« ΠροηγούμενηΣυνέχεια »
mistabas. The papil who has to teach himself, with only an “accent." Close observation will enable you to distinguish aceasin.. pattern from some voice or instrument, must make three degrees of accent thus produced—the louder (or stronger), himseit througiray perfect in pointing on the modulator, and the softer (or weaker), and the medium. Listen to a well-sung singing those peces in which he has had the advantage of a tune more closely still, and you will find that the accents recur pautern, so they wil help him to the rest. The first sign of in regular order, and at equal distances of time. Take care to interese in a learner is that he knows when he sings wrong. verify all these assertions by singing some well-known tune Let 20 sissys, in that case, go back to the key-note and yourself, or by listening to another. Then remember that the e ri sod - try again.” Many persons have taught themselves distance of time from one of the louder accents to the next is to sing in this way, often making mistakes of which they were called a MEASURE. (It is sometimes inaccurately called a BAR.) ignorant for a while, but discovering their error and the means The distance of time between any accent and the next is called of correcting it, in their efforts to sing some following exercise. an ALIQUOT, or equal part, of the measure. It may also be A teacher always by our side will, doubtless, save us from many called a “pulse" of the voice. There are four sorts of MEASURE misunderstandings and blunders; but he who cannot enjoy this in common use. advantage, may work on sturdily and hopefully without one. The BINARY or TWO-PULSE MEASURE contains two aliquots, Let him remember that his first business is to use the modulator one having the louder and the other the softer accent. We use 60 constantly that it shall become "printed” in the eye of an upright bar to represent the louder accent, and two dots to memory.
represent the softer. The binary measure may, therefore, be This introduces as our next topic that simple way of writing represented thus :vocal music which we intend to use as the companion and interpreter of the more difficult and complex “old notation,” of which we hope finally to make you master. It is the invention of an excellent and intelligent lady-Miss Glover, of Norwich
The TRINARY or THREE-PULSE MEASURE contains three and has been modified and adapted to popular purposes by Mr. aliquots, one of which has the louder and the other two the Curwen, in his “Grammar of Vocal Music," «Tonic-Solfa softer accent. It may be represented thus :Edition of the People's Service of Song," and other works. It consists of the first letters of the solfa syllables, which you have
| : : | : : etc., or : | : : | : etc. used in learning a tune from the modulator, written down.
The QUATERNARY or FOUR-PULSE MEASURE is formed from And if you have used the modulator till you are able to carry one “in your mind's eye,” this simple notation answers the
the binary by changing every alternate louder accent into one
of medium force. We represent the medium accent by a shorter purpose of pointing out the notes on that mental scale. But let it be remembered that this notation should never be used apart
| bar than that used for the louder accent. This measure may,
then, be thus represented :from a perfect modulator either on paper before the learner, or clearly seen in his mind's eye. When we remember that to secure this mental modulator it is only necessary to learn the proper position of seven notes, the effort does not appear a The SENARY or Six-PULSE MEASURE is formed from the difficult one; yet, so inrooted is laziness in some people, that we trinary measure by changing every alternate louder accent into have found many who go on using the solfa syllables to no advan- a medium accent, and may be represented thus :tage for years, without taking the trouble to learn this little ten minutes' lesson, which would make those syllables, in connection T::|: : : : : : or : : :| : etc. with the power of association just described, clear interpreters of music to them. You will perceive, then, that these notes of You perceive that these measures often begin on the softer the new notation do not appear to our own pupils as they would or medium accents, but the imperfect measure is always comto others, only on one horizontal line, but seem, as they sing pleted at the end of a tune. Much of the delicacy and expresthem, to rise or fall to their proper places in the scale. Some siveness of music depends on this proper recurrence of accent, persons have objected to this marking of the notes by the solfa sometimes called rhythm. By neglect of this a properly beautiful syllables, saying, “ If the old notation must be learnt at last, tune is often made dull, heavy, and unmeaning, while careful however difficult it is, because it contains all the stores of clas. attention to it will give beanty to some of the plainest melodies. sical music, then why not begin with that at once ? why teach Many of our most popular tunes owe their effect almost entirely two notations ?” First, because there is really no trouble in to rhythm, and it forms nearly the sole power of such instruteaching the solfa notation; we have seen children in an infants' ments