ENVY. ENVY is expressed a little more moderately in its gestures than Malice, but is much of the same kind. "Base Envy withers at another's joy, And hates the excellence it cannot reach". SATAN'S SOLILOQUY ON THE SUN. GLO'STER, ENVIOUS OF KING EDWARD. And am I then a man to be beloved? O monstrous fault, to harbour such a thought. PITY. PITY,-a mixed passion of love and grief, looks down upon distress with lifted hands; eyebrows drawn down; mouth open, and features drawn together. Its expression, as to looks and gesture, is the same as in suffering or pain, but more moderate, as the feelings are only sympathetic, and therefore one remove, as it were, more distant from the soul, than what one feels in one's own person. Pity is active sense of alien grief; Think some dear dying sufferer begs relief; And every quivering sinew learns to glow; DESDEMONA ON HEARING OTHELLO'S STORY. She swore,-In faith, 'twas strange, 'twas passing strange; She wish'd she had not heard it; yet she wish'd That heaven had made her such a man! she thank'd me; He FROM ALEXANDER'S FEAST. He chose a mournful muse, Soft pity to infuse; sung Darius great and good, Fall'n, fall'n, fall'n, fall'n, Fall'n from his high estate, Deserted at his utmost need, The various turns of fate below, And now and then a sigh it stole, HAMLET'S REFLECTIONS ON SEEING YORICK'S SCULL. Alas! poor Yorick! I knew him, Horatio; a fellow of infinite jest; of most excellent fancy: he hath borne me on his back a thousand times; and now, how abhorred in my imagination it is! my gorge rises at it. Here hung those lips, that I have kissed I know not how oft. Where be your gibes, now? your gambols? your songs? your flashes of merriment that were wont to set the table on a roar? Not one now to mock your own grinning? quite chap-fallen? Now get you to my lady's chamber, and tell her, let her paint an inch thick, to this complexion she must come at last; make her laugh at that. YORK, IN RICHARD II. As in a theatre, the eyes of men, After a well grac'd actor leaves the stage, Thinking his prattle to be tedious. E'en so, or with much more contempt, men's eyes But dust was thrown upon his sacred head, That had not God for some strong purpose, steel'd But heav'n hath a hand in these events; To whose high will we bound our calm contents. THE WIDOW,—FROM BLAIR'S GRAVE. While busy med❜ling memory in barbarous succession, Musters up the past endearments of their softer hours, Tenacious of its theme. Still, still she thinks she sees him! And indulging the fond thought, Clings yet more closely to the senseless turf. Nor heeds the passenger who walks that way! PASSION OF THE REDEEMER. He was oppressed, and he was afflicted, yet he opened not his mouth; He is despised and rejected; a man of sorrows, and acquainted with grief. -He was wounded for our transgressions; he was bruised for our iniquities; the chastisement of our peace was upon him, and with his stripes we are healed. MURDER OF THE YOUNG PRINCES, RICHARD III. The tyrannous and bloody act is done; Albeit they were flesh'd villians, bloody dogs, Wept like two children, in their death's sad story : O thus, quoth Dighton, lay the gentle babes, Thus, thus, quoth Forrest, girdling one another Their lips were four red roses on a stalk; Which in their summer beauty kiss'd each other, A book of prayers on their pillow lay, Which once, quoth Forrest, almost changed my mind, Hence both are gone with conscience and remorse ; MIRANDA, DEPLORING THE SHIPWRECK. ANNA, COMMISSERATING LADY RANDOLPH. And warn you of the hours that you neglect, Oh happiness! where art thou to be found? I see thou dwellest not with birth and beauty, BRAKENBURY, COMPASSIONATING CLARENCE. Sorrow breaks seasons, and reposing hours, Makes the night morning, and the noon-tide night. An outward honour for an inward toil; And, for unfelt imaginations, They often feel a world of restless cares So that, between their titles, and low name, There's nothing differs, but the outward fame. LOVE LOVE, (successful) lights up the countenance into smiles. The forehead is smoothed, and enlarged; the eyebrows are arched : the mouth, a little open, and smiling; the eyes languishing and half-shut, doat upon the beloved object. The countenance sometimes assumes the eager and wishful look of Desire (see Desire), but mixed with an air of satisfaction and repose. The accents are soft, and winning; the tone of voice flattering, persuasive, pathetic, musical, rapturous, as in Joy (see Joy.) The attitude much the same with that of Desire. Occasionally both hands are pressed eagerly to the bosom. LOVE, (unsuccessful)—adds an air of anxiety and melancholy, -(see Perplexity, Melancholy, &c.) also Persuasion, Flattery, and the other emotions of mind, of which Love most partakes. Love, is at once, intense and slack desire; There hope inflames, while rev'rence cools the fire, CASTALIO IN PRAISE OF MONIMIA'S BEAUTY. Who can behold such beauty and be silent! For ever fix and gaze on those dear eyes : For every glance they send, darts through my soul ! Still betters what is done. When you speak, sweet, I'd have you buy and sell so; so give alms; Pray so; and, for the ordering of your affairs, To sing them too; when you do dance, I wish you A wave o' the sea, that you might ever do Nothing but that; more still, still so, and own So singular in each particular, Crowns what you are doing in the present deeds, LOVE, (UNSUCCESSFUL.) If music be the food of love, play on; O spirit of love, how quick and fresh art thou! PHOEBE IN LOVE WITH ROSALIND. |