« ForrigeFortsett »
between the latter and Death.
What fury, O son, Reproof.
Possesses thee to bend that mortal dart
Against thy father's head? And know'st for whom; Vexation. For Him who sits above and laughs the while
At thee ordain'd his drudge, to execute
His wrath; which one day will destroy ye both.”
Forbore, then these to her Satan return'd: Surprise. “So strange thy outcry, and thy words so strange
Thon interposest, that my sudden hand
What it intends; till first I know of thee,
now, Aversion, Sight more detestable than him and thee."
Hamlet's soliloquy upon his finding that the king, his father, was murdered by his uncle; in which he considers the consequence of putting an end to a burdensome life. --Shakspeare. To be,
-or not to be? i- that is the question-
1 “To be,—or not to be.” The thought, at length, would run thus: “Is death the total destruction of consciousness? Or do the dead still continue to think and act, though in a different manner from that of the present state?" The thought in the second line is different, viz., “Whether is it truly heroic to put an end to life when it becomes irksome 2"
And by opposing, end them.—To die—to sleep- Deep
thoughts No more l-and by a sleep to say we end
fulness. The heart-ache, and the thousand natural shocks Vexation. That flesh is heir to:—'Tis a consummation Devoutly to be wish'd-To die—to sleep
ThoughtTo sleep?-perchance to dream-ay, there's the rub!
ApprehenFor in that sleep of death what dreams may come, When we have shuffled off this mortal coil, Must give us pause. There's the respect That makes calamity of so long life. For who would bear the whips and scorns of time, Th’ oppressor's wrong, the proud man's contumely, The pang's of love despis'd, the laws' delay,
Anguish. The insolence of office, and the spurns, That patienta merit of the unworthyb takes;
a Meekness. When he himself might his quietus make
b Aversion. With a bare bodkin? Who would fardels 2 bear, Courage. And groan and sweat under a weary life?
Complaint. But that the dread of something after death (That undiscover'd country, from whose bourne 3 No traveller returns) puzzles the will, And makes us rather bear those ills we have,
Resignation Than fly to others, which we know not of ? Thus conscience does make cowards of us all; And thus the native hue of resolution Is sicklied o'er with the pale cast of thought, And enterprises of great pith and moment, With this regard their currents turn awry, And lose the name of action.
pauses must be
1 " But to die—to sleep-no more. The equal. The sense at length being, “Is dying only falling asleep, and nothing else ?»*
8 " Fardels.” That is, burdens.
Macbeth, full of his bloody design against good King Duncan,
fancies he sees a dagger in the air.—Shakspeare.
that I was going ;
1“ Gouts.” That is, drops.
LITERARY CLASS BOOK.
We shall coinmence this part of our Compilation with the PASSAGES which Walker has used in illustrating his "Description of the Passions." While approving generally of the plan adopted in "The Art of Speaking," he thought that it would be an improvement upon it “to subjoin EXAMPLES to each PASSION and EMOTION, which contain scarcely any passion or emotion but that described; and that by thus keeping one passion in view at a time, the pupil would more easily acquire the imitation of it than by passing suddenly to those passages where they are scattered promiscuously in small portions." As his “Descriptions of the Passions” are based upon those given in “The Art of Speaking,"we shall omit them for the reasons which we have already assigned (page 81). The most of the "Examples," however, which he has given in illustration of them, we shall
1 “This is the case,” he adds, “with the author to whom I am so much indebted for the description of the passions, and with those who have servilely copied him. The instance of a single passion which I have selected may be augmented at pleasure; and when the pupil has acquired the expression of each passion singly, he should analyze his composition, and carefully mark it with the several passions, emotions, and sentiments it contains, by which means he will distinguish and separate what is often mixed and confounded, and be prompted to force and variety at almost every sentence. I am well aware, that the passions are sometimes so slightly touched, and often melt so insensibly into each other, as to make it somewhat difficult precisely to mark their boundaries; but this is no argument against our marking them where they are distinct and obvious, nor against our suggesting them to those who may not be quite so clear-sighted as ourselves."-Elements of Elocution.
insert here, because we consider them peculiarly well adapted for EXERCISES in READING. We have also added several other PASSAGES illustrative of the emotions of the mind, tones of voice, and different styles of reading.
I. CHEERFULNESS IN RETIREMENT.
Now, my co-mates, and brothers in exile,
As You Like It.
II.-INVOKING MIRTH AS A GODDESS.
But come, thou Goddess, fair and free,