of poetry, tropes, allegories, personifications, with the whole heathen mythology, were instantly discarded; a classical allusion was considered as a piece of antiquated foppery; capital letters were no more allowed in print than letters-patent of nobility were permitted in real life; kings and queens were dethroned from their rank and station in legitimate tragedy or epic poetry, as they were decapitated elsewhere; rhyme was looked upon as a relic of the feudal system, and regular metre was abolished, along with regular government. Authority and fashion, elegance or arrangement, were hooted out of countenance as pedantry and prejudice. Everyone did that which was good in his own eyes. The object was to reduce all things to an absolute level; and a singularly affected and outrageous simplicity prevailed in dress and manners, in style and sentiment.

A thorough adept in this school of poetry and philanthropy is jealous of all excellence but his own. He sees nothing but himself and the universe. He hates all greatness and all pretentions to it, whether well or ill-founded. His egotism is in some respects a madness; for he scorns even the admiration of himself, thinking it a presumption in anyone to suppose that he has taste or sense enough to understand him. He hates all science and all art; he hates chemistry; he hates conchology; he hates Voltaire; he hates Sir Isaac Newton; he hates wisdom; he hates wit; he hates metaphysics, which he says are unintelligible, and yet he would be thought to understand them; he hates prose; he hates all poetry but his own; he hates the dialogues in Shakespeare; he hates music, dancing and painting; he hates Reubens; he hates Rembrandt; he hates Raphael; he hates Titian; he hates Vandyke; he hates the antique; he hates the Apollo Belvidere; he hates the Venus of Medicis. This is the reason that so few people take an interest in his writings, because he takes an interest in nothing that others do!

Richard on the Vanity of State.

WILLIAM SHAKESPEARE.

Of comfort no man speak:

Let's talk of graves, of worms and epitaphs;
Make dust our paper and with rainy eyes
Write sorrow on the bosom of the earth.
Let's choose executors and talk of wills:
And yet not so, for what can we bequeath
Save our deposed bodies to the ground?
Our lands, our lives and all are Bolingbroke's,
And nothing can we call our own but death,
And that small model of the barren earth
Which serves as paste and cover to our bones.
For God's sake, let us sit upon the ground
And tell sad stories of the death of kings:
How some have been deposed; some slain in war;
Some haunted by the ghosts they have deposed;
Some poison'd by their wives; some sleeping kill'd;
All murder'd: for within the hollow crown
That rounds the mortal temples of a king
Keeps Death his court, and there the antic sits,
Scoffing his state and grinning at his pomp,
Allowing him a breath, a little scene,
To monarchize, be fear'd and kill with looks,
Infusing him with self and vain conceit,
As if this flesh which walls about our life
Were brass impregnable, and humour'd thus
Comes at the last and with a little pin

Bores through his castle wall, and farewell king!
Cover your heads and mock not flesh and blood
With solemn reverence: throw away respect,
Tradition, form and ceremonious duty,
For you have but mistook me all this while:

I live with bread like you, feel want,

Taste grief, need friends: subjected thus,

How can you say to me, I am a king?

-Richard II, iii., 2.

THE TONE OF ADORATION.

(See Tone Drill No. 3.)

[The tone of Adoration. indicates a deep love, mingled with reverence. While human beings may inspire this feeling, it arises more often from the contemplation of Divinity.]

God.

DERZHAVIN.

O thou eternal One! whose presence bright
All space doth occupy, all motion guide;
Unchanged through Time's all devastating flight!
Thou only God-there is no God beside!

Being above ali beings! Mighty One.

Whom none can comprehend and none explore,
Who fill'st existence with thyself alone,

Embracing all, supporting, ruling o'er;

Being whom we call God, and know no more!

Creator, yes. Thy wisdom and thy word

Created me.

Thou source of life and good.

Thou spirit of my spirit, and my Lord,

Thy light, thy love, in their bright plenitude
Filled me with an immortal soul, to spring
Over the abyss of death, and bade it wear
The garments of eternal day, and wing

Its heavenly flight beyond this little sphere,
Even to its source to thee-its Author there.

O thoughts ineffable! O visions blest!

Though worthless our conceptions all of thee,

Yet shall thy shadowed image fill our breast,
And waft its homage to thy Deity.
God! thus alone iny lowly thoughts can soar,

Thus seek thy presence-Being wise and good!
'Midst thy vast works admire, obey, adore;
And when the tongue is eloquent no more
The soul shall speak in tears of gratitude.

TONE OF REMORSE.

(See Tone Drill No. 166.)

[The tone of Remorse proclaims agony of mind. It indicates that something troubles the conscience.]

Dream of Richard III.

WILLIAM SHAKESPEARE.

Give me another horse!-bind up my wounds!
Have mercy, Jesu!-Soft! I did but dream.-
O, coward conscience, how dost thou afflict me!-
The lights burn blue.-It is now dead midnight.
Cold fearful drops stand on my trembling flesh.
What do I fear? myself? there's none else by:
Richard loves Richard; that is, I am I.

Is there a murderer here? No;-yes; I am:
Then fly,-What, from myself? Great reason why?
Lest I revenge. What! Myself upon myself?
Alack! I love myself. Wherefore? for any good,
That I myself have done unto myself?
O! no: alas! I rather hate myself.
For hateful deeds committed by myself.

I am a villain. Yet I lie; I am not.
Fool, of thyself speak well:-Fool, do not flatter.
My conscience hath a thousand several tongues,
And every tongue brings in a several tale,
And every tale condemns me for a villain.

Perjury, foul perjury, in the high'st degree;
Murder, stern murder, in the dir❜st degree:
All several sins, all us'd in each degree,
Throng to the bar, crying all,-Guilty! guilty!
I shall despair. There is no creature loves me;
And if I die, no soul shall pity me:-

Nay, wherefore should they? since that I myself
Find in myself no pity to myself.

Methought, the souls of all that I had murder'd
Came to my tent; and every one did threat
To-morrow's vengeance on the head of Richard.
-Richard III, i., 3.

Wolsey on His Fall.

WILLIAM SHAKESPEARE.

Farewell, a long farewell, to all my greatness!
This is the state of man; to-day he puts forth
The tender leaves of hope, to-morrow blossoms,
And bears his blushing honors thick upon him;
The third day, comes a frost, a killing frost;
And,-when he thinks, good easy man, full surely
His greatness is a ripening,-nips his root,
And then he falls, as I do. I have ventured,
Like little wanton boys that swim on bladders,
This many summers in a sea of glory;
But far beyond my depth: My high-blown pride
At length broke under me; and now has left me,
Weary, and old with service, to the mercy
Of a rude stream, that must forever hide me.
Vain pomp and glory of this world, I hate ye;
I feel my heart new opened: O, how wretched
Is that poor man, that hangs on princes' favors!
There is, betwixt that smile we would aspire to,
That sweet aspect of princes, and their ruin,