PROMISCUOUS EXERCISES.-I. ANTIQUITY OF FREEDOM.

[Marked for Rhetorical Pauses, in poetry.] Here are old trees, tall oaks | and gnarléd pines, That stream with gray-green mosses; here the ground Was never trenched by spade; and flowers | spring up Unsown, and die ungathered. It is sweet |

To linger here, among the flitting birds,

And leaping squirrels, wandering brooks, and winds
That shake the leaves, and scatter, as they pass,

A fragrance from the cedars, thickly set
With pale blue berries. In these peaceful shades,-
Peaceful, unpruned, immeasurably old,—

1

Fall outward; terribly thou springest forth,
As springs the flame above a burning pile,
And shoutest to the nations, who return
Thy shoutings, while the pale oppressor | flies.
Thy birthright was not given by human hands:
Thou wert twin-born with man.
1
In pleasant fields,
While yet our race was few, thou sat'st with him,
To tend the quiet flock | and watch the stars,
And teach the reed to utter simple airs.
Thou by his side, amid the tangled wood,
Didst war upon the panther and the wolf,
His only foes; and thou with him didst draw
The earliest furrows on the mountain side,
Soft with the deluge. Tyranny himself,

Thy enemy, although of reverend look,
Hoary with many years, and far obeyed,
Is later born than thou; and as he meets
The grave defiance of thine elder eye,
The usurper trembles | in his fastnesses.
Oh! not yet
May'st thou unbrace thy corslet, nor lay by
Thy sword; nor yet, O Freedom! close thy lids'
In slumber; for thine enemy | never sleeps,
And thou must watch and combat || till the day
of the new earth and heaven. But wouldst thou rest
Awhile from tumult and the frauds of men,
These old and friendly solitudes | invite
Thy visit. They, while yet the forest trees |

Were young upon the unviolated earth,

And yet the moss-stains on the rock | were new, Beheld thy glorious childhood, and rejoiced.-Bryant.

effects do hold a real relation to each other. We spoke of LAH passing (by change of movement) from the "abandonment" of sorrow to the "abandonment" of joy. We have now seen the mental effect of DOH, ME, and sон passing from the "dignified and solemn" to the "bold and decisive," and, by using a yet quicker movement still, we may find these same notesnever, mark you, passing into that emotional character which belongs to TE, RAY, FAH, and LAH, but expressing that bold hearty laughter "holding both its sides," of which Milton wrote and Handel sung.

The laughter having thus commenced with the last phrase, which is repeated in the other "parts" also, next changes to another key (that of the sub-dominant), but still keeping DOH, SOH, ME, as its accented notes. It afterwards falls into laughter of a different style, which is more musical, perhaps, but not so open and hearty. Enough of the example is given to show the character of DOH, ME, and SOн in rapid movements.

We trust that our pupils will study all these examples with great care, and practise them well. They could not have better exercises for voice or ear. An earnest endeavour to study the mental effect of notes will very greatly increase the power of singing those notes with accuracy.

1. The most perfect consonance (or sounding together) of any two notes, is that of two which are octaves to one another-as DOH and DOH', SOн and SонH', etc. The notes agree so "per fectly" as to be constantly regarded as the same. The consonance which stands next in the order of agreement is that of the fifth-DOH with SOH, RAY with LAH, ME with TE, SOH with RAY1, and LAH with ME1. TE with FAH1 is an imperfect fifth. Approaching to this in "perfectness" of concord, is the fourthDOH with FAH, RAY with SOH, ME with LAH, SOH with DOH', LAH with RAY', and TE with ME. FAH, TE, is an augmented fourth. But it is not the most "perfect" consonance that is the most pleasing. For the production of pleasure and beauty in music, as in all other fine arts, there is needed a certain variety in unity-a certain difference blending with agreement. Hence it is that the most pleasing consonance of the scale is that of the third-DOH with ME, RAY with FAH, ME with SOн, etc. The first, third, and fifth of the scale—DOH, ME, SOH-form, when sounded together, the most delightful union of sounds that is known. A consonance of three or more notes is called a "chord."

