ANSWERS TO CORRESPONDENTS. D. D. (Sheffield).—Sound äre, ère, &c., as two syllables; but if a stem, such as am or doc, be prefixed, then sound the words as three syllables, viz., amare, docere, &c. CENOTAPH-He will find some lessons on Drawing in the article on the "Elements of Design," in the ILLUSTRATED EXHIBITOR, NO. IX., new series. There is a corporate body or society of schoolmasters, already in existence. DESIRE.—We really do not see how French can be thoroughly learned, unless the Rules laid down in the Lessons are properly committed to memory. M. W. (Lincoln's Inn).—We thank him for his corrections, they shall be carefully attended to in future editions. G. J. T., (St. Mark's-road).-The term Messiah, though a scriptural one, is neither the only nor the first one applied to the wonderful person called Christ. Being found in some prophecies relating to him, it was adopted by the Jews as an exclusive term descriptive of his office, and of their expectations conceruing him. This term, which signifies, according to Gesenius, “ANOINTED-that is, prince consecrated by anointing"-was endeared to the captive Jews by the glorious prophecies of Daniel concerning him, and was cherished by them for at least 490 yearsbefore his advent, as containing in itself, as it were, the sum and substance of their future hope,-namely, universal dominion over all their enemies, and over the whole world. Hence their frantic rage at the assumption of this name by Jesus Christ; for Christ in Greek signifies Messiah in Hebrew. The first place where the term Messiah occurs is in the song of Hannah, the mother of Samuel. (Sam. i., chap. 2, ver. 1-10.) The concluding sentence reads thus: "Jehovah shall judge the ends of the earth, earthly king, or to him who was afterwards spitefully and contemptu- Solutions incomplete, incorrect, or not according to the data. query 7.-T. B., Durham; Douglas; W. W. G.; C. K.; J. P., Dundee: T. H. S.; C. W. H.; J. P., Summertown; A. W., Tiro; W. E. D., W ling-street; J. Howell; J. K. S., Belfast; H. M-8; and others. query 8.-E. C. H.; F. T-y; W. F.; A. W.; T. L-l; and others. The case of J. S. M., Glasgow, is that of too many of our reades want of time. But this is not a reason, why we should alter our p for those that have time. Besides a variety of subjects is necessary r a variety of readers, and what does not please one may please anothe and even what does not please our subscribers at one time, may play ↑ them at another. People often change their mind, and often fir better. We advise our friends who have little time, to take thing a by so doing they will get through a great deal more than if they ried themselves about it. We commend J. S. M. for his good, his determination, not to look at the next lesson till he is fully acquainted.. the former. Still, having the next lesson in his library uncul, W. him no harm, neither will it do us any. In fact, it may do him pa for it will act as a spur, if he does not take a wrong view of the L He will also recollect that he is not alone, and that many thousa our readers are similarly circumstanced, J. C.-If he has time let him study English and Latin together English and French together. If he wishes science, let him English and Arithmetic together, in preference to either of these p Two studies together will relieve each other, and they are eno all the evenings of the week, after 6 P.M. If he has less time, t take only one study, viz. that which he likes best. MECHANICUS (Witney).-Question 1: answer, no. Question 2: yes. Question 3: answer, yes.-J. STUART, Aberdeen: yes-R W., Newcastle-on-Tyne; yes.-T. H. S.-Yes, if you have tim W. T., North Shields; the question is not algebraical, seeing the for solution is given.-UN JEUNE HOMME; yes.-F. MARKS, T I bind; a few inaccuracies exist in his translation.-J. K. C. L., German grammar is that by Dr. Tiarks. E. C. H. (Luard-street).-As to his fourth sound of a, we think near that of a in an, that it may be counted the same. It is very visable to multiply the sounds of the same letter. G. J. T. (St. Mark's-road).—He will find a more complete solution serted in this number. His remarks on the glossary are correct. 23 optical question will be explained at a future period. A correspondent at Burton-on-Trent is right. W. Y. Z.-Valde means very, very much, greatly, &c. His lesson i "Why do the heathen [Pilate and the Romans] rage? And the tolerably correct; only he should not spell bonus with double ". people [the Jews] imagine a vain thing? The kings of the earth [the R. J. (Liverpool).