as the drum and the tambourine. It makes even the school use it before they had learnt to read. It was to them, regulated step of the soldier and the dancer akin to music. The as we have described it, simply the letters from the modulator philosophy of the origin of our sense of rhythm is treated very “ written down." Secondly, because the old notation presents admirably in the appendix to Dr. Bryce's “Rational Introducsuch difficulties to the learner as to make it impossible to teach tion to Music.” He shows its connection with the pulsations of music in any short time by its means alone. Many of the best the heart, which are multiples of the respirations of the lungs. systems make use of some simpler notation to interpret the old. “ About the commencement of each expiration of the breath, Mr. Gall, of Elinburgh, Mr. Waite, and some others, make use there is one moment at which the effort, whether muscular or of a notation by figures. Dr. Bryce, of Belfast, uses both the elastic, is stronger than at any other time in the whole breathing. figures and the solfa syllables. And we have lately learnt that This is most apparent in a person sleeping soundly, when the a sort of solfa notation was printed under the notes with some mechanism of the body, not being controlled by the mind, follows of the very earliest English psalm-tunes. It consisted of the unceremoniously its own laws.... Between the expiration initial letters of the solfa syllables placed under the notes much and inspiration there seems to intervene a pause, during which as we shall use them. Thirdly, because the use of some such the lungs are at rest; but during or immediately after great new notation is the quickest and most perfect means of gaining bodily exertion-running for example--this pause disappears, a real command of the old. Already, by the method which we | and expiration succeeds inspiration immediately, or with a very are now developing, many children in day-schools, in addition to brief period of rest. The same happens when the breathing is a large number of adults, have learnt to sing "at sight" from impeded by disease.... Hence, a respiration may be divided the old, notation.
into two (Binary) or into three (Trinary) parts. If into three It is of small consequence what syllables are used for this parts they will be-1st, expiration; 2nd, pause; 3rd, inspiration. purpose. A great variety have been used at different times. If into two-1st, expiration ; 2nd, inspiration." We have chosen those given above because they are best known, Rhythm in its fullest sense has a wider range and more delionly changing SE into TE for the sake of having a different cate expression than can be given within the boundaries of a initial letter from Son. We have given the English spelling of single measure. General Thompson (Westminster Review, Oct., the syllables instead of the Italian, as we have nothing to do 1832), very beautifully describes it thus :-“Whoever has been with the Italian language in theso lessons.
rocked in a boat upon what in plain prose may be called the It may be easily noticed that, at certain distances throughout ocean waves' will have been conscious that besides the petty the voice is delivered with increased distinctness and furrow which lifted its head and stern alternately in a time
combination of distinctness and force is called approaching to the vibrations of a church pendulum, there was
a larger swell, of which the others were but inconsiderable parts, FRENCH. PRONUN. ENGLISH | FRENCH. PRONUN. ENGLISH. and even a mightier still, of which this second was but a limb | Jalon Zha-lonh Beacon. Jet Zhay Stream. and portion. Something like this appears to be the nature of Jamais Zha-may Always. Joujou Zhoo-zboo , toy. the undulations of musical notes. There is a great swell and a 54. K, k.-This letter has the sound of the English k in all little one, and both of them contribute to the general effect. situations. The examination may therefore on this principle be conducted 55. L, 1.-This letter has the sound of the English l in nearly in two directions :-- First, to inquire what quantity of minor all situations, except when used with the vowel i, as a liquid. undulations may be within the compass of a bar or 'measure ;' In a few words, I final is silent. The dictionary will best deterand secondly, to ask whether bars themselves may not be mine which these are. fractions of greater undulations, and whether out of these again 56. M, m.- When initial, the letter m has only the sound of may not be constituted undulations of higher orders in succes- the English m. It is used in nasal combinations like the followsion, to an extent that can only be measured by the skill of the ing, viz. :performer, and probably also by the cultivated sensitiveness of
am, im, um; the hearer. Any person who will attend critically to the execu
and in old French :tion of superior instrumental performers, will be surprised to
em, om, ym, find to what an extent this species of "linked sweetness' may be traced, and how large a number of bars may be formed into
which sounds will be illustrated at the proper place. It is also a connected whole, by means of the relations of what is here
silent in the body of some words. Refer to the dictionary to termed accent.”