2. Try each of the above consonances in order, either by the help of a friend or with some musical instrument. You will thus be aided in forming a kind of personal acquaintance with the notes. You will be enabled to individualise them, and to recognise by the ear their mental effect.

3. The ancient and well-known tune, "Prospect," is introduced to illustrate still further the qualities of DOH, ME, and

In sing 28 taken from the "Hymns for Infant June Taylor and her sister, Mrs. Gilbert, a work, - Sue Hide anthors, of priceless value in aid of eduor family. But for the sake of those who te to a sacred hymn, we add the exquisite em,nosed for this tune by the late Thomas Rawson 04. Yorkshire-hitherto treasured, like his blue frem uralt circle, but henceforth, we trust, more A DA LUUT This tune must be thoroughly sol-faed les at rest, and the pupil must point to the notes of the motor se be thus sol-faes.

Our people Inast expect no explanation, at this stage of the course of the sharps, or flats, or clefs, introduced at the beginning of the old notation staff. A proper explanation now would be lengthy and out of place. They are introduced thus early for the sake of those who play on instruments. It is enough for the singer that the square mark shows him the place of the key-note.

LESSONS IN LATIN.-XIX.

THE LATIN VERB.

IN form, the Latin verb has two chief divisions-1, active; 2, passive. Thus, laudo is I praise, in the active voice, and laudor, I am praised, in the passive voice. There are some verbs which, though passive in form, are active in signification; as hortor, I encourage. The ending in r shows that hortor is of the passive form. This form the verb, so to say, lays down, or lays aside, and hence it is called deponent (from de, down, and pono, I put). Deponent verbs, then, are verbs which, disregarding the claims of their form, have an active import, just as if they were active in form. As these verbs have an active meaning, their past participle has an active meaning: thus, hortatus, the past participle of hortor, is not being encouraged, but having encouraged. This past participle joins with parts of the verb sum, I am, to form the perfect tense: thus, hortatus sum means I have encouraged. There are deponent verbs in all four conjugations.

The tenses of the verb in Latin are pretty much the same as in other languages. Thus we have PRESENT, amo, I love, or I am loving; IMPERFECT, amabam, I was loving, or I did love; PERFECT, amavi, I loved, or I have loved; PLUPERFECT, amaveram, I had loved; FIRST FUTURE, amabo, I shall or will love; SECOND FUTURE, amavero, I shall have loved.

The present tense denotes either an action continued in the present time, or an habitual action. The imperfect tense denotes an action continued in past time. The perfect tense has two meanings: first, it signifies an action done and completed in past time indefinitely, and from the period in past time being indefinite or undefined, it is called an aorist, or is said to have an aorist import (aorist is a Greek word, denotes a tense of the Greek verb, and signifies undefined or indeterminate); in the second place, the perfect tense indicates an action which in itself, or in its consequences, continues from the past to the present, being somewhat the same as our phrase, I have dined— that is. I have just dined; in contradistinction to the aorist I dined that is, yesterday, or some time in the past.

The Latin has three moods, the indicative, or the mood of reality, the mood of simple statement; the subjunctive, or mood of dependence; and the imperative, or mood of command. Mood is a Latin word (modus), signifying measure or manner. It is found in the French term mode, sometimes used in English. The term mood, therefore, denotes the modes or manners in which a statement is made. All propositions may be reduced to two general classes; they are either independent or dependent. The independent are in the indicative mood; that is, the mood which simply indicates or points out. The dependent are in the subjunctive. The word subjunctive (Latin, sub, under or to, and jungo, I join) signifies that which is subjoined; that which is connected in the way of dependence. The subjunctive mood, consequently, is the mood which is dependent on the indicative. The imperative mood, though differing in form from the other two, may logically be considered as a subdivision under the subjunctive. How closely the subjunctive and the imperative are n in the fact that the subjunctive is often used t is so used when a kind of softened comthe older Latin grammars, you will find

the potential mood, and even the optative mood; but these are mere figments; they have no corresponding reality in the language. Another form of the verb has a better claim to be termed a mood; I allude to what is called the infinitive, as legere, to read. This, however, might probably be more rightly described as the verb in its abstract form. If, however, it is acknowledged to be a mood, then we must say that the Latins have four moods, the indicative, the subjunctive, the imperative, and the infinitive. The infinitive, however, must stand in the class of dependent modes of utterance, since it makes no sense unless when joined to a verb in another mood. Thus, vult legere, he wishes to read. Here legere has meaning by being united with vult. Vult is said to be a finite word, as legere is said to be an infinitive; finite and infinitive are the opposites of each other. The two words come from the same Latin word finis, end or limit; the former, therefore, means the limited; the latter, having the prefix, in, not, means the unlimited; that is, the definite and the indefinite mood.

