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tangents to the circle A B C, and they are drawn from the given point D, without the circumference of the circle A B C, as required.

From this problem we learn that from any point without a circle two straight lines can be drawn which are tangents to that circle, and that the angle formed by any pair of tangents drawn to a circle from a point without it is bisected by the straight line which joins that point and the centre of the given circle.

We also learn from this problem how, with a given radius, to draw a circle touching two given straight lines. In Fig. 56, let LM, K N represent the two given straight lines, and x the given radius of the circle that is required to be drawn, touching the given straight lines L M, K N. If necessary, produce the straight lines L M, KN in the direction of M and N, and let them meet in D. Bisect the angle L D K by the straight line DO, and at any point, P, in the straight line D K draw PQ perpendicular to D K, and equal to the given radius x. Then through the point q draw the straight line RS of indefinite length, parallel to DK, and intersecting the straight line DO in the point E. From the point E as centre, with a radius equal to the given radius x, describe the circle A H G. This circle touches the given straight lines L M, KN, in the points H and G.

READING AND ELOCUTION.—XV. ANALYSIS OF THE VOICE (continued). [NOTE.-Those examples, in this and a former lesson, in which the accents are purposely omitted, are intended as exercises for the student.]

EXERCISES ON INFLECTIONS.

Simple Concluding Series.

It is a subject interesting alike to the old and to the young. Nature, by the very disposition of her elements, has commanded, as it were, and imposed upon men, at moderate intervals, a general intermission of their toils, their occupations, and their pursuits.

The influence of true religion is mild, and soft, and noiseless, and constant, as the descent of the evening dew on the tender herbage, nourishing and refreshing all the amiable and social virtues; but enthusiasm is violent, sudden, rattling as a summer shower, rooting up the fairest flowers, and washing away the richest mould, in the pleasant garden of society.

Compound Concluding Series.

The winter of the good man's age is cheered with pleasing reflections of the pást, and bright hopes of the fùture.

It was a moment replete with joy, amazement, and anxiety. Nothing would tend more to remove apologies for inattention to religion than a fair, impartial, and full account of the education, the characters, the intellectual processes, and the dying moments of those who offer them.

Then it would be seen that they had gained by their scepticism no new pleasures, no tranquillity of mind, no peace of conscience during life, and no consolation in the hour of death.

Well-doing is the cause of a just sense of elevation of character; it clears and strengthens the spirits; it gives higher riches of thought; it widens our benévolence, and makes the current of our peculiar affections swift and deep.

mysteries of devotion; let me forget the world, and by the world be forgotten, till the moment arrives in which the veil of eternity shall fall, and I shall be found at the bar of the Almighty.

Religion will grow up with you in youth, and grow old with you in poor, or the chamber of the sick; it will retire with you to your àge; it will attend you, with peculiar pleasure, to the hovels of the closet, and watch by your béd, or walk with you, in gladsome union, to the house of God; it will follow you beyond the confines of the world, and dwell with you for ever in heaven, as its native residence. 2. " Emphatic series."

Assemble in your parishes, villages, and hamlets. Resolve, petition, address.

This monument will speak of patriotism and coùrage; of civil and religious liberty; of free government; of the moral improvement and elevation of mankind; and of the immortal memory of those who, with heroic devotion, have sacrificed their lives for their country.

I have roamed through the world, to find hearts nowhere warmer than those of New England, soldiers nowhere braver, patriots nowhere parer, wives and mothers nowhere trùer, maidens nowhere lovelier, green valleys and bright rivers nowhere greener or brighter; and I will not be silent, when I hear her patriotism or her truth questioned with so much as a whisper of detraction.

What is the most odious species of tyranny? That a handful of men, free themselves, should execute the most base and abominable despotism over millions of their fellow-creatures; that innocence should be the victim of opprèssion; that industry should toil for rapine; that the harmless labourer should sweat, not for his own benefit, but for the luxury and rapacity of tyrannic depredation ;-in a word, that thirty millions of men, gifted by Providence with the ordinary endowments of humanity, should groan under a system of despotism, unmatched in all the histories of the world. 3. "Poetic series."

He looks in boundless majesty abroad,

And sheds the shining day, that burnished plays

On rocks, and hills, and towers, and wandering streams,
High-gleaming from afar.

