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“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 villainy you teach me, I will execute; and it shall go hard, but I will better the instruction.” — Shylock, in The MERCHANT OF VENICE.

The Rising Fifth, like the octave, is used for interrogation, — for wonder and admiration, when they embrace a slight degree of inquiry and doubt, and for emphasis. It has, however, less of the smart inquisitiveness of the latter interval ; it is the most common form of interrogation, and without having the piercing force of the octave, is equally capable of energy, and is always more dignified in its expression.

“The intonation of the octave, whether by concrete or by radical pitch, is rarely employed; since a rise of eight degrees above the ordinary line of utterance carries most speakers into the falsette. And even with those in whom the rise might not exceed the natural voice, the melody, when suddenly changed in radical pitch, would often be ludicrous, from contrast; or would be in danger of breaking into the falsette in its variations; or would be beyond the limits of the speaker's skilful elocution. These ob. jections do not apply to an occasional skip of radical pitch through the ascent of the fifth; the variation being less striking in contrast; and the interval of a fifth above the common range of the voice, being rarely beyond practicable management.” Rush.

Examples.
“ Must I bid twice? Hence, varlets fly!
Leave Marmion here alone to die.”

MARMION. - Scott.

M

KLOCUTION.

me

*ther tell us. Sir, that we are rammiddle an sdrersary. But i to the nert week, or the totally disarmed, and when ererr house. Shall we tion! Shall we acquis supinely on our back until our enemies sh. Henry

we are weak, -- unable to cope witl so * But when shall we be stronger? Will

the next year? Will it be when we are when a British guard shall be stationed in ji we gather strength by irresolution and inacacquire the means of effectual resistance by lying backs, and hugging the delusive phantom of hope, nies shall have bound us hand and foot ?" - Patrick

of love that never found his earthly close,
What sequel ? Streaming eyes and breaking hearts?
Or all the same as if he had not been ?

Not so. Shall Error in the round of time
Still father Truth? O, shall the braggart shout
For some blind glimpse of freedom work itself
Through madness, hated by the wise, to law
System and empire? Sin itself be found
The cloudy porch oft opening on the Sun ?
And only he, this wonder, dead, become
Mere highway dust? or year by year alone
Sit brooding in the ruins of a life,
Nightmare of youth, the spectre of himself?

If this were thus, if this, indeed, were all,
Better the narrow brain, the stony heart,
The staring eye glared o'er with sapless days,
The long mechanic pacings to and fro,
The set gray life, and apathetic end.
But am I not the nobler through thy love?
O three times less unworthy! likewise thou
Art more through Love, and greater than thy years.
The Sun will run his orbit, and the Moon
Her circle. Wait, and Love himself will bring
The drooping flower of Knowledge changed to fruit
Of wisdom. Wait: my faith is large in Time,
And that which shapes it to some perfect end.

Will some one say, then why not ill for good ?
Why took ye not your pastime? To that man
My works shall answer, since I knew the right
And did it; for a man is not as God,
But then most Godlike being most a man.”

LOVE AND Duty. - Tennyson.

“When the great Ship of Life,
Surviving, though shattered, the tumult and strife
Of earth's angry element, — masts broken short,
Decks drench’d, bulwarks beaten — drives safe into port;
When the Pilot of Galilee, seen on the strand,
Stretches over the waters a welcoming hand ;
When, heeding no longer the sea’s baffled roar,
The mariner turns to his rest evermore;
What will then be the answer the helmsman must give ?
Will it be. ....Lo our log book! Thus once did we live
In the zones of the South; thus we traversed the seas
Of the Orient; there dwelt in the Hesperides:
Thence followed the west wind; here, eastward we turned;
The stars failed us there; just here land we discerned
On our lea; there the storm overtook us at last;
That day went the bowsprit, the next day the mast;
There the mermen came round us, and there we saw bask
A syren?' The Captain of Port will he ask
Any one of such questions? I cannot think so !
But ... "what is the last Bill of Health you can show?'
Not - How fared the soul through the trials she pass'd ?
But, - What is the state of that soul at the last ?”.