57. N, n.-When initial, the letter n has only the sound of
English n. It is used in nasal combinations mostly, namely:LESSONS IN FRENCH.—X.
in, un; SECTION 1.-FRENCH PRONUNCIATION (continued). and in old French :IV. NAME AND SOUND OF THE CONSONANTS,
on, yn, 52. H, h.-This letter is used in the French language in two which sounds will be illustrated in the proper place. ways, usually styled mute and aspirate-a definition perfectly. After m and n in the end of words, final consonants are usually intelligible to natives of France, but not equally so to others, silent, viz. :--that is, to foreigners. Let us explain. When we say h is mute, Prends as if printed Pren, and pronounced Pranh. every one knows what is meant; but when we say h is aspirate Romps
Ronh. in the French language, we do not mean that it ever has the Temps
Tanh. same sound as h in the English words have, high, hold, and hull, When n is final before another word beginning with a vowel that is, a forcible breathing, or emission of the voice at the com- or h mute, it requires, besides being pronounced with a nasal mencement of a word. There seems to be a misapprehension of sound, that another n should be added in pronunciation to the this matter with many writers and teachers, not natives of beginning of the next word, namely:-France. It is believed that the true theory is this, namely—the
Ancien ami as if printed Ancien-nammee. French never sound the h. It is with them, virtually, always
Bon-nomm. mate. But, besides being mute, it has a particular duty to do,
Mon-nahm. so to speak. But when we say h is aspirate, we only mean that
Mon-nammee. the vowel immediately following partakes so much of the pro
SECTION XIV.-LIST OF WORDS FOR EXERCISES IN perty of a consonant, as to prevent elision with the preceding
COMPOSITION (continued). rouelThe following examples will illustrate our meaning very clearly, viz.:
11. ARBRES FRUITIERS, FRUITS.-FRUIT TREES, FRUITS. First, of the ke mute.
Abricot, m., apricot.
| Mûre, f., mulberry.
Nefle, f., medlar.
Amande, f., almond.
Noisette, f., hazel-nut.
Noix, f., nut.
Orange, f., orange.
Aveline, f., filbert,
Pêche, f., peach. Secondly, of the h aspirate.
Châtaigne, f., chestnut.
Poire, f., pear.
Poirier, m., pear-tree.
Coing, m., quinçe.
Pomme, f., apple. mot hay-ro, as an Englishman would pronounce it, with a strong
Datte, f., date.
Pommier, m., apple-troe.
Prune, f., plum. guttural articulation. But to add to the force and office of the
Fraise, f., strawberry.
Prunier, m., plum-tree. aspirate h in the word héros, let the article le be placed before Framboise, f., raspberry.
Raisin, m., grape. it, thug le héros. Now, if the h were mute, these two words | Groseille, f., gooseberry, currant. Vigne, f., vine. wonld become one in pronunciation, viz.-léros. The h not | Melon, m., melon. being mate in this word héros, but aspirate, what is its office ?
12. ARBRES FORESTIERS, ETC.-FOREST TREES, ETC. It enables the following letter é to prevent elision with the e of
Bouleau, m., birch.
Peuplier, m., poplar. the word preceding it, and consequently, the two words must be
Chêne, m., oak.
Rameau, m., bough. pronounced as if printed le-é-ros.
