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3. Sincerity wiser than Hypocrisy.

ARGUMENTATIVE MANNER:

In delivering the definition marked' the manner relaxes into the merely narrative.

Truth and sincerity have all the advantages of appearance, and many more. If the show of any thing be good, I am sure the reality is better; for why does any man dissemble, or seem to be that which he is not, but because he thinks it good to have the qualities he pretends to. For to counterfeit and dissemble is to put on the appearance of some real excellency.Now the best way for a man to seem to be any thing, is really to be what he would seem to be. Besides, it is often as troublesome to support the pretence of a good quality as to have it; and if a man have it not, it is most likely he will be discovered to want it, and then all his labour to seem to have it is lost. There is something unnatural in painting, which a skilful eye will easily discover from native beauty and complexion. It is hard to personate and act a part long; for where truth is not at the bottom, nature will always be endeavouring to return, and will betray herself at one time or other. Therefore, if any man think it convenient to seem good, let him be so indeed; for then his goodness will appear to every one's satisfaction.

TILLOTSON.

4. It is folly to desire powers not consistent with our nature.

ARGUMENTATIVE MANNER:

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Relaxes for a slight expression of 'Languor, Awe, Warning,

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The bliss of man, (could pride that blessing find,)

Is, not to act or think beyond his kind;

No powers of body or of soul to share,

But what his nature and his state can bear.
Why has not man a microscopic eye?
For this plain reason, man is not a fly.
Say, what the use, were finer optics given
To inspect a mite, not comprehend the heaven?
Or touch, if tremblingly alive all o'er,
To smart and agonize at every pore?

Or quick effluvia darting through the brain,
'Die of a rose in aromatic pain?

2 If nature thundered in his opening ears, And stunned him with the music of the spheres, How would he wish that Heaven had left him

still

*The whispering zephyr and the purling rill!Who finds not Providence all good and wise, Alike in what it gives and what denies.

POPE.

5. Reflections of a King when lost in a wood.

MEDITATIVE MANNER:

2

3

'Confidence, Alarm, Confidence.

No, no; this can be no public road, that is certain: I am lost, quite lost indeed. Of what advantage is it now to be a king? Night shows me no respect; I cannot see better than another man, nor walk so well. What is a king? Is he not wiser than another man? Not without his

counsellors, I plainly find. Is he not more powerful? I oft have been told so indeed, but what now can my power command? Is he not greater and more magnificent? When seated on his throne, and surrounded with nobles and flatterers, perhaps he may think so, but when lost in a wood,-alas, what is he but a common man! His wisdom knows not which is north and which is south; his power, a beggar's dog would bark at; and his greatness the beggar would not bow to. And yet, how oft are we puffed up with these false attributes!-'Well, in losing the monarch, I have found the man.-2 Hark, I hear a gun! some villain sure is near.-What were it best to do? Will my majesty protect me? No.- Throw majesty aside then, and let my new-found manhood do it.

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DODSLEY..

6. Brutus considering whether he should join the Conspiracy against Cæsar.

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It must be by his death: and, for my part, I know no personal cause to spurn at him, But for the general. He would be crowned; 'How that might change his nature, there's the question.

It is the bright day that brings forth the adder, And that craves wary walking: crown him

that

And then I grant we put a sting in him,
That at his will he may do danger with.
The abuse of greatness is, when it disjoins
Remorse from power: 2yet to speak truth of

Cæsar,

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I have not known when his affections swayed More than his reason. But 'tis common proof, That lowliness is young ambition's ladder, Whereto the climber upward turns his face, 4 But when he once attains the upmost round, He then unto the ladder turns his back, Looks in the clouds, scorning the base degrees By which he did ascend: so Cæsar may: *Then, lest he may, prevent.—And since the quarrel

Will bear no colour for the thing he is,
Fashion it thus; that what he is, augmented,
Would run to these, and these extremities;
And therefore think him as a serpent's egg,
Which hatched, would, as his kind, grow mis-
chievous,

And kill him in the shell.

SHAKSPEARE.

Vehement, Plaintive, Lively, Solemn.

By one or other of these terms we may characterise the expression of almost every passion; and it is as much as can at first be expected of readers whose imagination and sensibility are not naturally apt, that they shall make these general differences sufficiently obvious. Among the passions which generally require vehemence of manner, are courage, fierceness, triumph, pride, indignation, anger; rage, hatred, fear, remorse, despair, envy, malice. In expressing confidence, courage, determination, pride, the voice is strong and loud, but with respect to pitch, is in a firm middle tone. In remorse, envy, hatred, malice, it is generally low and harsh. Anger, rage, scorn, have the same harshness, but usually the tone is higher. Remonstrance makes the tone lower and smoother. In despair, the voice is frequently loud and shrill. Fear, when it leads to action, resembles other vehement passions in many of its effects; but when it entirely relaxes the frame, and takes away the power of action, or when it is excited by the contemplation rather than the presence of danger, it comes in either case under a different description. Extraordinary vehemence in any of the passions generally accelerates the rate of utterance; though in hatred and malicé it will often be slow and drawling. With regard to gesture, it will be performed with a tension of the muscles proportioned to the strength of the passion, and should scarcely be artificial, but such as nature herself enforces. In confidence, pride, triumph, the body is erect and sometimes thrown back; the hand places itself on the breast or on the hip, or is thrown upwards with a correspondent motion of the head. In exhortation, the hands are raised; in remonstrance they are gently but repeatedly pushed

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