Round thy beaming car,

High-seen, the Seasons lead, in sprightly dance Harmonious knit, the rosy-fingered Hours, The Zephyrs floating loose, the timely Rains, Of bloom ethereal, the light-footed Déws, And, softened into joy, the surly Storms. Hear him compare his happier lot, with his Who bends his way across the wintry wolds, A poor night-traveller, while the dismal snow Beats in his face, and dubious of his paths, He stops and thinks, in every lengthening blast, He hears some village mastiff's distant howl, And sees, far streaming, some lone cottage light; Then, undeceived, upturns his streaming eyes, And clasps his shivering hands, or, overpowered, Sinks on the frozen ground, weighed down with sleep, From which the hapless wretch shall never wake. There was neither tree, nor shrub, nor field, nor house, nor living créatures, nor visible remnant of what human hands had reared.

I am charged with pride and ambition. The charge is true, and I glory in its truth. Who ever achieved anything great in letters, art, or arms, who was not ambitious? Cæsar was not more ambitions than Cicero. It was but in another way. All greatness is born of Let the ambition be a noble one, and who shall blame it?

ambition.

A distant sail, gliding along the edge of the ocean, was sometimes a theme of speculation. How interesting this fragment of a world, hastening to rejoin the great mass of existence! What a glorious I confess I did once aspire to be queen, not only of Palmyra, but of

monument of human invention, that has thus triumphed over wind and wave; has brought the ends of the earth in communion; has established an interchange of blessings, pouring into the sterile regions of the north all the luxuries of the south;* diffused the light of knowledge, and the charities of cultivated life; and has thus bound together those scattered portions of the human race, between which nature seems to have thrown an insurmountable barrier!

1. "Disconnected series."

Youth, in the fulness of its spirits, defers religion to the sobriety of manhood; manhood, encumbered with cares, defers it to the leisure of old age; old age, weak and hesitating, is unable to enter on an untried mode of life.

Let me prepare for the approach of eternity; let me give up my soul to meditation; let solitude and silence acquaint me with the

• Accidental "falling" inflection, for contrast.

the East. That I am. I now aspire to remain so. Is it not as honourable ambition ? Does it not become a descendant of the Ptolemies and of Cleopatra? I am applauded by you all for what I have already done. You would not it should have been less.

But why pause here? Is so much ambition praiseworthy, and more criminal? Is it fixed in nature that the limits of this empire should be Egypt on the one hand, the Hellespont and the Euxine on the other ? Were not Suez and Armenia more natural limits? Or hath empire no natural limit, but is broad as the genius that can devise, and the power that can win? Rome has the West. Let Palmyra possess the East. Not that nature subscribes this and no more. The gods prospering, and I swear not that the Mediterranean shall hem me in upon the west, or Persia on the east. Longinus is right: I would that the world were mine. I feel, within, the will and the power to bless it, were it so.

Are not my people happy? I look upon the past and the present upon my nearer and remoter subjects, and ask nor fear the answer. Whom have I wronged ?-what province have I oppressed ?-what city

pillaged ?-what region drained with taxes ?-whose life have I unjustly taken, or estates coveted or robbed ?-whose honour have I wantonly assailed ?-whose rights, though of the weakest and poorest, have I trenched upon? I dwell, where I would ever dwell, in the hearts of my people. It is written in your faces, that I reign not more over you than within you. The foundation of my throne is not more power than love.

How shall I know thee in the sphere which keeps

The disembodied spirits of the dead,

When all of thee that time could wither, sleeps,
And perishes among the dust we tread ?

For I shall feel the sting of ceaseless pain,
If there I meet thy gentle presence not;
Nor hear the voice I love, nor read again
In thy serenest eyes the tender thought.
Will not thy own meek heart demand me there ?
That heart whose fondest throbs to me were given ?
My name on earth was ever in thy prayer,

Shall it be banished from thy tongue in heaven ?

In meadows fanned by heaven's life-breathing wind,
In the resplendence of that glorious sphere,
And larger movements of the unfettered mind,
Wilt thou forget the love that joined us here?

The love that lived through all the stormy past,
And meekly with my harsher nature bore,
And deeper grew, and tenderer to the last,
Shall it expire with life, and be no more ?

A happier lot than mine, and larger light,

Await thee there; for thou hast bowed thy will
In cheerful homage to the rule of right,

And lovedst all, and renderedst good for ill.

For me, the sordid cares in which I dwell,
Shrink and consume the heart, as heat the scroll;
And wrath hath left its scar,-the fire of hell
Has left its frightful scar upon my soul.
Yet, though thou wear'st the glory of the sky,
Wilt thou not keep the same beloved name,
The same fair thoughtful brow, and gentle eye,
Lovelier in heaven's sweet climate, yet the same?
Shalt thou not teach me, in that calmer home,
The wisdom that I learned so ill in this,—
The wisdom which is love,-till I become
Thy fit companion in that land of bliss ?

Both Inflections, in connection.

Rule 1.-" Negation opposed to affirmation."

It is not a parchment of pédigree,-it is not a name derived from the ashes of dead men, that make the only charter of a king. Englishmen were but slàves, if, in giving crown and sceptre to a mortal like ourselves, we ask not, in return, the kingly virtues.

The true enjoyments of a reasonable being do not consist in unbounded indulgence,* or luxurious éase, in the tumult of passions, the languor of indolence, or the flutter of light amusements. Yielding to immóral pleasures corrupts the mind; living to animal and trifling ones, debases it; both, in their degree, disqualify it for genuine good, and consign it over to wretchedness.

What constitutes a state ?—

Not high-raised battlements, or laboured mound, Thick wall, or moated gáte;

Not cities proud, with spires and turrets crowned, Not bays and broad-armed ports,

Where, laughing at the storm, proud návies ride; Not starred and spangled courts,

Where low-browed baseness wafts perfume to príde ! No!-men,-high-minded MÈN,

Men who their dúties know,

But know their rights, and, knowing, dare maintain. Note. "Concession and unequal antithesis."

The clouds of adversity may darken over the Christian's páth; but he can look up with filial trust to the guardian care of a beneficent Father. I admit that the Greeks excelled in acuteness and versatility of mind. But, in the firm and manly traits of the Roman character, I see something more nòble, more worthy of admiration.

We war against the leaders of evil-not against the helpless tools: we war against our opprèssors,—not against our misguided brethren.

Still, still, for ever

Better, though each man's life-blood were a river,
That it should flow, and overflow, than creep
Through thousand lazy channels in our véins,
Dammed, like the dull canal, with locks and chains,

And moving, as a sick man in his sleep,
Three paces, and then faltering; better be
Where the extinguished Spartans still are free,
In their proud charnel of Thermopyla,
Than stagnant in our marsh."

Exception." Emphatic negation."

I'll keep them all;

He shall not have a Scot of them;

Nò, if a Scot would save his soul, he shall not.

Do not descend to your graves with the disgraceful censure, that you suffered the liberties of your country to be taken away, and that you were mutes as well as cowards. Come forward, like mèn; protèst against this atrocious attempt.

I am not sounding the trumpet of war. There is no man who more sincerely deprecates its calamities than I do.

Rest assured that, in any case, we shall not be willing to rank làst in this generous contest. You may depend on us for whatever heart or haud can do, in so noble a cause.

I will cheerfully concede every reasonable demand, for the sake of peace. But I will not submit to dictation.

Rule 2.-"Question and answer."

Do you think these yells of hostility will be forgotten! Do you suppose their eche will not reach the plains of my injured and insulted country, that they will not be whispered in her green valleys, and heard from her lofty hills? Oh! they will be heard there; yès, and they will not be forgotten.

I will say, what have any classes of you, in Ireland, to hope from the French? Is it your property you wish to preserve ?-Look to the example of Hoiland; and see how that nation has preserved its property by an alliance with the French! Is it independence you court PLook to the example of unhappy Switzerland: see to what a state of servile abasement that once manly territory has fallen, under France! Is it to the establishment of Catholicity that your hopes are directed P The conduct of the First Consul, in subverting the power and authority of the Pope, and cultivating the friendship of the Mussulman in Egypt, under a boast of that subversion, proves the fallacy of such a reliance. Is it civil liberty, you require ? Look to France itself, crouching under despotism, and groaning beneath a system of slavery, unparalleled by whatever has disgraced or insulted any nation,

Shall I be left forgotten, in the dust,

When Fate, relenting, lets the flower revive?
Shall Nature's voice,-to man alone unjust,-

Bid him, though doomed to perish, hope to live?