Ecorce, f., bark.
Sapin, m., pine. Thus it will be seen, that one particular use of the aspirated
Erable, m., maple.
Saule, m., trillow. k is to prevent elision of the two vowels between which it may Frène, m., ash.
Tilleul, m., linden-tree. chance to be placed, in being the initial of a word. H aspirate is Hétre, m., beech.
Tremble, m., aspen. best determined by consulting a French dictionary, because no Mélèse, m., larch.
Tronc, m., trunk. particular and definite rule can be given for distinguishing it Orme, m., elm. from h mute. It must be granted that this whole matter is now
13. OISEAUX.- BIRDS. considered debatable ground among orthoepists. One side | Aigle, m., eagle.
Chauve-souris, f., bat. affirms that the h aspirate is never sounded, any more than h aile, f., ving.
Cigogne, f., stork. Eute is, but serves the sole purpose of preventing elision. | Alouette, f., lark.
Colombe, f., dove. The other side affirms that the aspiration is very slight, which, in Autour, m., hawk.
Corbeau, m., raven.
Corneille, f., crow.
Autruche, f., ostrich. common conversation, amounts to nothing, but is barely obseryable only in serions reading, and the use of devotional language.
Bec, m., beak
Coucou, m., cuckoo.
Cygne, m., suan.
Bécassine, f., snipe.
Dindon, m., turkey. never aspirates the h of his own language as we do in pro
Bergeronnette, f., wagtail.
Faisan, m., pheasant. Douncing the words have, high, hold, and hull.
Caille, f., quail.
Geai, m., jackdaw. 53. J, j.-This letter has the sound of the two English
Canard, m., duck.
Grive, f., thrush. letters ch. In the two English words, glazier and azure, the x Canari, m., canary-bird.
Héron, m., heron. has the sound of zh, viz.-glazhier and azhure.
Chardonneret, m., goldfinch, Hirondelle, f., swallow,
Linotte, 1., linnet.
Avons-nous plus de dix mètres de Have we more than ten metres (yards)
cette toile de Hollande ?
of this holland (linon of Holland). Oie, 1., goose. Poulet, m., chicken.
Vous en avez moins de six aunes. You have less than six ells of it. Oiseau de proie, m., bird of prey. Roitelet, m., wren.
RÉSUMÉ OF EXAMPLES.
Rossignol, m., nightingale.
Il n'est pas encore deux heures. It is not yet two o'clock.
Is it half-past one?
Il est midi et quart ou midi et demi. It is a quarter or halj-past trelde,
Il est huit heures moins un quart. It wants a quarter of eight.
How old is your son ?
Il n'a que dix-huit ans.
He is only eighteen years old, Agneau, m., lamb. Lièvre, m., hare.
Votre beau-frère n'a-t-il pas plus Is not your brother-in-law more than Blaireau, m., badger. Lion, m., lion.
de dix-neuf ans ?
nineteen years old) Castor, m., beaver. Loup, m., rolf.
Ma belle spur n'a pas moins de My sister-in-law is not less than Cerf, m., stag. Mule, f., mule.
dix-huit ans et demi.
eighteen years and a half. Chamois, m., chamois, wild goat. Ours, m., bear.
Est-il plus de dix heures à votre Is it more than ten o'clock by your Chèvre, f., goat. Poulain, m., colt.
I n'est que neuf heures à ma It is only nine by my clock,
Votre fils est-il plus âgé que le Is your son older than mine? Hérisson, m., hedgehog. Taupe, f., mole.
mien ? Lapin, m., rabbit, | Tigre, m., tiger.
Il est plus jeune que le votre. He is younger than yours.
Âgé, -e, old.
Belle-sœur, f., sister-in-| Jeune, young.
Aune, f., ell.
Jour, m., day. Brochet, m., pike. Perche, f., perch. Beau-fils, son-in-lar. Cela, that,
Maintenant, nox. Carpe, f., carp. Requin, m., shark.