Another form in which the verb appears is the participle. In Latin there are four participles; 1, the active, ending in ns, as amans, loving; 2, the passive, ending in tus, as amatus, loved; 3, the future, ending in rus, as amaturus, about to love; and 4, the corresponding passive participle, which ends in dus, as amandus, to be loved-that is, he who ought to be loved. The usages connected with these participles will be set forth hereafter. The Latins have no active participle of past time; they cannot by means of a participle say having loved. But the past participles of their deponent verbs have an active signification, since the verbs themselves have an active signification; thus, hortatus means having exhorted.

Connected in form with the passive participle in dus, is what in Latin is called the gerund; as, amandum, which wears the appearance of being the neuter singular of the participle amandus. The gerund exists in the nominative as amandum, in the genitive as amandi, and in the dative and ablative as amando. It is not easy to set forth the distinctive meaning of the gerund in one English term. Its proper and full force must be learnt in reading Latin prose. I place before you a few instances of its use.

GERUND.

Scribendum est, one must write.
Scribendi ars, the art of writing.

Scribendo aptus est, he is ready at writing.
Inter scribendum, during writing.

Scribendo exerceor, I am exercised in writing.

Hence, you see that the gerund denotes under certain circumstances the whole act implied in the verb, as here the act of writing. Yet is it nearly connected in meaning as in form with participles. Similar, indeed, is the case with our word writing; and generally our active participles in ing, besides having a participial force, assume now a verbal, and now a substantive force; a verbal, as in writing the letter, say, etc.—that is, while you write, or when you write; "a substantive force, as, the writing is bad.

As in form the gerund, so also the supine is peculiar to the Latin tongue. There are two supines, one ending in um, as amatum, in order to love; the other ending in u, as amatu, to love or to be loved; the former is called the first or active supine; the latter, the second or passive supine. The former is used after verbs of motion; the latter is used after certain adjectives; thus:

SUPINES.

1st. Venio rogatum, I come in order to ask.

2nd. Jucunda audītu, pleasant to hear or to be heard. You may see here an illustration of the propriety of my ques tioning whether the infinitive should be designated a mood. If it is a mood, is not the supine equally a mood? And if you admit the claims of the supine, can you deny the claims of the gerund? But if the gerund is a mood, equally is the participle a mood. Properly there can be no mode or manner of utterance where there is not a complete utterance; that is to say, moods imply propositions, for without a proposition there is no mood. If so, the infinitive can be called a mood only by some latitude of expression.

These, then, are the forms of the verb which you have to understand, to recognise, to construe, to form, and to employ in Latin. I will here recapitulate them:

1. The Indicative. 2. The Subjunctive. 3. The Imperative.
FOUR OTHER FORMS.

1. The Infinitive. 2. The Participle. 3. The Gerund. 4. The Supine. In all, fifteen varieties of expression enter into the Latin verb. You are not to suppose from this that every verb has all these forms. Even when the Latin was a living language, many verbs were defective, that is, lacked some of the ordinary forms. We, however, are bound to write the language as we find it written in the remains of Roman literature, and so are restricted to forms which actually occur in extant Latin writings; and as poetry has its licences, so are we obliged, in order to be correct, to confine ourselves to the usages of the best prose writers. In general, the Latin of Cicero is the model to be followed.

