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lovely (amable). Virtue is lovely. Books are useful. Time! is more precious than gold. Ignorance is (the) mother of error. Prudence is more precious than silver. Water is as good as wine. Charity is patient. Life is not a dream. Wisdom is more precious than all riches. Beneficence makes us amiable. Wisdom3 is better than beauty. Men are mortal. Man fears death. Man fears not life. Gold is precious. She has prudence. Peter has money. Lucy found no books. John has gold. Butter is very dear. Milk is white. Beer is good. This year flour is very dear. Wine is very dear this year. Death is terrible. Gratitude is the soul of religion. Prudence and judgment are necessary to every man. Wines will-be good this year. Peter prefers vice to virtue. The shoemaker prefers beer to wine. Forks are useful. This year flour is not dear. Gold is more precious than silver. History is (the) instructress of life. John prefers riches to wisdom. This gentleman prefers truth to error. The peace of society depends on (de) justice. Prudence is better than money.

OF THE VERB.

Verbs are classed, as in English, into active, passive, and neuter; active-transitive, active-intransitive, reflective, regular, irregular, impersonal, and defective. They are also varied by >erson and number, mood and tense.

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The indicative mood represents the affirmation in a positive manner; as,

Hablamos, we-speak. I Comeré, I-shall-eat.
The imperative mood expresses an order, entreaty, or com-
mand; as,
Hablad, speak-ye.

Coman, let-them-eat, or, may-they-eat.

The subjunctive mood represents the affirmation in a conditional manner; as,

Aunque hablen, though they-may-speak.
Yo comeria, I would-eat.

TENSES.

Tense is the form which the verb takes to show the time of the action, being, or passion which is affirmed. There are properly three tenses, the past, the present, and the future. These are subdivided into eight tenses, one for the present, five for the past, and two for the future: the present; imperfect, perfect-definite, perfect-indefinite, the first-pluperfect, second-pluperfect; the first-future, and future-perfect or

An active verb expresses an action affirmed of the agent or second-future. nominative; as,

Cláudio escribe, Claudius writes.

When the action is affirmed of the agent as being transmitted to a direct object, the verb is called active-transitive;

as,

Cláudio escribe una carta, Claudius writes a letter.

The present tense represents whatever is affirmed as taking place at the present time; as,

Hablan, they-speak.

Están comiendo, they-are eating.

The imperfect tense represents as relatively present somecontrary, not yet completed; as,

When the verb expresses action, but has no direct object, it thing which is affirmed as past, though, for all we know to the

is called active-intransitive; as,

El esclamó, he exclaimed.

El mocito salto, the lad jumped.

A reflective verb is one which affirms that the action is conveyed to the same person or thing which is the agent; as, Tu te ceñes, thou girdest thyself.

Nosotros nos alabamos, we commend ourselves.

Hablaban cuando los vió, they were-speaking when he-saw them.

The perfect-definite tense represents what is affirmed as being completely past and finished; as,

Les habló ayer, he-spoke to them yesterday.

The perfect-indefinite tense represents what is affirmed as

El se tiene por hombre grande, he holds himself for a great having taken place during a time not entirely elapsed; as,

man.

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Les he hablado hoy, I-have spoken to them to-day. The first-pluperfect tense expresses what is past and was finished before another action, also past, completed; that is, an event which occurred prior to some other past event;

as,

Había hablado cuando llegó, I-had spoken when he-arrived. The second-pluperfect expresses that what is affirmed had taken place immediately before a time which is past; and is always employed after advebs of time; as,

Cuando les hubo hablado, se marcharon, when he-had spoken to-them, they went away.

The first-future tense refers to some action or event which is yet to take place; as,

Hablará esta noche, he-will-speak to-night.

The second-future or future-perfect tense refers to some future action or event that will have taken place at or before some particular future time; as,

Habré acabado a las ocho, I-shall-have finished at eight o'clock.

PARTICIPLES AND GERUNDS.

Verbs in Spanish have two participles, the present and the past. There are, however, but few present participles in use, and these few are, almost without exception, employed only as adjectives or nouns; as, semejante, similar; obediente, obedient; viajante, traveller. The ending of the present participle of verbs that have their infinitive in ar, is ante; of those that have their infinitive in er or ir, it is iente.

The past participle denotes action or being perfected or

finished, and, when derived from a regular verb, is generally opening of the sixth seal of the mystic volume, produces formed by changing the final letters of the infinitive ar into ado, and er or ir into ido; as,

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In Spanish the infinitive mood of all verbs ends in ar, er, or ir, and these terminations serve to distinguish the three conjugations; the first conjugation comprehending all verbs ending in ar; the second, those ending in er; and the third, those ending in ir.

Regular verbs are those which are conjugated through all the moods and tenses without deviating in their orthography from the corresponding orthography of the model verbs.

Irregular verbs are those which do not conform in every respect to the regular standard or model verbs.

Auxiliary or helping verbs are those by the aid of which others are conjugated in the compound tenses and in the passive voice. The auxiliary verbs are haber, to have; ser, to be; estar, to be. Those tenses of the active voice in which an auxiliary verb is used, are called compound tenses.

