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TONE OF HATRED.
(See Tone Drill No. 134.) [The tone of Hatred indicates dislike in the most intense degree. It says to the listener, “Every inch of me detests this person or thing.'']
The Seminole's Defiance.
G. W. PATTEN.
Blaze, with your serried columns! I will not bend the knee: The shackle ne'er again shall bind the arm which now is free! I've mailed it with the thunder, when the tempest muttered
And where it falls, ye well may dread the lightning of its
blow. I've scared you in the city, I've scalped you on the plain; Go, count your chosen where they fell beneath my leaden
rain! I scorn your proffered treaty; the pale-lace I defy; Revenge is stamped upon my spear, and "blood” my battle
Some strike for hope of booty; some to defend their all-
o'er the stream; And struggling through the everglade your bristling bayonets
gleam. But I stand as should the warrior, with liis rifle and his
spear; The scalp of vengeance still is red, and warns you—“Come
Think ye to find my homestead ?-I gave it to the fire.
But, should you crave life's nourishment, enough I have, and
I live on hate—’tis all my bread; yet light is not my food.
I die in
Shylock's Hatred of Antorio.
How like a fawning publican he looks !
---Merchant of Venice, i., 3.
TONE OF HORROR.
(See Tone Drill No. 113.) [The tone of Horror manifests an extreme fear or detestation.]
The Death Penalty.
A man, a convict, a sentenced wretch, is dragged, on a certain morning, to one of our public squares. There he
finds the scaffold! He shudders, he struggles, he refuses to die. He is young yet-only twenty-nine. Ah! I know what you will say,-"He is a murderer!" But hear me. Two officers seize him. His hands, his feet, are tied. He throws off the two officers. A frightful struggle ensues. His feet, bound as they are, become entangled in the lad the scaffold against the scaffold! The strugg prolonged. Horror seizes on the crowd. The officers,-S it and shame on their brows,-pale, panting, terrified, despairing,—despairing with I know not what horrible despair,—shrinking under that public reprobation which ought to have visited the penalty, and spared the passive instrument, the executioner,—the officers strive savagely.
The victim clings to the scaffold, and shrieks for pardon. His clothes are torn,-his shoulders bloody,-still he resists. At length, after three quarters of an hour of this monstrous effort, of this spectacle without a name, of this agony,agony for all, be it understood,—agony for the assembled spectators as well as for the condemned man,-after this age of anguish, Gentlemen of the Jury, they take back the poor wretch to his prison. The People breathe again.
The People, naturally merciful, hope that the man will be spared. But no,—the guillotine, though vanquished, remains standing. There it frowns all day, in the midst of a sickened population. And at night, the officers, reinforced, drag forth the wretch again, so bound that he is but an inert weight,—they drag him forth, haggard, bloody, weeping, pleading, howling for life,-calling upon God, calling upon his father and mother,—for like a very child had this man become in the prospect of death,—they drag him forth to execution. He is hoisted on to the scaffold, and his head falls !—And then through every conscience runs a shudder. Never had legal murder appeared with an aspect so indecent, so abominable.
O! I have pass'd a miserable night,
0! then began the tempest to my soul !
-Richard III, i., 4.
TONE OF BELITTLING.
(See Tone Drill No. 29.) [The tone of Belittling indicates a mild form of Contempt. It says to the listener, “I set little value on this.'']
The Lake School of Poetry.
The Lake school of poetry had its origin in the French Revolution, or rather in those sentiments and opinions which produced that revolution. According to the prevailing notions, all was to be natural and new. Nothing that was established was to be tolerated. All the commonplace figures