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know that this is the termination (first person sing.) of the First Aorist passive.

Instead of σθην you see that the form may be θην, or φθην, οι χθην, οι λθην, οι ρθην, οι νθην, οι μηθην. If you cut of the letters occasioning the diversity, you obtain as the common element Onv. If, moreover, you take from Oŋv the 0, you have ny, the termination of the Second Aorist passive. Now trace back pony, and you find that it comes from a form of which the Present tense, first person singular, ends say in Tro; take TURTO, which signifies I strike, and you are led to run as the common element or theme.

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LESSONS IN ITALIAN GRAMMAR.-No. XXVIII,

By CHARLES TAUSENAU, M.D.,

Of the University of Pavia, and Professor of the Italian and German
Languages at the Kensington Proprietary Grammar School.

INDICATIVE MOOD (MODO AFFERMATIVO.)

Present Tense (Tempo presente.)

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Indeterminate Pluperfect (Tempo trapassato prossimo).

té-mo

sên to

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té-mi

sên ti

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té-me

sen-te

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a-mid-mot a-mi-te !

te-mid-mo

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te-me-te

sen-ti-te

a-ve-vá-mo

a-ve-vá-mo

a-ve-vá-mo

a-ma-no §

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The first person singular of the present tense in all verbs ends in o, which is obtained in a regular way by taking away re from the infinitive and changing the vowel of the penultima into o. Every other derivation of this person is irregular.

+The first person plural of the present tense is in all conjugations alike, and is obtained by adding amo to the second person singular. The only exceptions are the following irregular first persons plural: ab-biá-mo, we have (from a-vé-re); fac-ciá-mo, we do (trom fá-re); sap-piá-mo, we know (from sa-pé-re); dia-mo, we give (from dá-re); stiá-mo, we stand (from sta-re); and siá-mo, we are (from és-se-re). They are derived by adding mo to the first persons singular of the subjunctive mood, which are-ab-bia, fac-cia, sáp-pia, di-a, stí-a, and si-a. The cause of this irregular derivation with regard to the verbs avere, fare, and sapere, is the circumstance, that the Italians in the earliest times of their language used to say-áb-bo for ho, I have; fác-cio for fo, I do; súp-po for so, I know; and with regard to the verbs dare, stare, and essere, the formation of diamo, stiamo, and siamo (or semo), is from the Latin words damus, stamus, and sumus.

etc. in the place of a-vé-a, so-lé-a, cre-dé-a, etc. They also used to change the third person ending in ea into ie with the accent on the last syllable, e. g. a-viè, so-lid, ore-diè, etc. for avea, solea, credea, etc. particularly in compounds with the suffix . These poetical licenses are out of use with modern writers.

The three persons plural of all conjugations are formed by adding mo, te, and no to the third person singular of this tense. The first and second person everywhere have the accent on the penultima, and the third on the antepenult. In Tuscany, however, many say: a-má-va-mo, te-mé-va-mo, sen-ti-va-mo, a-ré-va-mo, i. e. they put the accent of the first person on the antepenult, which in good conversation must be avoided.

++ in the second and third conjugation the letter v may be omitted in the third person plural as well as in the singular, and te-mé-a-no, cre-dea-no, sen-ti-a-no, dor-mi-a-no, may be used for te-mé-va-no, cre-de-va-no, sen-ti-va-no, dor-mi-va-no, etc. On the other hand, in the first conjugation it is not allowable to omit the letter v in the plural any more than in the singular, for reasons already stated.

I have stated already that old poets in the third person singular sometimes used to say, e.g. vedia, sedie, stendie, for vedea, he saw; sedea, he was seated; stendea, he extended, etc.... They also in the third person plural sometimes used to say ve-die-no, se-die-no, sten-die-no, for vedeano, they saw; sedeano, they were seated; siendeano, they extended, etc. ... and this form sometimes has been used by modern poets when they wanted to imitate the language of ancient poetry.