-He should look for the place where the ship t Romans] set themselves, and the rulers [the chief priests and scribes] spoken, in a map of the sea, which is called a chart. Charts are take counsel together against Jehovah, and against his Messiah," &c. structed for various seas and oceans, as the Baltic sea, the A There are certain psalms, in fact, which so clearly describe the coming ocean, &c. In quoting the latitude, he has left out N. or S., 80 tha of Christ and the nature of his kingdom, that they are called Messianic cannot tell whether he means north or south; and E. or W, 60 tha psalms. But the clearest reference to the Messiah by name is contained are in the same dilemma for east or west. To double the cape" me in the book of Daniel, chap. ix., ver. 26: but read the context from ver." to sail round it." A ship sails to Australia, first on a south-we 14 to ver, 27, inclusive. For a full and satisfactory account of this in-course, then on a south-easterly course, varying both within cera teresting inquiry, we refer to Dr. Pye Smith's "Scripture Testimony to points of the compass, as the direction of the wind may require. the Messiah," Book II. R. Mc F. GREENOCK-C. A. S.-The verbs taceo and gaudeo, are called neuter verbs, because they express neither action nor suffering, that is, they are neither active nor passive in their signification, but express simply the state of their subjects. They are therefore intransitive, that is, they convey no action to an object. Taceo, however, is sometimes used transitively by Cicero, when it means to be silent with regard to any thing, i.e. to keep it secret. These verbs are very rarely used passively. C. B. AND OTHERS.-The best rule for the aspiration of h is to observe the practice of good writers and speakers. In the case of nouns, wherever the article a is used before a noun beginning with A, this letter must be aspirated; as a hand, a hinge, a hound, a heat, &c. But wherever the article an is used before a noun beginning with h, this letter must be silent or not aspirated; as an honour, an hour, an heir, &c. Generally, the verbs from which such nouns are derived, follow the same rule with regard to the aspiration of h, as the nouns themselves; as in the verb to heat, it is aspirated; but in the verb to honour, it is not aspirated. J. S. R.-Z. P.-The nor in No. III. page 36, line 2, is a misprint in some copies, it should be non. The same is true of ta cemus it should be tacemus. The English pronouncing dictionary, usually referred to as an authority, is Walker's. R. M.-It is our intention sooner or later to enable our reade ascend the "Alpine peaks and snowy mountains" of learning, B he mentions. G. W.--He will find his queries answered elsewhere. Let him 65? both together if his leisure will permit. HENRY CATER-Most young men have acquaintances. LEKE young man in a given neighbourhood speak to his acquaintances posing the formation of a society for co-instruction, (a new name very good one,) and let him act as secretary pro tempore, by pro re nata meeting. When the meeting has taken place, let some elderly and respectable person to take the chair by acci and let the chairman shortly announce to the meeting the purpo which it is called. Let the pro tem. secretary then state his rem clearly as he can, and proceed to take down the names of those are willing to join the society. Let a committee be then appoi carry the plan into effect, and let a second meeting be appor the members only who have joined the society, which may be ca Co-instruction Society of the place or district wherever it may be At this second meeting let a very few rules be drawn up and sub to the meeting, on the questions of expense for a room to meet the plan to be followed in the management of the future met Let all things be done decently, and in order, and success attend the effort. Let the meeting then agree (not differ) on the Correct solutions of query 7, No. II., have been received from Eureka; J S F.; W. F.; A. Scott; Jacobus, Perth; P. M. C., Aber-ject to be studied, and let them at once follow the method recomme deen; G. W. Perry; Thomas Daines; L. R. J., Leeds; D. Keay, Dundee; J. B., Leith; J. H. E-d, Middleton; A. B. C., Pembroke dock; T. E. R-s; Whetstone; and others. Correct and ingenious solutions of query 8, No. II., have been received from Eureka; Matthew Spears; Henry Hill; E. Lord; J. L. N., Dublin; a Scholar, Coatbridge; J. K. L., Belfast; J. W. CARD; and A. B. C., Pembroke-dock. AMICUS (Bromley)-F. Y. Z. (Wolverhampton).—Yes. in No. 5, in the answer to H. King. The phrase pro tempore mea EDUCATOR. TWO READERS-T. W. (Oldham)-J. W.-Gramma-D. (Shields) Printed and Published by JOHN CASSELL, 335, Strand, and Ludgaten Pallio-W. S.-H. C.-Everything they mention in its own order. London.