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Now while I speak this, holds his wife by the arm,
That little thinks she hath been false in his absence.

Shakespeare's Winter's Tale:

Attempt to hide Jealousy.

Her. Are you mov'd, my lord ?

Leo. No, in good earnest.
How sometimes nature will betray its folly,
Its tenderness ; and and make itself a pastime
To harder bosoms! looking on the lines
Of my boy's face, methoughts, I did recoil
Twenty-three years ; and saw myself unbreech'd,
In my green velvet coat ; my dagger muzzled,
Lest it should bite its master, and so prove,
As ornament oft does, too dangerous.
How like, methought, I then was to this kernel,
This squash, this gentleman :-Mine honest friend,
Will you take eggs for money?

Ibidem:

Jealousy confirmed.
Dost think I am so muddy, so unsettled,
To appoint myself in this vexation, sully
The purity and whiteness of my sheets,
Which, to preserve, is sleep ; which, being spotted,
Is goads, thorns, nettles, tails of wasps ?
Give scandal to the blood o' th' prince my son,
Who, I do think is mine, and love as mine,
Without ripe moving to't? Would I do this?
Could man so blench?

Ibidem.

Jealousy mixed with Grief. How blest am I In my just censure ! in my true opinion ! Alack for lesser knowledge !-how accurs'd In being so bless'd! There may be in the cup A spider steep'd, and one may drink, depart, And yet partake no venom, for his knowledge Is not infected ; but if one present The abhorr'd ingredient to his eye, make known How he hath drunk, he cracks his gorge, his sides, With violent hefts. I have drunk, and seen the spider !

Ibidem.

Jealousy mixed with Rage and Regret.

This fellow 's of exceeding honesty,
And knows all qualities with a learned spirit
Of human dealings : if I do prove her haggard,
Though that her jesses were my dear heart strings,
I'd whistle her off and let her down the wind
To prey at fortune. Haply, for I am black,
And have not those soft parts of conversation,
That chamberers have ; or, for I am declin'd
Into the vale of years—yet that's not much ;
She's gone, I am abus'd, and my relief
Must be-to loath her. Oh the curse of marriage,
That we can call these delicate creatures our's
And not their appetites !

Shakes. Othello.

MODESTY, SUBMISSION.

Modesty is a diffidence of ourselves, accompanied with a delicacy in our sense of whatever is mean, indecent, or dishonourable; or a fear of doing these things, or of having them imputed to us. Submission is an humble sense of our inferiority, and a quiet surrender of our powers to a superiour. Modesty bends the body forward, has a placid, downcast countenance, levels the eyes to the breast, if not to the feet, of the superiour character: the voice is low, the tone submissive, and the words few... Submission adds to these a lower bending of the head, and a spreading of the arms and hands downwards towards the person we submit to.

Modesty on being appointed to a high Station.
Now, good my lord,
Let there be some more test made of my metal,
Before so noble, and so great a figure
Be stamp'd upon it.

Shakes. Meas. for Measa

Submission on Forgiveness of Crime.

O noble sir !
Your over-kindness doth wring tears from me:

I do embrace your offer, and dispose .
From henceforth of poor Claudio. Shakes. Much Ado, &c.

SHAME. Shame, or a sense of appearing to a disadvantage before one's own fellow-creatures, turns away the face from the beholders, covers it with blushes, hangs the head, casts down the eyes, draws down and contracts the eye-brows. It either strikes the person dumb, or, if he attempts to say any thing in his own defence, causes his tongue to falter, confounds his utterance, and puts him upon making a thousand gestures and grimaces to keep himself in countenance; all which only heighten his confusion and embarrassment.

Shame at being convicted of a Crime.

Oh my dread lord
I should be guiltier than my guiltiness,
To think I can be undiscernible
When I perceive your grace, like power divine,
Hath look'd upon my passes ; then, good prince,
No longer session hold upon my shame,
But let my trial be mine own confession :
Immediate sentence then, and sequent death
Is all the grace I beg.

Ibid. Meas. for Meas.

GRAVITY. Gravity, or seriousness, as when the mind is fixed, or deliberating on some important subject, smooths the countenance, and gives it an air of melancholy; the eye-brows are lowered, the eyes cast downwards, the mouth almost shut, and sometimes a little contracted. The posture of the body and limbs is com. posed, and without much motion : the speech slow and solemn, the tone without much variety,

Grave Deliberation on War and Peace.

Fathers, we once again are met in council :
Cæsar's approach has summon'd us together,

And Rome attends her fate from our resolves .. .
How shall we treat this bold aspiring man?
Success still follows him, and backs his crimes :
Pharsalia gave him Rome. Egypt has since
Receiv'd his yoke, and the whole Nile is Cæsar's.
Why should I mention Juba's overthrow,
Or Scipio's death ? Numidia's burning sands
Still smoke with blood : 'Tis time we should decree
What course to take ; our foe advances on us,
And envies us even Lybia's sultry deserts.
Fathers, pronounce your thoughts; are they still fix'd
To hold it out and fight it to the last ?
Or are your hearts subdu'd at length, and wrought,
By time and ill success, to a submission ?
Sempronius, speak.

Addison's Cato. INQUIRY. Inquiry into some difficult subject, fixes the body nearly in one posture, the head somewhat stooping, the eyes poring, andthe eye-brows contracted.

Inquiry mixed with Suspicion.

Pray you, once more
Is not your father grown incapable
Of reas'nable affairs ? is he not stupid
With age and altering rheums? Can he speak, hear,
Know man from man, dispute his own estate ?
Lies he not bed-rid, and again does nothing
But what he did being childish ?

Shakespeare's Winter's Tale.
ATTENTION.

Attention to an esteemed or superiour character has nearly the same aspect as Inquiry, and requires silence ; the eyes often cast down upon the ground; sometimes fixed upon the face of the speaker, but not too familiarly.

TEACHING OR INSTRUCTING. Teaching, explaining, or inculcating, requires a mild serene air, sometimes approaching to an authoritative gravity ; the features and gestures altering according to the age or dignity of the pupil, and importance of the subject inculcated. To youth it should be mild, open, serene, and condescending ; to equals and superiours, modest, and diffident; but when the subject is of great dignity or importance, the air and manner of conveying the instruction ought to be firm and emphatical, the eye steady and open, the eye-brow a little drawn down over it, but not so much as to look surly or dogmatical; the pitch of voice ought to be strong, steady, and clear, the articulation distinct, the utterance slow, and the manner approaching to confidence.

Instruction to modest Youth.

Pol. Wherefore, gentle maiden,
Do you neglect your gilly-flowers and carnations ?

Per. I have heard it said,
There is an art which in their piedness shares
With great creating nature.

Pol. Say there be,
Yet nature is made better by no mean,
But nature makes that mean; so over that art
Which you say adds to nature, is an art
Which nature makes ; you see, sweet maid, we marry
A gentler scyon to the wildest stock;
And make conceive a bark of baser kind
By bud of nobler race. This is an art
Which does mend nature, change it rather ; but
The art itself is nature. Shakespeare's Winter's Tale.

Instruction to an Inferiour..

· Angelo
There is a kind of character in thy life
That to the observer doth thy history
Fully unfold: Thyself and thy belongings
Are not thine own so proper, as to waste
Thyself upon thy virtues, them on thee.
Heav'n doth with us as we with torches do,
Not light them for themselves : for if our virtues
Did not go forth of us, 'twere all alike

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