EXERCISE 84. Nachen ist zu klein. 12. Wenn sie fähig sind, diese Zeitungen zu überseßen, se thun Sie es. 13. Da ich die englische Sprache vollkommen verstehe, so 1. Ich hätte mir schen manchen Verdruß erspart, wenn ich, statt zu will ich gern Ihren Vorschlag annehmen. 14. Wenn er fähig ist, die widersprechen, geschwiegen hätte. 2. 3ch möchte wissen, was Sie gethan Arbeit gut zu machen, so soll er zu mir kommen; ist er es aber nicht im hätten, wenn Sie an meiner Stelle gewesen wären. 3. Wenn das Schicksal Stante, so wäre es unnüß. 15. Er glaubte nicht, daß ich im Stante sein mich nicht heimgesucht hätte, würte ich schwerlich zu diesen Ansichten gekom. fönnte, all seine Befehle auszuführen. 16. Wenn tu teine Leidenschaften men sein. 4. Er hätte glücklich sein können, wenn er die Gelegenheit zu ganz zu beherrschen weißt, so bist du zu beneiten. 17. Mein Freund benutzen verstanten hätte. 5. Hätte das Wasser die Brücke mit fortgeriffen, Etuart war so schwach, daß er nicht im Stante war, allein zu geben, und so wäre der Zöllner verloren gewesen. 6. Hätte ich zu Die femmen können, et hat mich deßwegen, daß ich ihn führen möchte. 18. Er glaubte, daß so würte ich gewiß nicht hier geblieben sein. 7. Es würten nie große Niemand im Stante sein könne, auf diesem rauhen Papiere zu schreiben. Männer aufgetreten sein, wenn sie sich durch Schwierigkeiten und Unannehm19. Er hatte gestern Geld nöthig, deßhalb bat er mich, daß ich ihm welches | lichkeiten hätten aufhalten lassen. 8. Wenn ich das hätte erreichen wollen, geben möchte. 20. Er ist mir zwar schon einige Thaler schultig, aber da er was ich wünschte, so hätte ich fleißiger und anhaltender arbeiten müssen. 9. Geld nöthig hatte, so gab ich ihm welches. 21. Es ist Niemand im Stante Wenn er gerufen hätte, würde ich ihn gehört haben. 10. Wir wolle auszugehen, weil es zu stark regnet. 22. Er wird bald im Stante sein, nicht ausgehen; es möchte regnen. 11. Wenn Sie mir etwas Näheres jein Werk zu vollenden. 23. Er kann sein Wort nicht halten, und zwar über diese Angelegenheiten mittheilen wollten, so würten Sie mich veraus folgenden Gründen. pflichten. 12. Es wäre meine größte Freude, alle Menschen glücklich zu sehen. 13. Ich hätte ohne Verstand sein müssen, wenn ich mich auf in rer Ferne; wie gerne wär, ich noch im Vaterland! diese Sache hätte einlassen wollen. 14. Verschwunden ist der Strant 15. Wenn er wäre, wie ich ihn wünsche, und wenn er allen meinen Anferterungen ents sprochen hätte, so würde ich ihn behalten haben. EXERCISE 85. EXERCISE 83. 1. If he had not been able to perform the work, he would not have undertaken it. 2. Will he be able to fulfil his promise? 3. He has not been able. 4. We ought not to promise more than we are able to perform. 5. Are you able to deliver a better explanation upon this subject? 6. I am indeed able, but I have no time now. 7. Does the boy go for my stick freely? 8. If he goes, (then) he does it unwillingly; I would rather go myself. 9. Do you like to see your relations ? 10. Yes, I do like to see them. 11. When you have need of those books, then I will lend you them freely. 12. He needed money yesterday, therefore he desired me that I would give him some. 13. Therefore, it is useless to ask for more, when you already owe so much. 14. Who would not freely heal the wounds of a wounded heart! SECTION XLIV.-CONDITIONAL MOOD. The conditional mood is used, where a condition is supposed which may or may not be possible. It is also sometimes used in exclamation and interrogation, as::-Wenn sie noch lebte, wäre ich glüdlich, if she were still living, I should be happy. Ich hätte tie Sache anders gemacht, I should have arranged the matter differently. Bare er doch noch am Leben! oh, that he were still alive! Wäre es möglich, Vater? could it be possible, father? (See § 144.) VOCABULARY. 1. Had your friend not become ill, he would certainly have embellished the feast by his presence. 2. If you were more prudent you would not have met with this inconvenience. 3. I would have settled your business if you had mentioned it to me. 4. His brother would have been better received if he had had letters of recommendation. 5. He would have better friends if he were more agreeable. 6. You would have had more difficulties if you had not followed the advice of your friends. 7. I should not have the least doubt that you would have succeeded if you had acted more prudently. 