Verbs which have been above described as active, may also be called transitive; that is, active in voice, and transitive in import; thus, laudo puerum, I praise the boy, is a transitive verb, because the action of the verb passes over (trans, across, over, and eo, I go) to the object, puerum. As some verbs are transitive, others are intransitive or not transitive. Such is dormio, I sleep, in which no action passes over to an object. Intransitives are sometimes called neuters; that is, neither active nor passive. When they have a passive form, they bear the name of neuter passives; as, ausus sum, I have ventured; gavisus sum, I have rejoiced. Sometimes a verb, in the passive form, has a reflective force, and may be Englished by a neuter or intransitive verb; as, moveor, I move myself, or simply, I move. A few active forms have a passive signification; as, vapalo, I am beaten; veneo, I am sold. Somewhat similar is fio (factus sum, fieri), I become, I pass from one state into another; I am made.

The tenses may be divided into three classes; thus:—

KEY TO EXERCISES IN LESSONS IN LATIN.-XVIII. EXERCISE 69.-LATIN-ENGLISH.

1. There is no firm friendship among the bad. 2. I hasten to death. 3. The Gauls dwell beyond the Rhine. 4. We have no weapons against death. 5. A generous man is mild toward the conquered. 6. Comets are admirable on account of their rarity and beauty. 7. Slaves obey on account of fear, the good from a regard to duty. 8. Sailing along the shore is often dangerous. 9. No one is happy before death. 10. On what account dost thou laugh? 11. Below the moon all things 13. are perishable. 12. Thou dwellest many years among barbarians. The kingdom of Pluto is placed under the earth. 14. The government of nations is in the power of kings. 15. Fish die out of water. 16. hatred to horses. 18. Painted garments are mentioned with (in) The thing happened contrary to expectation. 17. The camel bears Homer. 19. Many animals congregate and fight against other animals. 20. The hippopotamus feeds on the corn-fields around the Nile. EXERCISE 70.-ENGLISH-LATIN.

1. Inter malos nulla est firma societas. 2. Contra mortem nulla habet homo arma. 3. Ultra mortem est vita. 4. Ad Rhenum properamus. 5. Ante domum sunt amici. 6. Apud me sunt filii mei. 7. Apud te suntne filii vestri? 8. Mitis erga victos est rex. 9. Post mortem boni sunt felices. 10. Quid est infra terram? 11. Deus est super omnia et per omnia. 12. Infra nubes habitant homines. 13. 14. Apud Ciceronem sunt multa pulchra dicta. 15. Rus propter te amo. 16. Intra muros sunt milites. EXERCISE 71.-LATIN-ENGLISH.

Penes me mei sunt liberi.

1. Poison is for (acts as) a remedy sometimes. 2. An infant has no 4. power without another's aid. 3. Eagles do not build in trees. The cuckoo lays in the nests of other birds. 5. By old age our senses grow dull. 6. Some men are born with teeth. 7. Xerxes fled from Greece with very few soldiers. 8. Metellus leads elephants in triumph. 9. The traveller sings in presence of the robber. 10. The stars move from the east (rising of the sun) to the west (setting of the sun). 11. Britain was discovered by the Phoenicians. 12. Bees cannot exist without a queen. 13. It is sweet to die for one's country.

EXERCISE 72.-ENGLISH-LATIN.

1. Estne aliquando venenum pro remedio ? 2. In Græcia pugnat Xerxes. 3. In senectute visus et auditus hebescunt. 4. Paritne in alieno nido coccyx? 5. Soror tua coram multis cantat. 6. Ab ortu properat. solis ad occasum properant. 7. Græcia proficiscens exercitus in Italiamı 8. Metellus cum multis militibus est in Britannia. 9. Filius meus sine dentibus est natus. 10. Estne exercitus sine ele

phantis? 11. Elephanti in triumpho a duce ducuntur. 12. Dulcene est pro patria mori ? 13. Quid sine Dei ope sunt mortales ? 14. Omnesne aves in arboribus nidificant? 15. Clam patre est puer in domo. 16. Infantes in gremio matris felices est dulce videre. 17. Tecumne est soror tua ? 18. Sine patre nihil potest puer. 19. Mecum est filia mea. 20. Quot liberi tecum sunt? 21. Quot homines sunt in Britannia ?

LESSONS IN GEOMETRY.—XIX.

three of incomplete :

Now similar tenses should follow each other, and not dissimilar ones. That is, if you use one present, use another; if you use a present, do not let an imperfect immediately follow. Observe, however, that the present infinitive may come after a finite verb in the imperfect tense, as solebat scribere, he was wont to write. The rule I have now given relates to what is called the consecutio temporum, or sequence of tenses. Compare Exercise 75 (Latin-English), in the next lesson.