-May 22, 1852. LESSONS IN MUSIC.-No. IV. By JOHN CURWEN. THE learner must be careful not to let his thoughts be confused by the different uses of the word "time" in ordinary musical language. You will meet with the phrases "common time," "triple time," &c. The word "time," then, refers to the orderly recurrence of accents-the measure." In the phrases "quick time," "slow time," &c., it means rate of movement, the speed with which the accents recur. And when we are requested to "keep the time,” it is commonly meant that (though we may have been correct in the rate of movement, and accurate in the recurrence of accents) we have not given the exact proportionate length of each note. It is known that the swings of the same pendulum are of equal length in time, whether they are long or short in respect of the distance traversed; and that the longer the pendulum, the slower its movement; and the shorter the pendulum, the quicker its movement. This gives us the means of regulating the "rate of movement" in music as well as in clockwork. There is an instrument called a METRONOME or "measure"-ruler, the pendulum of which can be lengthened or shortened according to a graduated scale, so as to swing any required number of times in a minute. Let each swing of the metronome correspond with an aliquot or "pulse" of the measure, or in the quick senary measure, with the loud and medium accents. Then, if the number at which the weight is set, on the graduated scale of the metronome, be given in the signature or title of the tune, it will indicate to others the rate at which that tune should be sung. Thus, “M. 66," placed at the bead of a tune, signifies that, while this tune is sung, the metronome should swing at the rate of sixty-six swings a minute; and that each aliquot of the measure should keep pace with a swing of the metronome. The larger metronome, which is kept in motion by clockwork and "ticks" to every accent of the measure, costs 30s, and upward-that which strikes a bell on the recurrence of each stronger accent being much more expensive. The smaller metronomes, which simply oscillate without noise, are sold at 8s. and upward. Very much cheaper instruments will no doubt be made for schools when there is a demand. Meantime, each teacher and scholar too may make his string pendulum, which will answer the end very fairly. For this purpose, fasten a penny or some such weight at the end of a piece of string. Then, at four inches and five-eighths from the weight, tie a double knot. Hold the string by this knot, and the weight will swing at the rate of 160 swings a minute, and make your pendulum correspond with M. 160. At 6} inches tie a single knot; and that length of pendulum will correspond with M. 138. The double knots may mark the distances most used, and the single knots those used occasionally between them. The rest of the pendulum may be constructed to the following table-S. standing for single, and D. for double knot. 1st D. at 4 inches from weight = M. 160. The "string pendulum" which is here recommended for its convenience of measurement by a common carpenter's rule, is slightly inaccurate, though quite near enough to the truth for all practical purposes; but, as many may not like the trouble of making such an instrument, it is well to mention that "portable metronomes" are now sold by Mr. Edward Greaves, 57, Southstreet, Sheffield (at 5s. and upward); and Mr. D. Scholefield, Stationer, Huddersfield (at 6s. and 4s.); any of which can be sent by post. Some such instrument should be used by every pupil. Though it need not be always used for the exercises, it should be constantly referred to as a standard, and strict attention should be given to it in the earlier lessons. When you have learnt to sing the notes of a tune correctly, then set your metronome swinging, and practise singing the tune at the proper rate, or "in the right time." After considerable practice has taught you to keep the accents at regular and equal distances, you will only need your " pendulum" to give you a correct idea of the “rate of movement," before you commence singing a tune. An accomplished solo singer, or instrumentalist, need not confine himself to strict clock-time, tional expression. You, however, are a long way from that but should vary the rate of movement according to the emoposition, and should carefully practise yourself with this instru ment until you have established in your mind and ear a sense of time. It is not an easy thing for an unpractised singer to keep an equal rate of movement throughout a tune without aid, but he frequent use of the pendulum is the best means hitherto