+ It is evident that the terminations i, sti, mmo, ste, and rono, in this tense, are common to all conjugations, while their difference only consists in the characteristic letter preceding those terminations, i. e. a in the first, e in the second, and in the third conjugation. With regard to the third person singular in this tense, it may be remarked that in the first conjugation the first person of the present tense, in the second the third person, and in the third the second person of the same tense, are identical with it, with the exception of the accent, which in the Indeterminate Preterite always falls on its last syllable, e.g.

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This person of the plural is everywhere formed by substituting the letter for r of the final syllable re of the infinitive. Only contracted verbs like con-dúr-re (from con-du-ce-re), to conduct; por-re (from pó-ne-re), to put; scior-re (from scio-glie-re), to loose; tor-re (from to-glie-re), to take In the earliest times of the language the Italians said a-mo-e for amò, away, etc., are an apparent exception to this rule, for they form the second te-mé-o for te-mè, and sen-ti-o for senti. Subsequently, for the sake of persons plural of this tense; con-du-cé-te, po-né-te, scio-glié-te, to-glié-te, euphony, they omitted the final vowel, which explains the stress and accent etc., from their original and not from their contracted infinitives. on the last syllable of these abbreviated words." With regard to the pro1 This person of the plural everywhere ends in no, with a preceding it in nunciation of this tense, all Italian verbs of the second conjugation have a the first conjugation, and o in the second and third. Amono for amano is close e in the terminations é-i, é-sti, è (pronounced é), ém-mo, éste, é-ro-no, therefore erroneous. The third persons plural: hán-no, they have; dán-no and an open e in the terminations ét-ti, ét-te, and ét-te-ro. In the third they give; fán-no, they do; sán-no, they know; star no, they stand; and ván-person singular of the first conjugation the final o is always open, e.g. amò mo, they go; are the only exceptions as they are derived by changing in the (pron. a-mo), he sang; parlo (pron. par-lo), he spoke, etc. monosyllables hō, I have; do, I give; fő, I do; so, I know; sto, I stand; and to (for vá-do), I go; the vowel o into a and doubling the letter n of no. See note to the Imperfect Jense of avere. I have however omitted in the paradigm of sentire the forms sen-ti-a, I or he felt (for sentiva), and sen-tí-a-no, they felt (for sentivano), because in the third conjugation these contractions of the first and third person singular and of the third person plural are more frequently used in poetry than in prose. In the second conjugation poets formerly used sometimes to change the contracted form of the first and third person singular ending in ea into ia, for the sake of rhyme, and to say e.g. d.ri-a, I or he had; so-li-a, I or he was accustomed (from so-lé-re); cre-di-a, I or he believed (from cré-de-re);

In the first conjugation this tense is irregular only in the three verbs, dare, fare, and stare.

Several, not all, verbs of the second conjugation have a double termination of this tense in ei and etti in the first and third person singular, and in the third person plural, while the other persons have but one form. Use is the only sure guide to show which verbs in ere have this double

form. A list of them will be presented later.

Amassimo for amammo, temessimo or temettimo for tememmo, sentissimo for sentimmo, must never be imitated; nor amorono for amarono. 4-má-ro for amarono, te-me-ro for temerono, and sen-ti-ro for sentirono, are forms of much more frequent use in poetry than in prose.

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IMPERATIVE MOOD (MODO IMPERATIVO). ††

Love thou
á-ma

(do not thou love

non a-md-re

á-mi
a-mid-mo
a-má-te
á-mi-no

Fear thou

té-mi

Feel thou

sen-ti

do not thou fear) do not thou feel

non te-mé-re

té-ma ‡‡

te-mid-mo

te-mé-te

té-ma-no

non sen-ti-re

sên-ta

sen-tid-mo

sen-ti-te

sen-ta-no

a-ma-ré-le, a-ma-rán-no, in the place of amerò, etc., is the Tuscan of Venetian gondoliers, Sclavonian sailors, and other such learned people, as Barretti says.

See notes to the conditional present of essere.

Of course it is erroneous to say-a-ma-ré-i, a-ma-ré-sti, etc. The forms ameria, temeria, and sentiria, for the first person of this tense, were perhaps more frequent in old writings, especially in old poetry, and the dialect of some provinces, e. g. of Venice, appears to make a more frequent use of it than that of others.