N

involves the use of the circumscribing circle, on the circumference of which the angular points of the pentagon may be marked. We have added this to the modes of construction given in the last lesson to show the student that there are many ways of constructing each of the regular polygons, and to urge him to exercise his ingenuity in finding out other methods for the construction of the hexagon, heptagon, etc., than those we are about to give him in this and the following lessons. PROBLEM L.-To construct a pentagon on a given straight line (another way). Let A B (Fig. 68) be the given straight line on which the required regular pentagon is to be described. At the point A, in the straight line A B, draw A C, of indefinite length, perpendicular to A B, and produce AB indefinitely both ways towards x and y. Bisect

א

E

D

Fig. 68.

Join B E, and

A B in D, and along A C set off A E, equal to A D. produce it indefinitely to F, and set off EG along EF, equal to E A or AD. Then from A as centre with the distance A G, describe the semicircle X G H, and from B as centre, with a distance

A G, describe the semicircle KLY, and let the semici

The first song is taken from the "Hymns for Infant Minds," by Jane Taylor and her sister, Mrs. Gilbert, a work, like all by the same authors, of priceless value in aid of education in school or family. But for the sake of those who would sing this tune to a sacred hymn, we add the exquisite words composed for this tune by the late Thomas Rawson Taylor, of Bradford, Yorkshire-hitherto treasured, like his other poems, by a select circle, but henceforth, we trust, more widely to be known. This tune must be thoroughly sol-faed "by heart," like the rest, and the pupil must point to the notes on the modulator as he thus sol-faes.

Our pupils must expect no explanation, at this stage of the course, of the sharps, or flats, or clefs, introduced at the beginning of the old notation staff. A proper explanation now would be lengthy and out of place. They are introduced thus early for the sake of those who play on instruments. It is enough for the singer that the square mark shows him the place of the key-note.

LESSONS IN LATIN.-XIX.

THE LATIN VERB.

IN form, the Latin verb has two chief divisions-1, active; 2, passive. Thus, laudo is I praise, in the active voice, and laudor, I am praised, in the passive voice. There are some verbs which, though passive in form, are active in signification; as hortor, I encourage. The ending in r shows that hortor is of the passive form. This form the verb, so to say, lays down, or lays aside, and hence it is called deponent (from de, down, and pono, I put). Deponent verbs, then, are verbs which, disregarding the claims of their form, have an active import, just as if they were active in form. As these verbs have an active meaning, their past participle has an active meaning: thus, hortatus, the past participle of hortor, is not being encouraged, but having encouraged. This past participle joins with parts of the verb sum, I am, to form the perfect tense: thus, hortatus sum means I have encouraged. There are deponent verbs in all four conjugations.

The tenses of the verb in Latin are pretty much the same as in other languages. Thus we have PRESENT, amo, I love, or I am loving; IMPERFECT, amabam, I was loving, or I did love; PERFECT, amavi, I loved, or I have loved; PLUPERFECT, amaveram, I had loved; FIRST FUTURE, amabo, I shall or will love; SECOND FUTURE, amavero, I shall have loved.

The present tense denotes either an action continued in the present time, or an habitual action. The imperfect tense denotes an action continued in past time. The perfect tense has two meanings: first, it signifies an action done and completed in past time indefinitely, and from the period in past time being indefinite or undefined, it is called an aorist, or is said to have an aorist import (aorist is a Greek word, denotes a tense of the Greek verb, and signifies undefined or indeterminate); in the second place, the perfect tense indicates an action which in itself, or in its consequences, continues from the past to the present, being somewhat the same as our phrase, I have dinedthat is, I have just dined; in contradistinction to the aorist I dined-that is, yesterday, or some time in the past.