promust learn to do it; and we are persuaded that a careful and posed for the attainment of this power;-but it is customary to recommend the practice of "beating time." To those who may wish to adopt this plan, the diagrams below-explaining the method of "beating time" for the different measures-may be of use. But we are persuaded that to many persons this is no help at all, but only a hindrance. Let us keep in mind that the object to be gained is-first, a mental perception of equal movement, or the regular recurrence of the pulses, and secondly, a mental command, by which the muscles of the larynx are made to obey the conceptions of the mind. Both these may be gained by careful practice, discipline, and effort on the part of the pupil. It a regular movement of the muscles of the arm is easier to him than a regular movement of the muscles of the larynx, then let him use the first as a guide to the second — not otherwise. It is, however, frequently necessary, when many sing together, that the leader of the band should beat The SENARY measure may be beaten in the same way as the time, either with a wand, or by the movement of his own hands. binary. 1st S. at 6 in. 2nd D. at 94 in. 2nd S. at 1 foot 18 in. 3rd D. at 1 foot 7 in. 3rd S. at 2 feet 61 n. 4th D. at 3 feet 10 in. d. The dot after a mark of continuance shows that the previous note is to be continued through half that aliquot, thus | d.r: m.fm d d -f|m :d e. A comma signifies that the note before it fills a quarter of the time from one accent to the next. The last note in an aliquot does not require a mark after it, as the proportion left to it is sufficiently evident. Thus, d :d.d,dĵd :d or dt.d,rd d f. The dot and comma together show that the note before them fill three-quarters of the time from one accent to the next, thus | d.,r: m.,f❘ m.,r: d 9. This mark, indicates that the note before it fills onethird of the time from one accent to the next, thus dis 1sfm:r d h. An aliquot or any part of an aliquot left unfilled indicates a pause of the voice, thus dim: d r r m fant voices | md of sing. hark! hark!' hark! thus, Id :-.fm :d while in NOTATION OF SLURS, REPEATS, AND EXPRESSION. a. When two or more notes are sung to the same syllable, they are said to be slurred. The slur is indicated by a stroke beneath the notes. be made to keep time,—that is, follow his leader, it is by no means necessary that he should at first be able to beat time, that is, act as leader. It may be said that he requires to keep time when singing alone. This is true. But if his mental conception of time cannot guide him to a correct and regular movement of the muscles of the larynx, neither will it guide him to a correct and regular movement of the muscles of the arm. On the contrary, by making him first to regulate the motion of the arm by his mental feeling of time, and then to regulate the motions of his organ of sound by that of his arm, we give him two things to do instead of one, and therefore double the chance of going wrong by the very measures we take to keep him right. There can, therefore, be no greater practical blunder in teaching, than the premature attempt to teach the beating of time to those who are yet struggling with the difficulties of the scale; and, instead of being any assistance to them in keeping time, it is the most effective hindrance. Dr. Burney, in his "Dissertation on the Music of the Ancients," prefixed to his "General History of Music," seems to have proved satisfactorily that one of the greatest improvements of inodern music is, that we have learned to keep time with less external flourishing and hammering than was necessary in ruder ages, whose music was little more than an exaggerated way of marking the feet of the poetry to which it was sung. He concludes his account of the operations of the ancient Coryphæus, or leader of a choir, in the following words :-" It was not only with the feet that the ancients beat the time, but with all the fingers of the right hand upon the hollow of the left; and he who marked the time or rhythm in this manner was called MANU-DUCTOR. For this purpose they used oystershells and the shells of other fish, as well as the bones of animals, in beating time, as we do castanets, tabors, &c. Both Hesychius and the Scholiast of Aristophanes furnish passages to confirm this assertion. What a noisy and barbarous music; all rhythm and no sound! It would afford us no very favourable idea of the abilities of modern musicians if they required so much parade and noise in keeping together. 