A

No opportunity he e'er let pass

Of writing the directions on his labels,
In dapper couplets, like Gay's Fables;
Or rather like the lines in Hudibras.

Apothecary's verse!—and where's the treason?
'Tis simply honest dealing;-not a crime;
When patients swallow physic without reason,
It is but fair to give a little rhyme.

He had a patient lying at Death's door,

Some three miles from the town, it might be four; To whom, one evening, Bolus sent an article,

In pharmacy, that's called cathartical.

And on the label of the stuff

He wrote this verse;

Which one would think was clear enough

And terse,

"When taken,

"To be well shaken."

Next morning, early, Bolus rose;

And to the patient's house he goes
Upon his pad,

Who a vile trick of stumbling had :
It was indeed a very sorry hack ;
But that's of course;

For what's expected from a horse
With an apothecary on his back?

Bolus arrived, and gave a double tap,
Between a single and a double rap.

Knocks of this kind

Are given by gentlemen who teach to dance;
By fiddlers, and by opera-singers:

One loud, and then a little one behind,
As if the knocker fell by chance
Out of their fingers.

The servant let him in, with dismal face,

Long as a courtier's out of place

Portending some disaster;

John's countenance as rueful looked, and grim,
As if the Apothecary had physicked him,

And not his master.

66 Well, how's the patient?" Bolus said. John shook his head.

“ Indeed ?—hum!-ha!—that's very odd; "He took the draught?"-John gave a nod. "Well-how?-What then?-Speak out, you dunce!"Why then," says John, we shook him once.' "Shook him!-how?" Bolus stammered out: "We jolted him about."

16

"Zounds!-shake a patient, man—a shake won't do.”
"No, sir-and so we gave him two."
"Two shakes!-odds curse!

""Twould make the patient worse.'

"It did so, sir-and so a third we tried."

"Well, and what then?"-"Then, sir, my master-died.”

7.-JUSTICE AND TIE OYSTER.

ONCE (says an author, where I need not say),
Two travellers found an oyster in their way;
Both fierce, both hungry, the dispute grew strong,
While, scale in hand, dame Justice passed along;
Before her each with clamour pleads the laws,
Explains the matter and would win the cause.
Dame Justice, weighing long the doubtful right,
Takes, opens, swallows it, before their sight.
The cause of strife, removed so rarely well,
There take, says Justice, take you each a shell.
We thrive at Westminster on fools like you;
'Twas a fat oyster, live in peace-adieu.

COLMAN.

POPE.

1.-CHEERFULNESS.

TRANQUILLITY appears by the composure of the countenance and general repose of the whole body, without the exertion of any one muscle. The countenance open, the forehead smooth, the eyebrows arched, the mouth just not shut, and the eyes passing with an easy motion from object to object, but not dwelling long upon any one. Cheerfulness adds a smile to tranquillity, and opens the mouth a little more.

EXAMPLE.

BUT, O, how altered was its sprightlier tone!
When Cheerfulness, a nymph of healthiest hue,
Her bow across her shoulder flung,

Her buskins gemmed with morning dew,

Blew an inspiring air, that dale and thicket rung,

The hunter's call, to Fawn and Dryad known;

The oak-crowned Sisters, and their chaste-eyed Queen,

Satyrs and sylvan boys, were seen

Peeping from forth their alleys green:

Brown Exercise rejoiced to hear,

And Sport leapt up, and seized his beechen spear.

THE wealth of nature in my hand,

One flail of virgin gold,—

My love above me like a sun,—

My own bright thoughts my wings,—
Through life I trust to flutter on
As gay as ought that sings.

2.-MIRTH.

COLLINS.

R. M. MILNES.

MIRTH, or laughter, opens the mouth horizontally, raises the cheeks high, lessens the aperture of the eyes, and, when violent, shakes and convulses the whole frame, fills the eyes with tears, and occasions holding the sides from the pain the convulsive laughter gives them.

EXAMPLE.