Beau-frère, brother-in Cinquante, fifty. Mars, m., March. Chevrette, f., shrimp. Saumon, m., salmon.
Cousin-germain, m., | Mètre, m., yard." Ecrevisse, f., crawfish. Sole, f., sole. Beau-père, father-in first-cousin.
Mois, m., month. Esturgeon, m., sturgeon. Tanche, f., tench.
Enfant, m., child. Pendule, f., clock. Hareng, m., herring. Tortue, f., turtle.
Belle-mère, mother-in- | Février, m., February. Ruban, m., ribbon. Hareng saur, m., red herring. Truite, f., trout.
Indienne, f., printed | Tard, late, Homard, m., lobster. | Turbot, m., turbot.
calico. 16. INSECTES, ETC.-INSECTS, ETC.
Lézard, m., lizard.
1. Votre beau-frère est-il plus igé que le mien ? 2. Le vôtre Chenille, f., caterpillar, Mouche, f., fly.
est plus jeune que le mien. 3. Quel âge a votre belle-mère ? 4. Cigale, f., grasshopper. Papillon, m., butterfly.
Elle a près de cinquante ans. 5. Quelle heure est-il maintenant? Couleuvre, f., adder. Puce, f., flea,
6. Il est six heures passées. 7. Etes-vous certain de cela? 8. Cousin, m., gnat. Punaise, f., bug.
Oui, Monsieur, j'en suis certain. 9. Est-il plus de deux heures Crapaud, m., toad. Sangsue, f., leech.
à votre montre ? Sauterelle, f., locust.
10. Il n'est que midi à ma montre ? Escarbot, m., beetle.
11. Fourmi, f., ant. Serpent, m., serpent.
Avez-vous plus de cinq ans, mon enfant ? 12. Je n'ai pas Grenouille, f., frog. Teigne, f., moth.
encore quatre ans. 13. Avez-vous plus de six mètres d'indienne? Grillon, m., cricket, Ver, m., vorm.
14. J'en ai moins de trois mètres. 15. Combien d'aunes de Guêpe, f., wasp. Vipère, f., riper.
ruban votre beau-père a-t-il ? 16. Il n'a guère de ruban, il n'en SECTION XIX.-THE VERBS AVOIR AND ETRE IN REFER
& qu'une demi-aune. 17. Est-il midi moins un quart? 18. Il ENCE TO THE TIME OF DAY, QUANTITY, ETC. est plus tard, Monsieur; il est midi et quart. 19. Quel jour du 1. For the time of the day, the verb être is used unipersonally
mois avons-nous ? 20. Nous avons le six Octobre. 21. N'estin French, in the same canner as the verb to be is used in
ce pas le huit Février? 22. Non, Madame, c'est le huit Mars. English for the same object. The word heure, sing., heures,
23. Combien de jardins a votre cousin-germain ? 24. Il n'en a pl., represents the English expressions o'clock, or time, and must
qu'un, mais il est très-bean. 25. Il en a plus de dix. always be expressed.
1. How old is your brother-in-law ? 2. He is fifty years old. Il est une heure, It is one o'clock.
3. Is your sister-in-law older than mine? 4. No, Sir, my sisterI est dix heures, It is ton, it is ten o'clock.
in-law is younger than yours. 5. Is your son twenty-five years 2. Midi is used for twelve o'clock in the day, and minuit for
old ? 6. No, Madam, he is only sixteen. 7. What day of the midnight, or twelve at night. Douze heures is never used except
month is it (have we) to-day? 8. It is (we have) the eleventh. in the sense of twelve hours.
9. Have you the twentieth volume of Chateaubriand's works ? Est-il midi ? Est-il minuit ? Is it noon! Is it midnight!
10. No, Madam, we have the eleventh. 11. What o'clock is it, 3. Et quart, et demi ($ 84 (2)], answers to the English er. Sir? 12. It is only twelve o'clock. 13. Is it not later ? 14. prossions a quarter, half-past, after, etc.