The Latin has three moods, the indicative, or the mood of reality, the mood of simple statement; the subjunctive, or mood of dependence; and the imperative, or mood of command. Mood is a Latin word (modus), signifying measure or manner. It is found in the French term mode, sometimes used in English. The term mood, therefore, denotes the modes or manners in which a statement is made. All propositions may be reduced to two general classes; they are either independent or dependent. The independent are in the indicative mood; that is, the mood which simply indicates or points out. The dependent are in the subjunctive. The word subjunctive (Latin, sub, under or to, and jungo, I join) signifies that which is subjoined; that which is connected in the way of dependence. The subjunctive mood, consequently, is the mood which is dependent on the indicative. The imperative mood, though differing in form from the other two, may logically be considered as a subdivision under the subjunctive. How closely the subjunctive and the imperative are allied, may be seen in the fact that the subjunctive is often used for the imperative; it is so used when a kind of softened command is desired. In the older Latin grammars, you will find

the potential mood, and even the optative mood; but these are mere figments; they have no corresponding reality in the language. Another form of the verb has a better claim to be termed a mood; I allude to what is called the infinitive, as legere, to read. This, however, might probably be more rightly described as the verb in its abstract form. If, however, it is acknowledged to be a mood, then we must say that the Latins have four moods, the indicative, the subjunctive, the imperative, and the infinitive. The infinitive, however, must stand in the class of dependent modes of utterance, since it makes no sense unless when joined to a verb in another mood. Thus, vult legere, he wishes to read. Here legere has meaning by being united with vult. Vult is said to be a finite word, as legere is said to be an infinitive; finite and infinitive are the opposites of each other. The two words come from the same Latin word finis, end or limit; the former, therefore, means the limited; the latter, having the prefix, in, not, means the unlimited; that is, the definite and the indefinite mood.

Another form in which the verb appears is the participle. In Latin there are four participles; 1, the active, ending in ns, as amans, loving; 2, the passive, ending in tus, as amatus, loved; 3, the future, ending in rus, as amaturus, about to love; and 4, the corresponding passive participle, which ends in dus, as amandus, to be loved-that is, he who ought to be loved. The usages connected with these participles will be set forth hereafter. The Latins have no active participle of past time; they cannot by means of a participle say having loved. But the past participles of their deponent verbs have an active signifi cation, since the verbs themselves have an active signification; thus, hortatus means having exhorted.

Connected in form with the passive participle in dus, is what in Latin is called the gerund; as, amandum, which wears the appearance of being the neuter singular of the participle amandus. The gerund exists in the nominative as amandum, in the genitive as amandi, and in the dative and ablative as amando. It is not easy to set forth the distinctive meaning of the gerund in one English term. Its proper and full force must be learnt in reading Latin prose. I place before you a few instances of its use.

GERUND.

Scribendum est, one must write.
Scribendi ars, the art of writing.
Scribendo aptus est, he is ready at writing.
Inter scribendum, during writing.

Scribendo exerceor, I am exercised in writing.

Hence, you see that the gerund denotes under certain circumstances the whole act implied in the verb, as here the act of writing. Yet is it nearly connected in meaning as in form with participles. Similar, indeed, is the case with our word writing; and generally our active participles in ing, besides having a participial force, assume now a verbal, and now a substantive force; a verbal, as in writing the letter, say, etc.—that is, whik you write, or when you write; a substantive force, as, the writing is bad.

As in form the gerund, so also the supine is peculiar to the Latin tongue. There are two supines, one ending in um, as amatum, in order to love; the other ending in u, as amatu, to love or to be loved; the former is called the first or active supine; the latter, the second or passive supine. The former is used after verbs of motion; the latter is used after certain adjectives; thus:-

1st.

SUPINES.

Venio rogatum, I come in order to ask.

2nd. Jucunda audītu, pleasant to hear or to be heard. You may see here an illustration of the propriety of my ques tioning whether the infinitive should be designated a mood. If it is a mood, is not the supine equally a mood? And if you admit the claims of the supine, can you deny the claims of the gerund? But if the gerund is a mood, equally is the participle a mood. Properly there can be no mode or manner of utterance where there is not a complete utterance; that is to say, moods imply propositions, for without a proposition there is no mood. If so, the infinitive can be called a mood only by some latitude of expression.

These, then, are the forms of the verb which you have to understand, to recognise, to construe, to form, and to employ in Latin. I will here recapitulate them: