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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.
MARMION. - Scott.
*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,
Not so. Shall Error in the round of time
If this were thus, if this, indeed, were all,
Will some one say, then why not ill for good ?
LOVE AND Duty. - Tennyson.
“When the great Ship of Life,
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.
The Good GREAT MAN. - Coleridge.
" Abou Ben Adhem (may his tribe increase!)
Awoke one night from a deep dream of peace,
“The angel wrote, and vanish’d. The next night
ABOU BEN ADHEM. — Leigh Hunt
“Passion is blind, not love; her wondrous might
Informs with threefold power man's inward sight;
“And is there care in Heaven ? And is there love
Of Highest God that loves his creatures so,
That blessed angels he sends to and fro,
“ How oft do they their silver bowers leave
To come to succour us that succour want !
And all for love and nothing for reward :
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! -
“Boy! false hound!