LUCILE. Owen Meredith.

The Rising Third is also used for interrogative expression and for emphasis; but its degree in both these cases is less than the fifth. It is the sign of interrogation in its most moderate form, and carries with it none of those sentiments, which, jointly with the question, were allotted to the Fifth and Octave.

Examples.
“What would'st thou have a great good man obtain?
Wealth, title, dignity, a golden chain,
Or heap of corses which his sword hath slain ?
Goodness and greatness are not means, but ends.
Hath he not always treasures, always friends,
The good great man? Three treasures — love, and light,
And calm thoughts, equable as infant's breath;
And three fast friends, more sure than day or night-
Himself, his Maker, and the angel Death.”

The Good GREAT MAN. - Coleridge.

" Abou Ben Adhem (may his tribe increase!)

Awoke one night from a deep dream of peace,
And saw, within the moonlight in his room,
Making it rich, and like a lily in bloom,
An angel, writing in a book of gold :
Exceeding peace had made Ben Adhem bold,
And to the Presence in the room he said,
• What writest thou?' The vision raised its head,
And, with a look made of all sweet accord,
Answered — The names of those who love the Lord.'
And is mine one?' said Abou; Nay, not so,'
Replied the angel. --Abou spoke more low,
But cheerly still; and said, “I pray thee, then,
Write me as one that loves his fellow-men.'

“The angel wrote, and vanish’d. The next night
It came again, with a great wakening light,
And showed the names whom love of God had bless'd-
And, lo! Ben Adhem's name led all the rest.”

ABOU BEN ADHEM. Leigh Hunt

“Passion is blind, not love; her wondrous might

Informs with threefold power man's inward sight;
To her deep glance, the soul, at large displayed,
Shows all its mingled mass of light and shade:
Men call her blind when she but turns her head,
Nor scans the fault for which her tears are shed.
Can dull Indifference or Hate's troubled gaze
See through the secret heart's mysterious maze ?
Can Scorn and Envy pierce that .dread abode'
Where true faults rest beneath the eye of God ?
Not theirs, 'mid inward darkness, to discern
The spiritual splendors, how they shine and burn.
All bright endowments of a noble mind
They, who with joy behold them, soonest find;
And better none its stains of frailty know
Than they who fain would see it white as snow.” Coleridge

“And is there care in Heaven ? And is there love
In heavenly spirits to these creatures bace,
That may compassion of their evils move?
There is :-else much more wretched were the cace
Of men than beasts: But 0! th’ exceeding grace

Of Highest God that loves his creatures so,
And all his workes with mercy doth embrace,

That blessed angels he sends to and fro,
To serve to wicked man, to serve his wicked foe!

“ How oft do they their silver bowers leave

To come to succour us that succour want !
How oft do they with golden pinions cleave
The flitting skyes, like flying pursuivant
Against foule fiends, to ayd us militant!
They for us fight, they watch and dewly ward,
And their bright squadrons round about us plant;

And all for love and nothing for reward :
0, why should Hevenly God to men have such regard!”

FAERIE QUEENE. — Spenser.

The Downward Octave expresses the highest degree of admiration, astonishment, and positive command, either alone or united with other sentiments. Its expression is marked by a quaint sentiment of familiarity, or an excessive degree of violence.

Examples. “I give you six hours and a half to consider of this; if you then agree, without any condition, to do everything on earth that I choose, why, confound you! I may in time forgive you. If not, don't enter the same hemisphere with me! don't dare to breathe the same air, or use the same light with me; but get an atmosphere and sun of your own: I'll strip you of your commission: I'll lodge a five-and-three-pence in the hands of your trustees, and you shall live on the interest. I'll disown you; I'll disinherit you; and nang me, if ever I call you Jack again!”

THE RIVALS. —— Knowles.

“ Measureless liar, thou hast made my heart

Too great for what contains it. Boy! O slave! -
Pardon me, lords, 't is the first time that ever
I was forced to scold.” — CORIOLANUS. — Shakespeare.

“Boy! false hound!
If you have writ your anpals true, 't is there

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