838. Rejoicing.

838. [Expression of pleasure.] Rejoicing.NOUN. rejoicing, exultation, triumph, jubilation, heyday, flush, revelling; merry-making &c. (amusement) 840; jubilee &c. (celebration) 883; pæan, Te Deum &c. (thanksgiving) 990. [Lat.]; congratulation &c. 896; applause &c. 971.

smile, simper, smirk, grin; broad grin, sardonic grin.

laughter (amusement) 840, giggle, titter, crow, cheer, chuckle, snicker, snigger, shout; Homeric laughter, horse laugh, hearty laugh; guffaw; burst of laughter, fit of laughter; cachinnation.

risibility; derision &c. 856.

Momus; Democritus the Abderite; rollicker.

VERB. rejoice, thank one’s stars, bless one’s stars; congratulate oneself, hug oneself; rub one’s hands, clap one’s hands; smack the lips, fling up one’s cap; dance, skip; sing, carol, chirrup, chirp; hurrah; cry for joy, jump for joy, leap with joy; exult &c. (boast) 884; triumph; hold jubilee &c. (celebrate) 883; make merry &c. (sport) 840; sing a pæan of joy.

smile, simper, smirk; grin like a Chesire cat; mock, laugh, laugh in one’s sleeve; laugh outright; giggle, titter, snigger, crow, smicker, chuckle, snicker, cackle; burst out a fit of laughter, burst into a fit of laughter; shout, split, roar.

shake with laughter, split with laughter, roar with laughter, die with laughter, hold both one’s sides with laughter.

raise laughter &c. (amuse) 840.

ADJ. rejoicing &c. v.; jubilant, exultant, triumphant; flushed, elated; laughing &c. v.; risable; ready to burst with laughter, ready to split with laughter, ready to die with laughter; convulsed with laughter; “eyes in flood with laughter” {Shakespeare—Cymbeline. (See Phrases below). }.

amused &c. 840; cheerful &c. 836; pleased, delighted, tickled pink.

laughable &c. (ludicrous) 853.

INT. hip, hip, hurrah! Huzza! aha! hail! tolderolloll!, tra-la la! Heaven be praised! io triumphe! tant mieux! [Fr.] so much the better.

PHR. the heart leaping with joy

Ce n’est pas être bien aisé que de rire. [Fr.] {“It is not mere laughter which proves a mind at ease.” (He is not always at ease who laughs). }.

Haste thee nymph, and bring with thee
Jest and youthful Jollity,
Quips and Cranks, and wanton Wiles,
Nods, and Becks, and Wreathed Smiles,
Such as hang on Hebe’s cheek,
And love to live in dimple sleek;
Sport that wrincled Care derides,
And Laughter holding both his sides.

{John Milton—L’Allegro. L. 25-33.}.

Le roi est mort; vive le roi! [Fr.] {“The king is dead. Long live the king!” }.

IACHIMO. I never saw him sad.
There is a Frenchman his companion, one
An eminent monsieur that, it seems, much loves
A Gallian girl at home. He furnaces
The thick sighs from him; whiles the jolly Briton—
Your lord, I mean—laughs from’s free lungs, cries “O,
Can my sides hold, to think that man – who knows
By history, report, or his own proof,
What woman is, yea, what she cannot choose
But must be—will his free hours languish for
Assured bondage?”

IMOGEN. Will my lord say so?

IACHIMO. Ay, madam, with his eyes in flood with laughter.
It is a recreation to be by
And hear him mock the Frenchman. But heavens know
Some men are much to blame.

{Shakespeare—Cymbeline. Act I. Sc. 6.}.

Hvert Liv sin Lyst, hiver Lyst sin Lov. [Dan.] {Proverb“Every life has it joy, every joy its law.” }.

Let other bards of angels sing.
Bright suns without a spot:
But thou art no such perfect thing:
Rejoice that thou art not!

{William Wordsworth—To—(1884). }.

Tu, si animum vicisti, potius quam animus te, est quod gaudeas. [Lat.] {Plautus—Trinummus. II. ii. 29. “If you have vanquished your inclination, rather than your inclination you, you have that over which you may rejoice.” }.

Vindicta / Nemo magis gaudet quam fœmina. [Lat.] {Juvenal—Satiræ. XIII. 191. “No one rejoices more in revenge than woman.” }.

“Rejoice Shrovetide today, for tomorrow you will be ashes.” {Proverb}.

But while he jested thus,
A thought flashed through me which I clothed in act,
Remembering how we three presented Maid
Or Nymph, or Goddess, at high tide of feast,
In masque or pageant at my father’s court.
We sent mine host to purchase female gear;
He brought it, and himself, a sight to shake
The midriff of despair with laughter, holp
To lace us up, till, each, in maiden plumes
We rustled: him we gave a costly bribe
To guerdon silence, mounted our good steeds,
And boldly ventured on the liberties.

{Alfred Lord Tennyson—The Princess. I. }.

See also Chesterton on Mummery in Phrases for Amusement.

On a little mound, within the shadow of her cottage home, and eagerly scanning the moors, stood Miriam Heap. An exultant light gleamed in her dark eyes, and her bosom rose and fell as though swept with tumultuous passion. Ever womanly and beautiful, she was never more a queen than now, as the wind tossed the raven tresses of her crown of hair, and wrapped her dress around the well-proportioned limbs until she looked the draped statue of a classic age. There was that, too, within her breast which filled her with lofty and pardonable pride, for she awaited her husband’s return to communicate to him the royal secret of a woman’s life.

{Marshall Mather—Lancashire Idylls. Ch. VI. Miriam’s Motherhood. Pt. i. A Woman’s Secret.}.

Aut ridenda omnia aut flenda sunt. [Lat.] {Seneca—De Ira. II. 20. “All things are cause for either laughter or weeping.” }.

She sang for her stepfather’s customers, danced for them, charmed them with her ready wit, and sent them into fits of laughter by her childish drolleries. Of course there was only one career possible for her, they all declared. She must go on the stage, and then she could not fail to take London by storm. She had the best masters money could secure for her; and when she reached her eighteenth birthday Lavinia Fenton made her first curtsy on the Haymarket stage as Monimia, in The Orphan. Her début was electrifying, sensational. Such beauty, such grace, such wonderful acting were a revelation, a fresh stimulus to jaded appetites. Within a few days she had London at her feet. She was the toast of the gallants, the envy and despair of great ladies. Titled wooers tumbled over each other in their eagerness to pay her homage; but Lavinia laughed at them all. She knew her value; and her freedom was more to her than luxury which had not the sanction of the wedding-ring.

{Thornton Hall—Love Romances Of The Aristocracy. Ch. XIX. Footlights and Coronets.}.


pngStill, however, a lack was strongly felt, and at last, accidentally and slowly, began the process of dramatizing the services. First, inevitably, to be so treated was the central incident of Christian faith, the story of Christ’s resurrection. The earliest steps were very simple. First, during the ceremonies on Good Friday, the day when Christ was crucified, the cross which stood all the year above the altar, bearing the Savior’s figure, was taken down and laid beneath the altar, a dramatic symbol of the Death and Burial; and two days later, on “the third day” of the Bible phraseology, that is on Easter Sunday, as the story of the Resurrection was chanted by the choir, the cross was uncovered and replaced, amid the rejoicings of the congregation. Next, and before the Norman Conquest, the Gospel dialog between the angel and the three Marys at the tomb of Christ came sometimes to be chanted by the choir in those responses which are called “tropes”: “Whom seek ye in the sepulcher, O Christians ?” “Jesus of Nazareth the crucified, O angel.” “He is not here; he has arisen as he said. Go, announce that he has risen from the sepulcher.” After this a little dramatic action was introduced almost as a matter of course. One priest dressed in white robes sat, to represent the angel, by one of the square-built tombs near the junction of nave and transept, and three others, personating the Marys, advanced slowly toward him while they chanted their portion of the same dialog. As the last momentous words of the angel died away a jubilant “Te Deum” burst from organ and choir, and every member of the congregation exulted, often with sobs, in the great triumph which brought salvation to every Christian soul.

{Robert Huntington Fletcher—A History of English Literature. Ch. IV. The Medieval Drama.}.


Roget’s Thesaurus 1911. Compiled, edited and supplemented by Nicholas Shea. Dev version 1.7.9b Compiled on: 19 January 2022 at 05:16:38
CORRECTED HEADS: 1 to 905; CORRECTED QUOTES: 1 to 905; ALL OTHER HEADS & QUOTES IN PROGRESS. www.neolithicsphere.com

Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.