Is it for this fair Virtue oft must strive

With disappointment, pénury, and páin?

Nò: Heaven's immortal spring shall yet arrive,

And man's majestic beauty bloom again,

Bright through the eternal year of Love's triumphant reign,

Rule 3.-" Disjunctive 'Or.'"

Will you rise like men, and firmly assert your rights, or will you tamely submit to be trampled on ?

Did the Romans, in their boasted introduction of civilisation, aet from a principle of humane interest in the welfare of the world? Or did they not rather proceed on the greedy and selfish policy of aggrandising their own nation, and extending its dominion?

Do virtuous hábits, a high standard of morálity, proficiency in the arts and embellishments of life, depend upon physical formátion, or the latitude in which we are pláced? Do they not depend upon the civil and religious institutions which distinguish the country?

The remaining rules on "inflection," as they are of less frequent application, are thought to be sufficiently illustrated by the examples appended to each rule. A repetition of these, however, may be useful to the student as an exercise in review.

LESSONS IN MUSIC.-VIII.

MENTAL EFFECT OF NOTES. WE have now to treat of a most important subject, and one which should be thoroughly well understood by every pupil. We refer to the mental effect of notes. Let us put the topic in the form of a question. What is the principal source of a note's power to affect the mind? We observe, for instance, in one of

The penultimate inflection falls, when a sentence ends with the Handel's songs, that a certain note produces a certain effect rising alide.

upon our minds. Why does it produce that effect? Is there

any law by which such mental effects are chiefly regulated? To these questions we answer, that many circumstances may modify the mental effect of a note, but that it is mainly produced by the principle of key-relationship, in connection with rate of movement. We believe that every note of the scale (whatever may be the pitch of the key-note) has a peculiar "mission" of its own to the human mind a proper mental effect, which circumstances of pitch, quality of voice, rhythmical arrangement, peculiarities of expression, etc., may modify, but cannot efface. Let us take an example, and look at it in these various lights. It cannot be doubted that the last note in the following phrase, from Dr. Calcott's well-known glee, produces a mental effect peculiarly appropriate to the word to which it is set. That note we call LAH. It is the sixth above or the "minor third" below the key-note. The question is, How comes that note to produce a sorrowful impression on the mind? What is the law, if there is one, by virtue of which that note possesses its power? Let the pupil sing the phrase:

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1:tear.

For- give, blest shade, the Try first the various conditions of pitch. Take a higher sound, say G, for your key-note or DOH, and sing the phrase again. You will notice that the mental effect is modified, but it remains essentially the same. Again, while in the key of G, sing the phrase, taking the lower LAH, instead of the upper. The effect on the mind is more gloomy, but it is still the same effect. It is not the mere height in pitch, then, that gives to the LAH its peculiar characteristic of sorrowfulness. The difference between the same tune set in a low and in a high key is undoubtedly great, but the special effect of each individual note remains of the same kind. Next try the effect of what is called in French "timbre," or different qualities of sound, upon this note. Let the phrase be sung by a rough voice, a clear voice, a hard voice, a mellow voice, etc., or let it be played first on a flute, next on a trumpet, and again on a violin. Such changes will certainly modify the mental effect. One voice or instrument may be better than the other, but they will all agree in expressing, on the note LAH, the sorrowful sentiment, and, if they sound the note correctly, they cannot help doing so. This mental effect is therefore independent of the mere qualities of sound, and is governed by some other law. Let the next experiment be in relation to interval, for some persons might imagine that the "distance in pitch" between RAY and LAH, called a fifth, produces the mental effect. Therefore sing the word "tear," when you come to the close, thus :