It wants a quarter of one. 15. It is a quarter after five. 16. n est neuf heures et quart, It is a quarter after nine,
How many yards of this holland (toile de Hollande, f.) have you? Il est midi et demi, It is hay after tcelre,
17. I have ten ells and a half. 18. I have six metres of it, and Il est un heure et demie, It is half after one.
sixteen yards of Italian silk. 19. Is your mother-in-law younger 4. Moins un quart, moins vingt minutes, answer to the English than your father-in-law. 20. She is younger than he. 21. Are oxpressions a quarter before, tuenty minutes before, etc.
you twenty years old ? 22. No, Sir, I am only nineteen and a Il est dix heures moins un quart. It meants a quarter of ten.
half. 23. Are you sure (súr) that it is ten o'clock ? 24. Yes, Ilost neuf heures moins dix minutes, It is ten minutes before nine.
Madam, I am sure of it. 25. Is it twenty minutes of ten? 5. The word demi, preceding the word heure, does not vary.
26. No, Sir, it is a quarter before twelve (midi). 27. How Placed after it, it is variable (S 84 (2)].
many houses have yon ? 28. I have only one, but my sister-inUno demi beure, Half an hour.
law has two. 29. Have you mine (f.) or yours? 30. I have Une heure et demie, An hour and a hal.
neither yours nor mine, I have your son-in-law's. 31. Has your
mother-in-law five yards of that printed calico ? 32. She has 6. The verb avoir is used actively [$ 43 (2) (3)] in French in only two yards of it. 33. What o'clock is it by (à) your watch spoaking of ago, and the word an, year, is always expressed. 31. It is half past four by my watch. 35. It is more than seven Fuel Ago aver-vous ?
How old are you? i.e., What age o'clock by mine (à la mienne).
have you! - do vingt ans. I am more than twenty.
The French mètre is exactly .371 inches English measure; it is do, moins do, are used for more than, less than, before therefore longer than the English yard by about 34 inches, or more
| accurately 3! | inches.
LESSONS IN PENMANSHIP.—X.
| by drawing or dragging," or the word hull, which means the
" frame or body of a ship," the huge black mass that floats With the three copy-slips on this page the learner will finish upon the waters that sustain it, and from which rise the tapering the series of copies that is based on letters or combinations of masts and network of cordage that give grace and beauty to a letters formed of the bottom-turn, top-turn, top-and-bottom vessel's form. It is unnecessary to mention more cases in which turn, and straight stroke. In our next lesson we shall give the confusion would arise from a want of proper attention to the relaself-teacher a new letter, which is in itself an elementary form tive proportion of the strokes of which letters are formed. The that enters into the composition of the majority of the letters reader can find out many for himself by altering the height or that he has yet to learn to write.
length of strokes above or below the lines that contain the body of If any of those who are endeavouring to acquire a knowledge the letters in any copy-slip that is either a combination of letters, of the art of Penmanship from our lessons will now take the or a word that conveys a distinct and special meaning of its own. trouble to glance over the thirty-four copy-slips that we have A clear and legible handwriting is what every man should placed before them, they will see by how gentle and easy a strive to attain, whatever may be his rank or station in life. gradation we have led them on from the first simple stroke, Many suppose that it is vulgar and commonplace to write a known as the bottom-turn, to words involving combinations of legible hand—that it shows good breeding to write such a all the four elementary strokes that have hitherto been brought serawl that it is impossible for any one but an expert to decipher
COPY-SLIP NO. 32.—THE WORD him.
COPY-SLIP NO. 33.—THE WORD hilt.