'The more time is beaten,' says M. Rousseau, the less it is c. Greater "expression" is sometimes given to music by kept.' Rousseau's opinion is, perhaps, too strongly ex-regulating the degree of force with which certain parts of the pressed; but I think no person of good taste can doubt that strain are to be delivered. This is done by means of the fol it is, in the main, well founded. The practice of making a lowing signs placed over the notes:→→→ whole class beat time while they sing, is a return to barbarism. The proper mode of teaching this part of practical music would be to make the members of the class act as leaders in turn; or, if the class be large, one or two at once might be taken out, placed in front of the others, and employed to beat the time-first with the assistance of the teacher, and afterwards by themselves. See Dr. Bryce's "Rational Introduc-marks tion to Music." * : : : a. A note placed alone immediately after an accent mark is supposed to occupy the time from that accent to the next. Thus d d d d d d d or thus dr im :d b. A stroke indicates the continuance of the previous note through another aliquot (or pulse), thus | d d d :— or thus dd :d :ď |dď : — Id :::dd: c. A dot divides an aliquot into equal parts and shows that the note before it fills half the time from one accent to the next, leaving only half an aliquot to the note or notes which follow, thus dd.dd :d Id :d.dd-orld :m.r id:s d mrd b. In some tunes it is required to repeat certain parts of the strain. The manner in which this is done is indicated by the following signs:- D. c. abbreviated from the Italian Da Capo, means “Return to the beginning." D. S. abbreviated from Dal Segno, means "Return, and sing from the sign.' 8. is used for the Sign, and F. abbreviated from Fine, shows where such repetitions end. d. Sometimes it is needful to indicate the manner in which that force is to be thrown in. For this purpose the following are used:→→ denotes a swell, the voice commencing softly-becoming louder-and then closing softly. denotes increasing force. denotes diminishing force. or over a note shows that it should be sung abruptly and with accent. The same piece of music often requires to be sung with different expression, according to the different words with which it may be used. In that case the marks of expression should be placed on the words. It is proposed that— CAPITAL LETTERS, in printing, or double lines under the word in writing, should distinguish words to be sung louder than others; that Italic letters, in printing, or a single line under the word in writing, should indicate softness; that The acute accent should denote special abruptness and decision of voice; that A stroke above the words, in printing, a succession of little strokes over or a stroke through the word in writing, should show a heavy movement; the accents being dragged along, and the lighter ones little distinguished from the stronger: and that ་ The grave accent I placed on the words, which fall to the strong accent of the music, should indicate a spirited movement, with marked attention to accent. words slowly or quickly. The "heavy movement" mentioned A slower or quicker movement may be expressed by the 1 d 8 mm.rd.t above necessarily tends to slacken, as the " spirited movement" does to quicken the pace of the singes. In the first number of the "Tonic Solfa Reporter" will be found a selection of hymns marked for "expression on the plan here proposed. An analysis of those markings has elicited the following principles, which may be of use to the student:-Passages should be marked to be sung softly in which (1) any peculiarly solemn or awe-inspiring thought is expressed; (2) a change from praise to reflection, or (3) from reflection to prayer. Passages should be marked to be sung loudly which express (1) joyful praise, (2) strong desire, (3) ardent gratitude, (4) high resolve, or (5) some inspiring thought. STANDARD SCALE. க THE STANDARD SCALE.-A certain note "about midway between the highest and the lowest that can be perceived by the ear" is fixed on by musicians as the standard of PITCH, and the notes arranged upon it, according to the order of the "common mode" or scale already described, are called THE STANDARD SCALE. This note is called c. The second note of the scale is called D; the third ; the fourth F; the fifth o; the sixth A; the seventh B; and the replicate or octave c again. A note something less than half a tone higher than any one of these notes is said to be that note sharpened, as "G sharp." A note something less than half a tone lower than any one of these notes is said to be that note flattened as "B flat." M. Fetis (a wellknown French writer) truly observes that "a sound cannot be altered or substituted for another