this second mental effect, and that no other note produces the same effect, however you may quicken its rate of movement. There is still, therefore, a law presiding even in this "duplicity" of mental effect. This note LAH (sixth above or "minor third" below the key-note) is now proved to possess twin mental effects, the one showing the grave, the other the gay side of a certain emotion. So is it with every note of the scale. ship" gives it a certain acceptance with the mind, and "rate of "Key-relationmovement" has a certain way of modifying that impression. To prove, however, that the key-relation into which a note is thrown, by the sounds which have been heard before it, is the principal producing cause of mental effect, we must try another experiment. Take the same sound, as to absolute pitch, and vary its key-relationship. Strike the "chord" and scale of B, for instance, and then the note B, at length, noticing its mental effect. Next strike the chord and scale of A, followed by the same note B (the same in pitch), as a long note. Notice, now, its effect on the mind. How changed! Try, next, the chord and scale of G, and observe the note, in the same way. How changed again! Try other keys, and you will find that every change of key-relationship makes a change in the reception which the mind gives to that particular sound of unaltered pitch. If you wish to prove this to an incredulous friend, tell him that you are about to play to him, on the flute or piano, a number of long notes, and that, without looking at your playing, he is to tell you, as well as he can, what notes they are, and describe their mental effect. Then play to him the following phrases, and ask him, at the close, whether the notes were the same, or, if not, how they differed. Unless he takes care to keep singing the note B all through (which would be a physical rather than a mental test), he is sure to suppose the notes different. Of course you must be acquainted with some instrument to perform this experiment. The violin will give it most accurately.

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You will find that every change produces a modification of the idea, but the idea itself belonging to LAH remains still the same. Interval, therefore, is not the law which governs mental effect. In a similar way you may try whether singing the same sound to different words or syllables, or with different modes of expression" (as loud, soft, etc.), will produce any material changes. And when you have found that none of these various conditions of the note can rob it of its own peculiarly emotional character, then try another and most important experiment. Vary the rate of movement. Instead of singing the phrase slowly, sing it as rapidly as though it were a jig. You will then understand why we said that key-relationship, in connection with rate of movement, was the chief cause of mental effect. The note seems, now, to express an abandonment to gaiety, instead of sorrow. But notice that LAH, sung quickly, always produces

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Why a note's standing at a particular interval from the keynote should give it a particular musical effect, we do not know. We can only notice the fact, and make use of it in teaching. There must come to us, along with the actual sound itself, some mental association of the relationship of interval (indicated by preceding notes) which has been thrown around it. The memory of notes just heard hovers around that which we now hear, and gives it its character. Quick succession approaches in effect to co-existence, as is familiarly shown in reference to the eye by the zoetrope and other optical toys. Thus when once the key is established by the opening notes of the tune, it is still felt to be

present, as a mental element, with every single note that follows. In a similar manner, the effect of a given colour-the artist will tell us is modified by the surrounding ones, or those on which the eye has just rested. This is a deeply interesting subject, and deserves to be well studied and further explored, especially in connection with harmonic combinations and effects.

These mental effects of notes in key have often been noticed in books of science. Dr. Calcott refers to them in his "Musical Grammar." M. Jeu de Berneval, Professor to the Royal Academy of Music, in his "Music Simplified," illustrates them very ingeniously and beautifully. Dr. Bryce introduces them into his "Rational Introduction." It would seem surprising (did we not know how the old notation, with its attempted, but inaccurate, scale of fixed sounds, takes up the learner's time, and distracts attention from the real beauties of musical science) that these interesting facts, so well calculated to aid the pupil, have been so little used in elementary instruction. It is obvious that the moment a pupil can recognise a certain musical property in any note, he will be able to produce the note with the greater accuracy and satisfaction. From extensive experience we have found that infants and persons with untrained voices are able to appreciate these points, and derive constant pleasure and assistance from the knowledge of them. The teacher will find himself well repaid by a most careful attention to this subject.

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2. In searching your heart should you find you intend Some good to yourself or another to do,

To relieve the distress'd or yourself to amend,
Oh! watch the bright time when the purpose shall glow;
For happiness hangs on the moment I wot,

IF YOU FAIL NOT TO STRIKE WHEN THE IRON IS HOT.