The difference between this person of the plural and the same person of the future is a double m. The forms amaressimo or ameressimo, for ameremmo, and sentiressimo for sentiremmo are erroneous.

This person changes the syllable rete of the future into reste.

This

This person adds ro to the termination ebbe of the singular. The ter mination ebbono is milder than ebbero. The termination iano is formed by adding no to the termination ia ot the singular, and is especially in use in poetry and in grave or solemn prose. Instead of iano, especially in poetry, also the termination ié-no or iến is in use (by changing a of the penultima into e, and transferring the accent from i to e), e. g. a-ma rie-no, te-merie no, sen-ti rié-no, for ameriano, temericno, and sentiriano. termination is derived from an obsolete termination of the singular, where a was changed into e and the accent transferred to the last syllable. I have already stated that in poetry a similar change of vowel and advancement of accent takes place in the third person of the imperfect tense of the indicative mood, e. g. a-rié no or a vien, for arevano, ve-dié-no for rederano, they saw; ve-nie-no for venivano (from venire), they came; po-tie-no for poterano (from potere), they could; mo-vien si for si movevano (from muoversi), they moved, etc.

the second person singular of this mood is identical with the third person + See notes to the imperative mood of essere. In the first conjugation singular of the present tense, indicative mood, and in the other conjugations with the second person singular of the same tense, thus:

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The only exceptions to this rule are the verbs-avere, essere, and sapere, with the following second persons singular of the imperative mood: abbi, have thou; si or sia, be thou; and sappi, know thou. In the first conjugation the third person singular of this mood every where ends in i, in the two other conjugations in a; and it is, therefore, identical with the third person singular of the subjunctive mood, just as if one would say, cause only the second person of the imperat ve mood addresses a direct order to a person to whom we speak, while the third person of this mood merely addresses an indirect order to a person, generally absent, of whom we speak. The first person plural of the imperative mood is everywhere identical with the first person plural of the present tense, thus:

This tense (along with the conditional present, which, by changing ò into -, may be derived from it, and is in some respects its subjunctive mood) offers but few irregulariti es. The irregular verbs-dare, to give; fare, to do; stare, to stand; and dire, to say, form it in the regular way pointed out in the synoptical table, thus: darò, fard, stard, and dirò. Other irregular verbs merely throw away the final vowel of their penultima. They are-an-dá-re, to go; a-vé-re, to have; do-ve-re, to be obliged; po-té-re, to be able; sa pé re, to know, and re-de-re, to see; with the future and conditional present as follows; an-drò, an-dré-i (for an-de rò, an-de-ré-i), a-vrò, a-vré-i, do-vrò, do-vré-i, po-trò, po-tre i, sa-prò, sa-pré-i, ve-drò, ve-dré-i. The irregular verbs-ri-ma-né re, to remain; do-le-re, to feel pain; pa-ré-re, to appear; te-né-re, to hold; va-lé-re, to be worth; and to-lé-re, to be willing, form these tenses by contraction, thus: ri-mar-rò, ri mar-ré-i, dor-rò, dor ré-i, par-rò, par-re-i, ter-rò, ter-ré-i, var-rò, var-ré-i, vor-rò, vor-ré i Only three veros of the third conjugation-re-ni-re, to come; mo-ri-re, to die; and sa-ti re, to mount, form these tenses with the same sort of con-(-o vô-glio or co-mán do ch' egli) á-mi, té-ma, sér ta. This is natural, be traction, thus: ver-rò, ver·ré í, mor-rò, mor ré-i, and sar-rò, sar-ré-i (only used in poetry for sa-li-ro, sa-li ré-i). The preceding contractions are formed by omitting the final vowel of the penultima and changing the consonant preceding the vowel into r. e. g. val' rò, changed into varro (from valere); dol' ro, into dorro (from dolere); ven' rò, into verrò (from venire). Irregular verbs, the infinitive mood of which is contracted, derive their future tense and present conditional either exclusively from the contracted, or from the contracted as well as from the original form of their infinitive. They are-ad-dúr-re, to bring or adduce (with the other compounds of dúr re, which comes from the Latin ducere); bé-re The second person plural is identical with the second person plural of the (from bé-ve-re), to drink; cor-re (from cô glie-re), to gather; por represent tense indicative mood, thus: (from the antiquated pó-ne-re), to put; scior-re (from scioglie-re), to loose or dissolve; scér-re (from scé-glie-re), to select; tor-re (from to glie-re), to take away; and trar-re (from the antiquated tra-e-re or trágge-re), to draw: with their future tense and present conditional-ad-durro, ad-dur-ré-i (for adducerò, adducerei), be-rò (and be-ve-rò), be-re-i (and be-re-ré-i), cor-rò (and co-glie-rò), cor-re-i (and co-glie-ré-i), por-rò, porrei, scior-rò (and scio-glie-rò), scior-ré-i (and scio glie-ré i), scer-rò (and sce-glie ro), scer-ré-i (and sceglie-ré-i), tor-rò (aud to-glie-ro), tor-re-i (and to-glie-rei), trar rò, trar-re i. Of-fer-rò and of-fer-ré-i, sof-fer-rò and sof fer-re i, may be considered as antiquated, as the verbs of fe-ri-re or of-fri re, to offer; sof-fe-ri-re or sof-fri-re, to suffer, now form their future tense and present conditional in a regular way.