A FOOL, a fool! I met a fool i' the forest,

A motley fool;-a miserable world!—

As I do live by food, I met a fool;

Who laid him down, and basked him in the sun,
And railed on Lady Fortune in good terms,

In good set terms, and yet a motley fool.

"Good-morrow, fool," quoth I: "No, sir," quoth he,
"Call me not fool, till Heaven hath sent me fortune:"

And, then he drew a dial from his poke;
And, looking on it with lack-lustre eye,
Says, very wisely, "It is ten o'clock:

Thus may we see," quoth he, "how the world wags:
'Tis but an hour ago since it was nine,

And after one hour more 't will be eleven;
And so, from hour to hour, we ripe and ripe,
And then, from hour to hour, we rot and rot,
And thereby hangs a tale."

When I did hear

The motley fool thus moral on the time,
My lungs began to crow like chanticleer,
That fools should be so deep-contemplative;
And I did laugh, sans intermission,
An hour by his dial. O noble fool!
A worthy fool! Motley's the only wear.

SHAKSPEARE's As You Like it.

3.-RAILLERY.

RAILLERY, without animosity, puts on the aspect of cheerfulness; the countenance smiling, and the tone of voice sprightly.

EXAMPLE.

LET me play the fool

With mirth and laughter let old wrinkles come;

And let my liver rather heat with wine,

Than my heart cool with mortifying groans.
Why should a man, whose blood is warm within,
Sit like his grandsire cut in alabaster?

Sleep when he wakes? and creep into the jaundice
By being peevish? I tell thee what, Antonio,
(I love thee, and it is my love that speaks),
There are a sort of men, whose visages
Do cream and mantle like a standing pond;
And do a wilful stillness entertain,
With purpose to be drest in an opinion
Of wisdom, gravity, profound conceit;
As who should say, "I am Sir Oracle,
And when I ope my lips, let no dog bark!"
I'll tell thee more of this another time;
But fish not with this melancholy bait
For this fool gudgeon, this opinion.
Come, good Lorenzo,-fare ye well a while;
I'll end my exhortation after dinner.

SHAKSPEARE'S Merchant of Venice.

4.-JOY.

Joy, when moderate, opens the countenance with smiles, and throws, as it were, a sunshine of delectation over the whole

frame; when it is sudden and violent, it expresses itself by clapping the hands, raising the eyes towards heaven, and giving such a spring to the body as to make it attempt to mount up as if it could fly: when joy is extreme, and goes into transport, rapture, and ecstasy, it has a wildness of look and gesture that borders on folly, madness, and sorrow.

EXAMPLE.

IMOINDA, Oh! this separation

Has made you dearer, if it can be so,
Than you were ever to me: you appear
Like a kind star to my benighted steps,
To guide me on my way to happiness;
I cannot miss it now. Governor, friend,
You think me mad: but let me bless you all
Who any ways have been the instruments
Of finding her again. Imoinda's found!
And every thing that I would have in her.

SOUTHERN'S Oroonoko.

OH Joy! thou welcome stranger, twice three years
I have not felt thy vital beam;
but now,
It warms my veins, and plays around my heart,
A fiery instinct lifts me from the ground,

And I could mount.

YOUNG.

5.-LOVE.

LOVE gives a soft serenity to the countenance, a languishing to the eyes, a sweetness to the voice, and a tenderness to the whole frame; when entreating, it clasps the hands, with intermingled fingers, to the breast; when declaring, the right hand, open, is pressed with force upon the breast exactly over the heart; it makes its approaches with the utmost delicacy, and is attended with trembling, hesitation, and confusion.

EXAMPLE.

'Twas pretty, though a plague,

To see him every hour; to sit and draw

His arched brows, his hawking eye, his curls,

In our heart's table; heart too capable
Of every line and trick of his sweet favour:
But now he's gone, and my idolatrous fancy
Must sanctify his relics.

SHAKSPEARE's All's Well.

ALL the stars of heaven,

The deep blue noon of night, lit by an orb

Which looks a spirit, or a spirit's world

The hues of twilight-the sun's gorgeous coming