without ceasing to exist. Do (or c) sharp is no longer Do (or c). It is a mere error so to call it, and it is one of those errors which have tended to render music obscure." But so it is called and we must be content with this warning against the dangers of obscurity. The particular pitch assigned to this note c and consequently to the other notes of its scale is called "concert pitch." The moderns generally fix the sound of c as that which would be produced by 256 vibrations of a sonorous body. The accepted" concert pitch" has been gradually rising to this standard within the last few years, so that Handel's music (unless we lower the key) is sung nearly a tone higher than he meant it to be. The pitch of the key-note may be given in the heading or title of a tune, thus "key a,' key a," " 'key в flat," &c. In EXERCISE 15. C GRIFFIN. "pitching a tune" it is usual to take the upper c' of the standard scale from the TUNING FORK or the pitch pipe to descend to the pitch-note required, and then give its sound to the syllable DOH. DOH, thus fixed, establishes the relative position of all the other notes of a tune. Suppose the "pitch-note" required is D. Then you would take c' from the tuning fork, and run down till you come to D, which you would "swoll out" a little, and then sing the same sound to DOH, taking the "chord" afterwards. Thus :| 0: : BAG: FED | | DOH : ear. If you find any difficulty in singing your ABC backwards, remember that after sounding the o' you have only to spell the words BAG and FED. To pitch в flat, sing the c to the syllable soн, and striking FAH, which will be B flat, call it DOH. The upper c' is used in pitching because the higher sounds are found to be more distinctly and correctly appreciable by the Tuning forks can now be obtained for a shilling or eighteen pence. The wholesale price is 10s. a dozen. We mention this to stimulate our friends to the purchase of these useful instruments. With a small sized one in his pocket the good solfaer is ready to take up a tune-book and make out a tune without the need of any other instrument. After a time he will become, with a little practice to that end, quite inde pendent even of the tuning fork. He will soon learn to recall the pitch note c' at will. Those who are studying the old notation will like to see the Standard Scale represented on the staff. It stands thus : C1 B A G F E D But a man's voice, taking the o from the tuning fork, would sing the scale an octave lower, thus : KEY F. C B1 A, G, F, E, D, C, (Music by H. BURNET, Esq., Manchester. Words from LONGFELLOW.) 4 Trust no future, howe'er pleasant 5 Let us then be up and doing, NOTE.-The pupil will now pitch his own key-note as indicated in the title. If, however, he is not yet provided with a tuning fork, let him take DOH at a rather low pitch. A stroke beneath two or more notes, shows that they are to be sung to one syllable of the words, or "slurred." The comma, after a note, gives it a quarter of an aliquot;-the dot and comma, three quarters. Be careful in singing this correctly. Exercise yourself in singing the two notes first with a dot only, and then with a dot and comma between them. The tune is Mr. Burnet's copyright. It may be found harmonised for four voices, in "People's Service of Song." All the early exercises in this course are given in two-part harmony, because we are persuaded that, by two-part harmony, the ear is best taught to understand that which is more complex. These exercises should be sung by "equal voices;" that is, by two male voices, or by two female or children's voices. It will not sound quite so well if the air (or upper part) being sung by a female voice, the lower part is sung by a male. For the male and female voice are naturally an octave apart, and the intervals cannot be so "close" and sweet. [When you have traced and solfaed this tune from the modulator perfectly, your next step will be to “figure" it ;—that is, sing it to the words "one, two, three, four, five, six, seven, eight. One, two, three, four, five, six, seven, &c." As you know these words sery familiarly, your attention will not be distracted by them (as it might be by other words) while you try to strike the intervals correctly, without that help to the memory which the solfa sylLables give. You may afterwards sing the words; but remember that this tune must be sung with spirit (abrupt decision) or not at all. A curve over, or under two or more notes, indicates a slur. In previous exercises we have had a black note (crotchet) to correspond with an aliquot or pulse of the measure. In this tune, we have used an open note (a minim) for the aliquot. We prefer using the crotchet as the standard aliquot; but, as it is not always so used, we have made this change to indicate that fact. It makes no difference to the music. There are still four pulses to the measure, and they move at the rate indicated by the metronome.] LESSONS IN LATIN.