These are I believe the principal irregularities to which, in their future tenses and present conditionals all the Italian verbs are liable. I consider such generalizing explanations as useful, and a frequent reference to the n will enable even a short memory to retain the numerous varieties of the allan verbs.

To write and pronounce a-ma-rò, a-ma-rá-i, a-ma-rù, a-ma-ré-mo,

amiamo, we love.
temiamo, we fear.
sentiamo, we feel.

amate, you love.
temete, you fear.
sentite, you feel.

amiamo, let us love.
temiamo, let us fear.
sentiamo, let us feel.

amate, love ye.
temete, fear ye.
sentite, feel ye.

The above-mentioned verbs, avere, essere, and sapere, likewise, are the only exceptions to this rule, for their second persons plural of the imperative mood are-abbiate (not avete), have ye; siate (not siete), be ye; and sappiate (not sapete), know ye. The third person plural of this mood (for the same reason mentioned with regard to the third person singular) is identical with the third person plural of the present tense, subjunctive mood, thus:

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+Some writers frequently used the second person singular of this tense in the second and third conjugation with the termination i in the place of a, saying temi and sents, for tema and senta; and some grammarians even declared the termination to be the regular one. It also cannot be denied that usage tolerates both terminations in a and i. The advantage, however, of distinguishing between the three persons singular ending in a, is perhaps Counterbalanced by the disadvantage of confounding, with regard to this person and tense, the indicative with the subjunctive mood, for temi and senti also mean-thou fearest and thou feelest. SOAVE for this reason proposed to limit the use of the termination to those verbs in which the second person singular of the present tense subjunctive mood cannot be confounded with the same person of the indicative mood, e. g. po-té-re, to be able; sa-pe-re, to know; vo-lé-re, to be willing, etc.; the indicative mood of which is-pub-i, thou art able; sá-i, thou knowest; vuo-i, thou art willing, etc.; and the subjunctive mood-pôs-si or pós-sa, thou mayest be able; sáp-pi or sáp-pia, thou mayest know; vo gli or vo-glia, thou mayest be willing, etc. Also the analogy of the first conjugation, where the three persons singular of this tense have the identical termination i, appears, to speak in favour of the identical termination a of these persons, in the second and third conjugation. I have on this account, and supported by the authority of modern writers and grammarians, in the paradigms, adhered to the latter terminations. Some people even say, in the second conjugation, temi, I may fear; tems, thou mayest fear; temi, he may fear; temino, they may fear; and in the third-senti, he may feel; sentino, they may feel; which certainly is an erroneous provincialism.

FRENCH READING S.-No. XXI.

LE GIRONDIN ET LE CENT-SUISSE.
SECTION I.