8. We should set sail for Holland if we had a fair wind. 9. He would be the first among our merchants if he were more sociable. 10. If I had had tho power, I should have acted in another manner, because I should not have had so much patience. 11. What would be the felicity of man if he always sought his happiness in himself? 12. You would be richer if you were more enterprising. 13. If I had not lost my purse I should still have it. 14. He would not have so much money if he had been idle. 15. The greater the difficulty, the greater pleasure there is in overcoming it. 16. If he had not crossed the bridge, the toll-gatherer would not have demanded payment. LESSONS IN MUSIC.-VII. EVERY art is best taught individually. It is true that there are some advantages to the singer in collective teaching. The 'sympathy of numbers" both aids and encourages him. But his progress will depend entirely on individual attention and endeavour. In most classes the few mako progress and lead, while the many-some from timidity, and others from idleness and inattention-hang upon the leaders, and soon begin to clog their movements. As, however, singing for schools and congregations must be generally taught in classes, the object of the teacher must be to combine the spirit and sympathy of numbers with as careful an attention to individual progress as possible. He should also occasionally separate the laggers from the more forward, and (without blaming or discouraging them) cause them to retrace their steps and go by themselves, while the others are advancing freely and rapidly in a new class. For these purposes, the pupil should be led to expect a rigid personal examination at the close of each stage of progress, and a division of the class as the result. Several lesson hours should be devoted to this examination. It might be conducted in a separate room, while the rest of the class are practising. In adult classes, most of the questions might be announced to the class, and the answer given in writing at the time, and they would only require separate examination in connection with the exercises. The examiner would then decide by the result of the two examinations. A register of each examination should be kept by the teacher, and a memorial of it given to the pupil. To aid both the self-teacher and the class-teacher, the following questions and tests of progress are given :--Let no one consider himself worthy to pursue the course further until he has thoroughly fulfilled these requirements. Things to be done are marked by an asterisk. These especially must not be omitted. QUESTIONS AND TESTS OF PROGRESS ON THE "FIRST STAGE." belongs to a note placed alone immediately after an accent mark? What is the meaning of the horizontal stroke?-the dot after a note ?-the comma?-the dot and comma?-the What means an empty aliquot? [The questions are to be answered from book over and over again inverted comma? 1. What were the reasons that encouraged "our friend" to think that he had a voice? What kind of road to music do we offer? What are the conditions of admission to it? 2. What is the difference between high and low in music? 3. What must be chosen and fixed before the notes which may be introduced into a tune are distinctly ascertained? What is this arrangement of notes called, and by what primary laws is It regulated? On what grounds do we call it the scale of nations and of all times? 4. What is a musical interval ? Is it a distance in time? in space? in what? 5. Draw from memory a diagram of the scale, with the sol-fa syllable to represent the notes, marking carefully the two shorter distances. 6. What is the general character of the 1st, 3rd, and 5th of the scale? How is the voice tuned? 8. How do you indicate a slur? 9. Explain the meaning of the following signs :-D.C., D.S., S., F., f., P., f., pp., <, >, and or over a note. 10. How would you indicate "expression" in writing or printing words ?-loud ?-soft ?—abrupt? 11. Take a book of hymns or songs, and mark ten pieces for expression. [This is a really important and useful exercise of judgment and taste.] 12. What are the vibrations of the TENOR C-the standard note of pitch? Draw a diagram of the standard scale. What is meant by G sharp? B flat? 13. Pitch the key-note A-G-F-E-D, and take the chord in cach case. LESSON 6 (page 339). 