3. Whene'er by a smithy you happen to pass,

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And hear on the anvil the hammer's loud clang, This truth in your mind do not fail to rehearse, That you heard from a blacksmith as blithely he sang"IF GOOD BE YOUR AIM, BE WHATEVER YOUR LOT, NEVER FAIL, SIR, TO STRIKE WHILE THE IRON IS HOT." In the "second part' of this tune notes FOI and TU occur. These notes will be more fully and clearly explained hereafter. For is a note a little less than half a tone higher than FAH. It always follows FAH, and seems to rise out of it. It is called a chromatic or colouring note. Tu is nearly the same sound in pitch, being a little more than half a tone lower than soн. It holds the same relation to SOH which TE holds to DOH. It is, in fact, the seventh note of a new key, but more of this hereafter. It is enough for you to notice, now, that it does not follow or rise out of FAH, and that it does not produce the same "colouring" effect with FOI. Observe that TU has the lower octave mark on it.

In singing the words, be careful to notice the italics and SMALL CAPS which indicate expression. The little mark, like two interlacing crosses, is called a sharp. It raises the note, before which it stands, something less than half a tone. You will remark that there is nothing, in the old notation, to distinguish TU from FOI. Two different things are represented by the same signs.

In the next lesson we shall commence an examination of the different notes, with this point in view, and furnish illustrations from the great masters. It is sufficient for us here to request the pupil to read with care, and put to the test, the following

remarks::

The notes DOH, SOн, and мE give to the mind an idea of rest and power (in degrees corresponding with the order in which they are named), while TE, FAH, LAH, and RAY (in similar degrees), suggest the feelings of suspense and dependence. Thus, if after we have heard the principal notes of the key, the voice dwells on the sound TE, the mind is sensible of a desire for something more, but the moment TE is followed by DOH' a sense of satisfaction and repose is produced. In the same manner the mind is satisfied when FAH resolves itself into ME, and LAH (though not so decidedly) into sоH. RAY also excites a similar feeling of inconclusiveness and expectancy, which is resolved by ascending to ME, or, more perfectly, by falling to

DOH.

Notice the power and vigour given to the tunes GRIFFIN, LEYBURN, and BLACKSMITH, by the notes DOH, SOH, and ME. Sing the tunes over for the purpose of forming an independent judgment on this point. Then, to show the effect of the "leaning" notes, sing slowly as follows:

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EXERCISE 53.-LATIN-ENGLISH.

1. Omnis natura est conservatrix sui. 2. Mirum desiderium urbis, meorum, et tui, tenet me (desire for, or after). 3. Pater vehementer tuâ sui memoria (thy recollection of him) delectatur. 4. Ira est impotens sui (has no power over itself). 5. Sapiens semper potens sui est. 6. Vestri cura (care for you) me angit. 7. Omnes homines benigni judices sui sunt. 8. Vehementer grata mihi est memoria nostri tua, 9. Ami cus mei et tui est memor. 10. Pater absens magno desiderio tenetur 11. Amici sunt nostri mei, et tui, mi frater, et vestri, O sorores, memores. 12. Multi vestrum mihi placent. 13. Plurimi nostrum te valde diligunt.

EXERCISE 54.-ENGLISH-LATIN.

1. The unwise man (fool) has no power over himself (impotens sui). 2. The father has power over himself. 3. Virtue has power over itself. 4. Vice has not power over itself. 5. Has anger power over itself? 6. Nature is preservative of herself. 7. The nature of virtue is preservative of itself. 8. No one of you has power over himself. 9. Very many of us have power over ourselves. 10. A treacherous friend is 11. Faithful friends are not mindful of themselves. 13. Care

unmindful of me.

12. Thy recollection and desire of me are very pleasant to me. for thee tortures me. 11. Most of you, my scholars, are industrious.

15. Wonderful is the love of self.

The de

Certain pronouns in Latin bear the name of demonstrative, because they point out (in Latin, demonstro, I point out; E. R. demonstrate) the person or persons that are intended. monstrative pronouns are is, ea, id; ille, illa, illud; iste, ista, istud; hic, hæc, hoc. Of these, is signifies this or that, and approaches to our personal pronoun he, his, etc.; hic denotes this person, that is, the nearer to the speaker; ille, that person, farther from the speaker; iste, that person, particularly when a person is addressed, the second person. From is, ea, id, idem, the same, is formed by the addition of dem; thus, is-dem contracted into idem (pronounced i'-dem), eǎ-dem, id-dem or idem (pronounced id'-em). To these may be added, ipse, ipsa, ipsum, he himself, that very person. In the following manner decline the

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