direct or Inverted.

In the stronger expression of these sentiments, as also in Derision, Scoffing, Mockery, and Execration, the Vanishing Stress, the Aspiration, the Guttural Emphasis and the Tremor may all be combined on the Downward Concrete or the Waves, which may be extended through an Octave. And the effect will be greatly heightened, if, instead of the Equal and Single Waves, the Unequal Double Waves be employed. When however the Aspiration or the Guttural force is given on the Waves, it must be understood to be confined to its last constituent.

EXAMPLES.

1. Satan beheld their plight,

And to his mates thus in derision called:

“O friends, why come not on those victors proud?
Ere while they fierce were coming; and when we,
To entertain them fair with open front

And breast, (what could we more?) propounded terms
Of composition, straight they changed their minds,
Flew off, and into strange vagaries fell,

As they would dance: yet for a dance they seemed
Somewhat extravagant and wild, perhaps
For joy of offered peace; but I suppose,
If our proposals once again were heard,
We should compel them to a quick result."

2. Gaoler, look to him ;-Tell not me of mercy ;-
This is the fool that lent out money gratis;—
Gaoler, look to him.

MIRTH, RAILlery.

Mirth and Raillery require Quick Time and Short Quantity, Loudness, and the Concrete Rise of the Second, combined with the Radical Stress.

If these sentiments become excessive, they may raise the voice to the Falsette, either by a Concrete rise of the Octave, or by the Direct Wave of the same interval.—The combination of the Tremor also heightens the effect.

EXAMPLE.

A fool, a fool!-I met a fool i' the forest,

A motley fool, a miserable varlet;

As I do live by food, I met a fool,

Who laid him down, and basked him in the sun,
And railed on lady Fortune in good terms,

In good set terms, and yet a motley fool.

Good morrow, fool, quoth I; no, sir, quoth he,
Call me not fool, till heaven hath sent me fortune:

And then he drew a dial from his poke,

And looking on it with lack-lustre eye,
Says, very wisely, it is ten o'clock;

Thus may we see, quoth he, how the world wags;
'Tis but an hour ago since it was nine,
And after one hour more 'twill be eleven,
And so from hour to hour we ripe and ripe,
And then from hour to hour we rot and rot,
And thereby hangs a tale. When I did hear
The motley fool thus moral on the time,
My lungs began to crow like chanticleer,
That fools should be so deep-contemplative;
And I did laugh, sans intermission

An hour by his dial.—O noble fool!
A worthy fool! motley's the only wear.

JOY, TRIUMPH, &c.

Joy and Delight are more dignified in their expression, employing a longer Quantity, the Median Stress, and the Alternate Phrase of Melody.-Rapture, Triumph or Exultation adds to these elements the Tremor.

EXAMPLE.

O my soul's joy!

If after every tempest come such calms,

May the winds blow till they have wakened death!

And let the laboring bark climb hills of seas
Olympus high, and duck again as low

As hell's from heaven! If it were now to die,
"Twere now to be most happy, for I fear
My soul hath her content so absolute,
That not another comfort like to this
Succeeds in unknown fate.

ASTONISHMENT, ADMIRATION, Amazement.

The dignified expression of these sentiments requires Long Quantity, a good degree of Force, and the Emphasis of the Downward Concrete, or of the Equal Direct Wave of the Third or Fifth combined with the Median Stress.

Mirthful Wonder, or Surprise, may require the Downward Octave, or the Equal Single Direct Wave of that interval; and as the utterance becomes more rapid, the Radical or Vanishing Stress is used.

Aspiration may be connected with the simple Downward Slides; though with the Waves it would express scorn, sneer, or contempt.

EXAMPLE.

Sir Richard, what think you? Have you beheld,
Or have you read, or heard? or could you think?

Or do you almost think, although you see,

That you do see?

Form such another?

Could thought, without this object,

This is the very top,

The height, the crest, or crest unto the crest

Of Murder's arms: This is the bloodiest shame,

The wildest savagery, the vilest stroke,

That ever wall-eyed Wrath, or starving Rage,

Presented to the tears of soft Remorse.