1. Point on the modulator by memory, and afterwards sing to words the tлne GRIFFIN. 2. What is the difference between the sound of the voice in speaking and in singing? What is a sound of the singing voice *7. Sol-fa and point on the diagram, from memory, Exercises called ?--of the speaking voice? 1, 2, 3, 4. LESSON 2 (page 90). 3. What is the best posture for the singer in reference to his head ?-shoulders ?-chest ?-mouth ?-tongue ?-lips? 4. What is the first daily practice for opening and strength 1. Give an account of the first experiments on the sounds of a single string. What note does half a string give ?-two-ening the lungs? How should the chord and scale be sung. thirds -three-fourths ?-four-fifths ?-etc. 2. Describe the "syren." What is the relation of a note's length of string to its vibrations? 3. What is the smallest perfect measurement of the scale in plain figures, and according to that how many degrees belong to the great tone ?-small tone ?--tonule ? 4. What is an "octave" note or "replicate ?" and with what two peculiar observances, in this daily practice? 5. What three faults should be especially avoided by the singer? 6. What habit, in reference to loudness and softness of voice, should be carefully formed? 7. In what respects would you alter your phraseology and mode of illustration if you had to set the facts and principles of * 5. Sol-fa and point on the diagram of the scale, from memory, this first "stage" of our course before the minds of the young, Exercises 5, 6, 7, 8. LESSON 3 (page 145). *1. Explain the two sets of tetrachords. Arrange them by memory, taking coins to represent your notes. 2. By what intervals are the tonules of the scale always separated from one another? Show this by drawing a circular dia.. or persons dull of comprehension? [It will be a good exercise of mind for you to answer this question. It will be better still for you to do so practically. Teach what you know. There is no better way of perfecting your knowledge.] 8. What are the advantages and disadvantages of class teaching? Show the importance of personal effort and exami nation. *9. Sing a high note with the low larynx,-a low note with the high larynx. 10. Sing (taking a very low note for DOH) DOH, ME, SOH, DOH', ME', and if you can without straining the voice, son, holding each note with a long and steady breath. [You should be more anxious about the chord than the scale in the present stage of your course; for you may not yet have got all the notes of the scale quite perfectly in tune.] 11. Repeat slowly and very distinctly (with good use of tongue, lips, and teeth), and in one breath, "How doth the little busy bee improve each shining hour." Take two more lines in another breath, and so on. 12. Point and sing the tune LEYBURN from memory on the Cet homme se trompe [Sect. That man is mistaken. On dit que cela est ainsi [Sect. It is said that it is so. On nous a dit cela [Sect. XXXIV. 2]. We have been told that. 4. In an answer to a question [see Sect. XXIII. 12], the pronoun le corresponds in signification with the English word so or it, expressed or understood. Le refers then to a noun not determined (not preceded by an article or a possessive adjective), to an adjective, to a verb, or even to a whole sentence. Ces enfants sont-ils aimés ? Il ne le sont pas, Ces demoiselles sont-elles sœurs? Are those children loved? Are those young ladies sisters? Leur conduite est-elle approuvée ? Elle n'est ni estimée ni respectée. On ne lui a rien dit. S'appel-er, 1, pec., to be Conduite, f., conduct. Are you the sister of my friend? Is their conduct approved? She is neither esteemed nor respected. Nothing has been said to him. Croi-re, 4, ir., to believe. | Mère, f., mother. EXERCISE 85. Paresseux, -se, idle. 1. Votre mère est-elle aimée de sa sœur? 2. Elle est aimée She is loved, esteemed, and respected by everybody. 17. What has been told you? 18. We have been told that your brother is respected by everybody. 19. Madam, are you Mr. S.'s sister? 20. No, Sir, I am not. 21. Madam, are you pleased with your son's conduct ? 22. No, Sir, I am not, for he is blamed by everybody. 23. What is that stout man called ? 24. They say he is called H. 25. What is your brother's name ? 26. He is called James. 27. Have you been told that my brother has arrived? 