COPY-SLIP NO. 34.—THE WORD pull.
before their notice. The words in Copy-slips Nos. 33 and 34 it. How the notion has arisen it is difficult to say; but, to will bear efficient witness to the truth and propriety of the hazard a guess, it is fair to suppose that it originated in an idea statement we made in our last lesson, that unless due attention that to be engaged in trade and commerce was low, and that as be paid to the relative proportion of the strokes of letters that people in business generally wrote legibly and plainly, it was extend above or below the lines that contain the body of any the stamp of a commercial huxtering spirit to go and do likeletter, the appearance of any handwriting will be far from wise. Happily, in our times legible handwriting is not thought pleasing, as it will be wanting in that harmony that is so abso- unworthy of a man of education and good social position, while, lutely necessary to satisfy the eye. Suppose, for instance, that indeed, it is one of the principal qualifications that is insisted in Copy-slip No. 33 the letter 1 in the word hilt had been carried on in those who aspire to the Civil Service and employment in Do higher than the t, how unsatisfactory would have been its Government offices. To write a good hand is one of the first aspect: or, again, if the letter t in the same word had been steps towards the attainment of that liberal education which carried as high as the 1, what trouble would the reader have stamps a man as a gentleman without any of the adventitious to determine whether the writer meant what he had written to claims that arise out of a man's descent and social standing, be the word that means the "handle of a sword,” or that by and it is now as absurd for any man to sneer at another because which “ rising ground” is denoted. Then, also, in Copy-slip he can write legibly as it was for Jack Cade to dub the clerk of No. 34, if the straight stroke of the p in pull were not carried Chatham a villain because he was taken “setting of boy's down to its proper extent, but allowed to terminate a littlo copies," and to hang him as a traitor, with his pen and ink-horn below the lower of the lines that contain the letter u, what about his neck, because he could write his own name, and had doubt would arise in a reader's mind as to whether the writer not a mark to himself, like, in Cade's estimation," an honest meant to write the word which means “ to draw,” or “to move plain-dealing man."
LESSONS IN GERMAN.-L.
Betag mode by the ad d itise lette : The second person SECTION XVII.- PERSONAL PROXOLSS; TERS OF TEE
six scene s a g te the root the letters test; the NEW CONJUGATIOS, E.C.
The most is fazni og engag te letters es from the form In English the relation of property or possession is denoted by
f the possans ministe: sirs, from its (to praise), take en, means of personal pronouns in the possessive case. German the same relation is shown by means of a sincs is
The Front Panegie is unde by sing to the root the of words (Sect. X.), called possessure premus: si these used not merely in the corresponding cause we the genste.
inte en sub-an,
pag but in all the cases. The German person so peint tinereir.
De Fon s ecuced by greeting to the root the is rarely used in the genitive site or pers.si Font time
ugmens se 24. si suficg the letter i (sometimes et): possessive.
s Szemes by continez the perfect participle DECLENSION OF 795 PERSONAL SOS:X
babes oz sein, to
ponie. Se 1750 Seites. TONTOK $
me pouze mysest. Do t Svet posest site
et godtc, we have praised.
nuset e buzet , you have praised. The select fri e Jens Jeukens in nuri
Er De s
e t et par tieg hate praised.
iz antza gelate we bad praised. and sumber seng jeremmest le me s he s - Se Des
Etats LE tret date, jossa praised. wions T oppe IT12:27
POBRES 1.71 Esote zor si
è es gaubt, they ksipraised molt 2: tie ster e o samseites ete e
EN TITT IX33.
n ior Adet SOS SE DO TOT, ve sesl praise,
S I be posee you. Sme sf genie seng se sme 2012. Les mer state #SLI NR.
Te ring yang sebe vel masstood sed the I NSTI:1112 pa so se ter
s t ruins say it. The 2. Meer . Dit is om te suboty » there
emuis 2. ring on other verbs Ev s a mu
nenas e à sa fcient IAC = ler . Szermanent, z sur
3. 3 mpen HNS u pargi ur faire is pat at getimagia z boty
u . sai see : 15 toise Fliesmase I see son u Be ..
Bu eser. Su labest? um vim ose - Besa Songs Sada ] you baro
e sufi: -- Sri ismi Sur
Emese 9 are free ens preses de les grande,
se sent tense; ha The Samas las for Sale