3

4

GENSONNE' s'était trouvé tout à coup séparé de ses com. pagnons ordinaires. Il s'étonna d'être conduit dans un cachot qu'il ne connaissait point, et qui ne paraissait pas pouvoir admettre plus d'un prisonnier. Quoiqu'il lui coûtât d'être éloigné de ses amis pour le peu de moments qu'il avait encore à passer avec eux, il ne pensa pas à se plaindre; car il avait toute la résignation qui vient de la force; mais sa surprise redoubla quand il vit le guichetier qui l'escortait refermer la lourde porte en dedans, poser sa lanterne sur le pavé, et s'asseoir sans façon au pied de l'étroite couchette qui composait tout l'ameublement de ce trou. Gensonné recula' d'un pas. Le guichetier ôta son bonnet, passa la main dans ses cheveux, et regarda fixement le député.

-Eh bien! dit Gensonné, dois-je vous avoir ici pour témoin ou pour gardien, maître Pierre, pendant ces heures d'agonie que les lois d'aucun pays n'ont disputées à la solitude et au recueillement?

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oublié sans doute la journée du 10 août. Elle est assez memorable.

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J'ai eu le bonheur d'en sauver quelques uns, et un entre autres que vos traits me rappellent.... Mais où voulez-vous en venir?

PIERRE ROMOND.

This tense of the subjunctive mood is liable to no irregularities whatever. It is derived by changing the st of the second persons singular of the indeterminate preterite-amasti, temesti, and sentisti, in the two first persons singular, into ss; by changing, in addition to this, in the third person singusar, the final into e; by adding, in the first person plural, mo to the first person singular, and by adding, in the third person plural, ro to the third person singular. The second person plural is identical with the second person plural of the indeterminate preterite. The termination ero of the third person plural may be changed into ono, e. g. a más-so-no for amassero, le-més-so-no for temessero, and sen-tis-so-no for sentissero. This change (see notes to the imperfect subjunctive of avere) may take place in well as in poetry, though formerly writers much more frequently used it than now. Those that say tu amasti for tu amassi, tu temesti for tu temessi, and tu sentisti for tu sentissi, are wrong; for they confound the second person singular of the indeterminate preterite, Those writers that say amassino, temessino, and sentissino, for amassero, of the indicative mood, with the same person of the imperfect subjunctive temessero, and sentissero, are not to be approved.

Nous y sommes, grâce à Dieu. Après m'avoir délivré vous m'avez conduit chez vous,23 vous m'avez couvert de vos vêtements; l'uniforme que je portais m'aurait livré à la mort, vous m'avez donné de l'argent pour vivre et pour regagner mon pays. Je n'ai pas quitté Paris où je pouvais cacher mon nom et mon existence dans un atelier, en travaillant d'un métier que je sais.

all verbs, in prose as

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Pendant cette contestation généreuse, Gensonné ne s'était pas défait19 du trousseau de clefs que le Suisse avait remis entre ses mains. Il s'en servit pour ouvrir20 la porte du cachot, et il le rendit à Pierre qui le regardait tout conterné. -Adieu, lui dit Gensonné,21 adieu, mon frère; va où l'on t'envoie, je t'en prie, et, s'il le faut, je l'exige au nom de notre amitié. Si tu tardais, tu serais puni,22 et je n'aurais pas la consolation de te voir encore une fois ce matin.

CHARLES NODIER.

COLLOQUIAL EXERCISE.

1. Comment Romond commença-t-il sa réponse?

2. Que dit-il de quelques mois de prison?

3. De combien se dit-il arriéré envers Gensonné?

4. Quand dit-il qu'il sera trop

tard?

5. Que fit alors le Girondin? 6. Que dit Gensonné au guichetier ?

7. Que dit-il de Garat? 8. Que dit Gensonné en pré

13. Que dit Romond à l'égard
de sa compagnie?
14. Quelle question Gensonné
lui proposa-t-il alors?
15. Quelle aurait été la réponse
du cent-suisse ?

16. A quelle place le Girondin
compare-t-il la sienne?

17. Quel était, selon lui, le
poste des Girondins?
18. Que dit Gensonné en em-
brassant le Suisse?

19. Où était le trousseau de clefs

sentant un anneau au Suisse? 9. Que dit alors le Suisse? 10. Que répondit Gensonné? 11. Quello question lui fit 12. Comment le Girondin ré- 22. Que lui dit-il des suites du pondit-il?

pendant cette contestation? 20. Quel usage Gensonné en fit-il?