-No. VIII. NOUNS, SUBSTANTIVE AND ADJECTIVE-Continued. ALL the nouns of the fifth declension end in es in the nominative singular. This ending arises from the addition of the terminations to the characteristic vowel of the stem,—namely, &, which thus becomes es. This characteristic vowel appears in all the cases. The ablative ending in is blended with the of the stem. All the nouns of this declension are feminine, except dies, a day, and its compound, meridies, mid-day, the south. Dies, in good prose, is used as a feminine only when it signifies generally a time, or duration, or a fixed day, an appointed time; as dies dicta, dies constituta, an appointed day; longa dies, a long period; damnosa dies, a time of suffering; dies perexigua, a very brief period. In the plural, dies and meridies are masculine. In the genitive and dative singular,—namely, ei, the e is short when it follows a consonant, as rei, fidei, and long when it follows a vowel as diei, faciei. Only two words in this declension,-namely, res and dies, have all the cases in both the singular and the plural; all other words are without the genitive, dative, and ablative plural. Species is commonly added to res and dies, as having all the cases, but Cicero pronounces the genitive and dative of species as not good Latin. Of these nouns-namely, acies, an edge, line, or sword; facies, an appearance; glacies, glass; effigies, an effigy or likeness; progenies, a progeny or offspring; series, a series; and spes, hope; only the nominative and accusative plural are found in good prose writers. VOCABULARY. Spes, ei, f. hope; solatium, i, n. solace, comfort; tempus, oris, n. time; aerumna, ae, f wretchedness, misery; conditio, ónis, f. a state or condition; adversus, a, um, against; vita, ae, f. life; res adversae, adverse things, adversity, misfortune; certus, a, um, certain, fired; incertus, a, um, uncertain; dulcis, e, sweet; dubius, a, um, doubtful; humanus, a, um, human; vanus, a, um, empty, vain; felicior, felicius, gen. oris, happier; afflicto 1, I beat down, afflict, grieve; récreo 1, I recreate, quicken, refresh; amitto 3, I lose; oppōno 3, I set against; facile, adv. easily; miser, a, um, wretched. EXERCISES.-LATIN-ENGLISH. Spes est incerta et dubia; vis spei est magna in animis hominum; nonne magna est vis spei in animo tuo? facile indulgent spei vanae pueri; spem feliciorum temporum non debemus amittere in aerumnis vitae ; O spes, dulci solatio animos miserorum hominum recreas! spe vanâ saepe fallimur; res humanae sunt incertae et dubiae; conditio rerum humanarum est dubia; rebus adversis virtutem debes opponĕre; sapiens non extimescit res adversas; O, res humanae, quam saepe animes hominum fállitis! animus sapientis non afflictatur rebus adversis. ENGLISH-LATIN. The hope of life is uncertain; the hope of a long life is vain; I refresh my mind with hope; the wise man is not easily beaten down in wretchedness; adversity beats down the minds of brave men; the minds of brave men are beaten down by adversity; by the solace of hope the mind of a sage is refreshed; we ought not to lose virtue in the miseries of life; the wretchedness of the condition beats down the man; he loses the hope of a happier time. VOCABULARY, Fides, ei, f. fidelity; amicitia, ae, f. friendship; exemplum, i, n. an example; salus, utis, f. health, safety; ver, veris, n. spring; adventus, ûs, m. advent, coming; portus, ûs, m. an harbour, port; incorruptus, a, um, incorrupt; rarus, a, um, rare, seldom; seréous, a, um, serene, fine, bright; tutus, a, um, safe; verus, a, um, true; tristis, e, sad; avolo 1, I fly away; convoco 1, I call together; exspecto 1, I expect, await; servo 1, I keep; conquiesco 3, I am at peace; debeo 2, Iowe; cito, adv. quickly; cupide, adv. desiringly; etiam, conj. also. True friends keep fidelity in the miseries of life; the fidelity of friendship is not a vain hope; is the fidelity of an incorrupt friend a rare example? in adversity we owe (are indebted for) a part to true friends; the solace of true friendship calls together friends; fine days quickly fly away; on a certain day the generals call together (their) bands; the soldiers are called together by the king on an appointed day; I await the coming of spring desiringly; a sad day in spring is rare. We have now gone through the five declensions; and here present, in a tabular view, the several variations :~ |