28. We have been told so. 29. Are the goods which your brother has bought for sale? 30. They are not for sale ? 31. Has the bookbinder had a coat made? 32. He has had a coat made. 33. Is his other coat worn out? 34. The coat which he bought last year is worn out. SECTION XLVI.-IDIOMATIC EXPRESSIONS. [Sect. XXXIX. 1, 2], the pronoun en will of course keep its wentest Vous Vous en Je m'en Thou êtes allés, Ils s'en sont They went away. allés, The ladies are gone away. The gentlemen are gone away. To whom does that house belong? It is my cousin's. RÉSUMÉ OF EXAMPLES. de son frère et de sa sœur. 3. Les Italiens sont-ils aimés des À quelle heure vous en êtes-veus At what hour did you go away? Français ? 4. Vos écoliers ne sont-ils pas blâmés ? 5. Ils sont EXERCISE 86. your 1. Are you blamed or praised? 2. I am neither blamed nor praised. 3. Is not your cousin esteemed by everybody? 4. She is esteemed by nobody. 5. What has been said of my brother? 6. Nothing has been said of him. 7. Do you know if brother's house is to be let ? 8. I have been told (on m'a dit) that it is to be sold. 9. Is not an idle person to be pitied? 10. The idle man is to be pitied. 11. Is your son sometimes punished at school? 12. He is always punished when he is idle. 13. Are your scholars praised when they are diligent? 14. They are praised when they are diligent, and they are blamed when they are idle. 15. Is that lady esteemed and respected? 16. • The prepositions de and par are used indifferently after many passive verbs. Vous faut-il cinquante francs? Il me faut cinquante-cinq francs. Combien d'argent faut-il à votre père ? Il lui en faut beaucoup. Do you want or must you have fifty francs? I must have or I need fifty-five france. How much money does your father want? He wants much (of it). allées ? 8. Elles s'en sont allées vers six heures de l'après- EXERCISE 88. 1. Are your friends gone away? 2. They are not yet gone away, they are still here. 3. At what hour did your mother go away? 4. She went away early this morning. 5. Did your little sister go away late? 6. She went away too soon. 7. Does your sister's new dress become her? 8. It does not become her. 9. Why does it not become her? 10. Dark colours never become her. 11. Do light colours become your brother's wife? 12. They become her very well. 13. Are your new boots too narrow or too wide ? 14. They are neither too narrow nor too wide, they fit very well. 15. Does your brother's waistcoat fit him? 16. It fits him, but it does not become him. 17. Light colours never become him. 18. Does your coat press you? 19. It does not press me, it is by far too wide. 20. Whose house is that? 21. It is my father's and brother's. 22. Whose books have you brought this morning? 23. I have brought my brother's and my sister's. 24. Whose dresses are those? 25. They are my mother's, my sister's, and my cousin's. 26. Are not those German books yours? 27. They are not mine, they are my friend's. 28. Are those pens yours or mine ? 29. They are neither yours nor mine, they are my brother's. 30. Does this hat fit you? 31. Yes, Sir, it fits me, but it does not become me. 32. Is your hat too small? 33. It is too large. 34. Are your gloves too large? 35. They are too small, I cannot put them on. SECTION XLVII.—UNIPERSONAL VERBS AND THEIR USES. 1. THE verb falloir [3, ir.], to be necessary, is always conjugated unipersonally. See table, § 62. Il faut, il a fallu, Il faut étudier tous les jours, It is necessary, it was or has been necessary. It is necessary to study every day. 이 VOCABULARY. Aller trouver, to go to Désir-er, 1, to wish, to Main de papier, f., o quire of paper. 100th part | Dette, f., debt. Modiste, milliner. a person. Centime, m., of a franc. Chirurgien, m.,surgeon. Combien, how much, how many. Davantage, more. desire. Envoy-er, 1, ir. [§ 49 Ouvrage, m., work. (2)], to send. Fin-ir, 2, to finish. Fort, very, very much. EXERCISE 89. Payer, 1, pec. [§ 9 (2)], to pay. Peine, f., trouble. Quand, when. 1. Que faut-il faire aujourd'hui ? 2. Aujourd'hui il faut travailler. 3. A-t-il fallu travailler fort pour finir l'ouvrage à temps? 4. Il a fallu travailler toute la journée. 5. Quand faut-il écrire à notre ami? 6. Il faut lui écrire aujourd'h 7. Me faut-il aller trouver mon père ? 8. Il vous faut alle: k trouver, il désire vous parler. 9. A-t-il besoin de quelque chose? 10. Il lui faut des livres, des plumes, et de l'encre. 11. Ne lui faut-il pas aussi de l'argent? 12. Il lui en fant beaucoup pour payer ses dettes. 13. Vous faut-il encore quelque chose? 14. Il ne me faut plus rien, j'ai tout ce qu'il me fant. 15. Ne faut-il pas du papier à votre sœur? 16. Il ne lui en faut pas davantage.* 17. Que faut-il envoyer au chirur gien? 18. Il faut lui envoyer de l'argent, il en a grand besoin. 19. La modiste a-t-elle tout ce qu'il lui faut ? 20. Elle n'a pas tout ce qu'il lui faut. 21. Combien vous faut-il? 22. Il me faut einq francs. 23. Ne vous faut-il pas davantage ? 24. I ne me faut pas davantage. 25. Que lui faut-il pour sa peine? 26. Il demande un franc vingt-cinq centimes. EXERCISE 90. 1. What must we do? 2. You must bring your book and learn your lesson. 3. Is it necessary to write to your brother to-day? 4. It is not necessary to write to him. 5. Has it been necessary to speak to your father? 6. It has been neces sary to speak to him. 7. Is it necessary to go to D. to-day? 8. It is necessary to go there (y). 9. Must I go to your sister? 10. You must go to her, she wishes to speak to you. 11. How much money must your brother have? 12. He must have ten francs fifty centimes. 13. How many books does your sister want? 14. She must have many books, she reads (lit) much. 16. We must send 15. What will you send to the surgeon? him our horse; his own (le sien) is sick. 17. Must he not have paper? 18. He must have some; he has letters to write. 19. Must he have much ? 20. He must have a quire. 21. Do you want anything more? [See No. 13, in the French exercise above." 22. I need something more. 23. I need nothing more. 24. Must you have one hundred francs ? 25. I must have tes 3. Falloir is used in the signification of to want, to need, to be dollars. 26. What does the surgeon want? 27. He must hav under the necessity of having. He called you, not mé. He was esteemed for wisdom, not for wealth. This proposal is not a mere idle cómpliment. It proceeds from the sincerest and deepest feelings of our hearts. Howard visited all Europe, not to survey the sumptuousness of palaces, or the stateliness of témples; not to make accurate measurements of the remains of ancient grandeur; not to form a scale of the curiosities of modern árt; not to collect medals or collate manuscripts; but to dive into the depths of dùngeons; to plunge into the infection of hospitals; to survey the mansions of sorrow and pain; to take the gange and dimensions of misery, depression, and contempt; to remember the forgotten, to attend to the neglected, to visit the forsáken, and te compare and collate the distresses of all men in all countries. Note. A similar principle applies to the reading of concessions and of unequal antitheses or contrasts. In the latter, the less important member has the rising, and the preponderant one the falling inflection, in whatever part of a sentence they occur, and even in separate sentences, as : Science may raise you to éminence. to happiness. But virtue alone can guide you I rather choose To wrong the dead, to wrong myself and you, Exception. When negation is emphatic or preponderant, it takes the falling inflection, as : He may yield to persuasion, but he will never submit to force. We are troubled on every side, yet not distressed; perplexed, but not in despair; pérsecuted, but not forsaken; cast down, but not destroyed. Rule 2.-In question and answer, the falling inflection ends as far below the average level of the sentence, as the rising ends above it. In this way, a certain exact correspondence of sound to sound, in the inflections, is produced, which gives to the full downward slide of the answer a decisive and satisfactory intonation, as a reply to the rising slide of the question, as:— Are they Hebrews ?-So am I. Are they 'Israelites ?-So am I. What would content you, in a political leader ?-Tálent? No! Enterprise? No!-Courage? No!-Reputation? Nò!-*Virtue? No!-The man whom you would select, should possess not one, but àll of these. Rule 3.-When a question consists of two contrasted parts, connected in syntax by the conjunction or, used in a disjunctive sense, the former has the rising, and the latter the falling inflection, as : Rule on the Monotone. The tones of grand and sublime description, profound reverence or awe, of amazement and horror, are marked by the monotone, or perfect level of voice. Note.-A monotone is always on a lower pitch than the preceding part of a sentence; and to give the greater effect to its deep solemn note-which resembles the tolling of a heavy bel! it sometimes destroys all comma pauses, and keeps up one continuous stream of overflowing sound, as : His form had not yet lost All her original brightness, nor appeared On half the nations, and with fear of change And I saw a great white throne and Him that sat on it, from whōse face the heavens and the earth fled away; and there was found no place for them. Upon my secure hōur thy uncle stole, "Harmonic" Inflections. "Harmonic" inflections-or those which, in emphatic phrases, are intended to prevent the frequent occurrence of emphasis in the same phrase from becoming monotonous to the ear-are applied in clauses of which every word is emphatic, and are marked by a distinct and separate inflection, as :— He has been guilty of one of the most shameful àcts || that éver de graded the N'ATURE or the NA'ME || of M'AN. Note. In such cases the inflections usually alternate, in order to give the more vivid and pungent force to vehement emphasis. Rule on Repeated Words, Phrases, and Sentences. Words, phrases, and sentences which are repeated for effect, rise higher, or fall lower in inflection, besides increasing in force, at every repetition. From these walls a spirit shall go forth, that shall survive when this edifice shall be, "like an unsubstantial pageant, faded." It shall go Note. When or is used conjunctively, the second inflection forth, exulting in, but not abusing, its strength. It shall go forth, does not fall, but rises higher than the first, as : Would the influence of the Bible—even if it were not the record of a divine revelation-be to render princes more tyrannical, or subjects more ungovernable; the rich more insolent, or the poor more disorderly would it make worse parents or children-húsbands or wives -másters or sérvants-friends or néighbours? Ort would it not make men more virtuous,t and consequently more happy, in every Bituation? Rule on the Circumflex, or Wave. The circumflex, or wave, applies to all expressions used in a peculiar sense, or with a double meaning, and to the tones of mockery, sarcasm, and irony, as : You may avoid a quarrel with an if. peacemaker: much virtue in an if. Your if is the only From the very first night-and to say it I am boldI've been so very hot, that I'm sure I've caught cold! Go hang a calfskin on these recreant limbs! What a beautiful piece of work you have made by your carelessness! The weights had never been accused of light conduct. In successive questions, the rising inflection becomes higher at every stage, unless the last has, as in the above example, the falling inflection of consummating emphasis. The last or is used disjunctively, and forms an example to the Bale, and not to the Note. remembering, in the days of its prosperity, the pledges it gave in the time of its depression. It shall go fo'rtH, uniting a disposition to correct abuses, to redress grievances. IT SHALL GO FO'RTH, uniting the disposition to improve, with the resolution to maintain and defend, by that spirit of unbought affection, which is the chief defence of nations. What was it, fellow-citizens, which gave to Lafayette his spotless fame?-The love of liberty. What has consecrated his memory in the hearts of good men?-THE LOVE OF LIBERTY. What nerved his youthful arm with strength, aud inspired him in the morning of his days with sagacity and counsel?-THE LIVING LOVE OF LIBERTY. To what did he sacrifice power, and rank, and country, and freedom itself ?-TO THE LOVE OF LIBERTY PROTECTED BY LAW. LESSONS IN PENMANSHIP.-XXVI. WITH this lesson, which is accompanied by copy-slips headed by the remaining capital letters of the writing alphabet, from S to Z, we complete our elementary series of Lessons in Penmanship, having enabled the self-teacher, by an easy and carefully graduated succession of steps, to advance from the formation of the first elementary stroke that enters into the composition of the small letters, to writing sentences in which are to be have now don3 as much for him as it is possible to do by verbal found capital letters and figures, as well as small letters. We instruction, and it remains for the learner to acquire an easy, flowing style of writing, and facility and rapidity in the use of |