Pierre?

21. Comment fit-il ses adieux au guichetier?

retard?

NOTES AND REFERENCES.-a. from vouloir; L. part ii., p. 110.-b. état, vocation.-c. from mourir; L. part ii., p. 96.d. L. S. 41, R. 7.-e. from valoir; L. S. 48, R. 6.-ƒ. from reprendre; L. part ii., p. 104. g. L. S. 25, R. 2.-. n'est plus, is no more.-i. ne s'était pas défait, had not given back, parted with-j. s'en servit, used it; L. S. 38, R. 2.

UNE PROMENADE DE FE’NELON.
SECTION I.

PARLER de Fénelon' c'est un titre pour plaire,
Trop heureux si mes vers emportent ce salaire,

Si de ce nom chéri le puissant intérêt
Me fait obtenir grâce et vaincre mon sujet!
Ce sujet, je l'avoue, est un rien,' peu de chose,^
Un fait que j'aurais peine à bien conter en prose,
Tant l'histoire en est simple! et je l'essaie en vers!....
Hélas! par ce récit, un ami des plus chers

Me fit, il m'en souvient, verser de douces larmes ;
Aura-t-il dans ma bouche aujourd'hui mêmes charmes 23
Il n'y faut pas compter; mais encore une fois,"
Sur tous les tendres cœurs Fénelon a des droits.

Une main plus savante a produit sur la scène
Du prélat de Cambrai l'âme sensible, humaine;
Elle a fait reconnaître, aux traits dont il est peint,
L'ange, le philosophe, et l'apôtre et le saint:
Ce digne monument suffirait à sa gloire;
J'offre encore une fleur à sa douce mémoire ;
Et par un trait vulgaires et sans art raconté
Je ne veux cette fois 10 que louer sa bonté.
Victime de l'intrigue et de la calomnie,
Et par un noble exil expiant son génie,
Fénelon dans Cambrai, regrettant peu la cour,
Répandait des bienfaits 12 en recueillant l'amour;
Instruisait, consolait, donnait à tous l'exemple.
Son peuple, pour l'entendre accourait dans le temple ;13
Il parlait et les cœurs s'ouvraient tous à sa voix.14
Quand du saint ministère ayant porté le poids,
Il cherchait vers le soir le repos, la retraite,15
Alors, aux champs,16 aimés du sage et du poète,
Solitaire et rêveur, il allait s'égarer;

De quel charme, à leur vuc, il se sent pénétrer!
Il médite, il compose,1s et son âme l'inspire;
Jamais un vain orgueil ne le presse d'écrire,
Sa gloire est d'être utile ;20 heureux quand il a pu'
Montrer la vérité, faire aimer la vertu !
Ses regards animés d'une21 flamme céleste
Relèvent de ses traits la majesté modeste;

Sa taille est haute et noble ;22 un bâton à la main,
Seul, sans faste et sans crainte, il poursuit son chemin,
Contemple la nature23 et jouit de Dieu même.

COLLOQUIAL EXERCISE.

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12. Que faisait Fénelon dans Cambrai?

13. Que faisait le peuple? 14. Quel était l'effet des paroles du digne archevêque?

15. Que cherchait-il le soir ? 16. Où allait-il s'égarer?

17. La vue de la campagne lui plaisait-elle ?

18. Que faisait-il pendant ses promenades?

19. L'archevêque écrivait-il par vanité ?

20. Quelle était sa gloire? 21. Quelle était l'expression des regards de Fénelon ?

22. De quelle taille était Fénelon ?

23. Que faisait-il en poursuivant son chemin ?

NOTES AND REFERENCES.-a. peu de chose, a trifle.-b. I.. part ii., § 39, R. (17).—c. from essayer; L. part ii., § 49, R. (2). d. il is here unipersonal.-e. encore une fois, I repeat it; literally, once more.-f. from produire; L. part ii., p. 100.-,g. vulgaire, ordinary, commonplace.—h. from instruire; L. part ii., p. 94.-i. from pouvoir; L. part ii., p. 100.-j. relèvent, increase. -k. from poursuivre; L. part ii., p. 98.

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