2. Joy.

The countenance is radiant, the lips elongated, and slightly aperient by way of smile, the eyebrows slightly raised, the eyes beaming and vivacious. The chest is inflated and the deportment animated. Extreme joy in its manner verges upon madness and the abandonment of ecstasy. The movement of the hands and the gesticulations are nervous and spasmodical, and in its paroxysms it not infrequently elicits tears.

EXAMPLE:

Io, they come, they come,
Garlands for every shrine,
Strike lyres to greet them home,
Bring roses, pour ye wine!

Swell, swell the Dorian flute

Through the blue triumphal sky,
Let the cithron's tone salute

The sons of victory!

And can you be my own-my boy!
Oh, the fierce rapture of my joy!-
And are you even he!

So glorious and so mighty now,
High thought and manhood on your brow,
Come back to Rome and me!

I always thought-my joy-my son!
My long-lost and my dearest one!

If to yourself but true,

Aye, from the hour I gave thee birth,
The eternal God of heaven and earth

Had great designs with you.

Oh, how thy mother's life-blood warms,
Thy mother's! Hear it, boy!

She holds you in her aged arms,

And

weeps for very joy!

3. PITY.

The

The voice is compassionate and tender, and somewhat tremulous. The eyebrows are drawn down, the forehead corrugated, and the lips more open than in joy. The head is erect, but inclined slightly to the right side. elbows are pressed gently to the sides, from which the arms are stretched easily at right angles, with the palms turned upward. The frame inclines gently forward.

EXAMPLE:- -Alas for the rarity
Of Christian charity
Under the sun!

Oh! it was pitiful!—

Near a whole city full,

Home she had none.

Sisterly, brotherly ;

Fatherly, motherly,

Feelings had changed:

Love, by harsh evidence,

Thrown from its eminence,

Even God's providence
Seeming estranged.

Where the lamps quiver,

Far down in the river,

With many a light

From window and casement,

From garret to basement,

Houseless by night.

The bleak wind of March
Made her tremble and shiver ;
But not the dark arch,
Or the black-flowing river,
Mad from life's history,
Glad to death's mystery,
Swift to be hurl'd,
Anywhere, anywhere

Out of the world!

4. HOPE.

The countenance is placid, the eyes lit up with an expression of animation and earnestness. The voice is sup

pressed but cheerful, the frame erect, and the arms crossed lightly upon the breast.

EXAMPLE:

But, if return'd from conquer'd foes,
How blithely shall the evening close,
How sweet the linnet sing repose

To my young bride and me, Mary.

Then spoke the wanderer forth, with kindling eye:
"Son of the wilderness, despair thou not,
Though the bright hour may seem to thee gone by,
And the cloud settled o'er thy nation's lot :

Heaven darkly works, yet where the seed hath been,
There shall the fruitage, glowing yet be seen.

66

Hope on, hope ever! by the sudden springing
Of green leaves which the winter hid so long,
And by the bursts of free triumphant singing,
After cold, silent months the woods among;
And by the rending of the frozen chains,
Which bound the glorious rivers on their plains.

"Deem not the words of light which here were spoken,

But as a lively song to leave no trace!

Yet shall the gloom that wraps thy hills be broken,
And the full day-spring rise upon thy race!

And fading mists the better paths disclose,
And the wide desert blossom as the rose."

5. SORROW.

The head is slightly stooped, the open right hand is pressed upon the upper part of the forehead. The left arm is thrown loosely behind the back, with the palm of the hand pointing outward. The eyebrows are drawn down, and the eyes nearly closed. The lips are closed, but the teeth apart, which gives a long and lugubrious expression to the countenance, and facilitates the nervous twitching of the mouth and the under jaw. The voice is low, tremulous, slow, and the utterance frequently interrupted with sighs. In common with some of the other passions, in its excess, its demonstrations border on those of frenzy.

EXAMPLE:

Ye woods and wilds, whose melancholy gloom
Accords with my soul's sadness and draws forth
The voice of sorrow from my bursting heart,
Farewell a while, I will not leave you long;
For, in your shade I deem some spirit dwells,
Who, from the chiding stream and groaning oak
Still hears and answers to Matilda's moan.
O Douglas! Douglas !-if departed ghosts
Are e'er permitted to review this world,
Within the circle of this wood thou art,
And, with the passion of immortals hear'st
Thy wretched wife weep for her husband slain,

Her infant lost. My brother's timeless death
I seem to mourn who perish'd with him on
That fatal day. To thee I lift my voice,
To thee address the plaint which mortal ear
Has never heard. Oh disregard me not ;--
Though I am call'd another's now, my heart
Is wholly thine! Incapable of change,
Affection lies, buried, my Douglas, in
Thy bloody grave!

6. FEAR.

In violent fear the eyes and mouth are open; the countenance is overspread by a ghastly pallor, and has an expression of wildness and distortion. The hands, with the palms turned outward and the fingers spread, are held out stiffly and rigidly in front of the breast, as if to guard against the dreadful object. The frame trembles violently. One foot is drawn back, and the body balanced upon it, the posture for flight. The voice is low, exasperated, and broken with gasps and the chattering of the teeth.

EXAMPLE:

Is this a dagger which I see before me,

The handle toward my hand? Come, let me clutch

thee:

I have thee not, and yet I see thee still.

Art thou not, fatal vision, sensible

To feeling as to sight? or art thou but
A dagger of the mind, a false creation,
Proceeding from the heat-oppressed brain?
I see thee yet, in form as palpable

As this which now I draw.

Thou marshall'st me the way that I was going;
And such an instrument I was to use.