Remark--The learner must keep in mind the rules for accenting the verb in all its varieties of termination; and he will thus know that all persons of the verbs (of whatever mood or tense) which have no accent over any syllable are to be accented on the syllable next to the last. In some of the conjugations, the accent will be placed over all the forms, in order to aid the student in pronouncing them.

LESSONS IN READING AND ELOCUTION. No. XXIV.

THE PRESS.

Look abroad, over the face of this vast and almost illimitable continent, and behold multitudes which no man can number, impatient of the slow process of education, wrestling with the powers of nature and the obstructions of accident, and like the patriarch, refusing to let go their hold, till the day break, and they receive the promised blessing, and the recompense of the struggle.

You will perceive, too, in the remotest corners where civilisation has planted her standard, that there the Press, the mightiest engine ever yet invented by the genius of man, is producing a moral revolution, on a scale of grandeur and magnificence unknown to all former generations. By it information of every transaction of government, and of all important occurrences in the four quarters of the world, is transmitted with a degree of speed and regularity, that the most sagacious could not have foreseen, nor the most enthusiastic have dared to hope for, fifty years ago. By the Press, every cottage is supplied with its newspaper, and elementary books in the most useful sciences; and every cradle is supplied with tracts and toy-books, to teach the infant to lisp Lessons of wisdom and piety, long before his mind has power to conceive, or firmness to retain, their meaning.

The power of this engine, in the moral and intellectual universe, is inconceivable. There is no ordinary operation of the physical elements to which its mighty influence can be compared. We can find only in the visions of the apocalyptic saint a parallel to its tremendous action. Guided by truth and reason, like the sound of the seventh trumpet, it opens the temple of God in heaven, and shows to the eye of the faithful and regenerated spirit, within the veil of that temple, in the presence-chamber of the Almighty, the ark of his testament. Controlled by falsehood and fraud, its force like the

Except the second person plural of the imperative mood.

earthquakes, turns the sun to sackcloth, and the moon to blood, moves every mountain and island out of their places, and causes even the heaven we hope for, to depart as a scroll when it is rolled together.-Joseph T. Buckingham

GREECE IN 1820.

Land of the brave! where lie inurned
The shrouded forms of mortal clay,
In whom the fire of valour burned,
And blazed upon the battle's fray;
Land where the gallant Spartan few
Bled at Thermopyla of yore,
When death his purple garment threw
On Hellas' consecrated shore !
Land of the Muse! within thy bowers
Her soul entrancing echoes rung,
While on their course the rapid hours
Paused at the melody she sung;
Till every grove and every hill,
And every stream that flowed along,
From morn to night repeated still
The winning harmony of song.
Land of dead heroes! living slaves!
Shall glory gild thy clime no more?
Her banner float above thy waves,
Where proudly it hath swept before?
Hath not remembrance then a charm
To break the fetter and the chain;
To bid thy children nerve the arm,
And strike for freedom once again?
No! coward souls! the light which shone
On Leuctra's war-empurpled day,
The light which beamed on Marathon,
Hath lost its splendor, ceased to play;
And thou art but a shadow now,
With helmet shattered, spear in rust;
Thine honour but a dream, and thou
Despised, degraded in the dust!

Where sleeps the spirit, that of old

Dashed down to earth the Persian plume,

When the loud chant of triumph told

How fatal was the despot's doom?

The bold three hundred-where are they, Who died on battle's gory breast? Tyrants have trampled on the clay, Where death has hushed them into rest.

Yet, Ida, yet upon thy hill,

A glory shines of ages fled;
And fame her light is pouring still,
Not on the living, but the dead;
But 'tis the dim sepulchral light,
Which sheds a faint and feeble ray,
As moon-beams on the brow of night,
When tempests sweep upon their way.
Greece! yet awake thee from thy trance;
Behold thy banner waves afar;
Behold the glittering weapons glance
Along the gleaming front of war!
A gallant chief of high emprize,*
Is urging foremost in the field,
Who calls upon thee to arise
In might, and majesty revealed.
In vain, in vain the hero calls;
In vain he sounds the trumpet loud;
His banner totters; see, it falls
In ruin, freedom's battle shroud;
Thy children have no soul to dare
Such deeds as glorified their sires;
Their valour's but a meteor's glare,
Which gleams a moment and expires.

⚫ Ypsilanti,

Lost land! where Genius made his reign,
And reared his golden arch on high,
Where science raised her sacred fane,
Its summit peering to the sky;
Upon thy clime the midnight deep
Of ignorance hath brooded long;
And in the tomb, forgotten, sleep
The sons of science and of song.

Thy sun hath set, the evening storm
Hath passed in giant fury by,

To blast the beauty of thy form,

And spread its pall upon the sky;

Gone is thy glory's diadem,

And freedom never more shall cease

To pour her mornful requiem

O'er blighted, lost, degraded Greece!-J. G. Brooks.

TRYING TO PLEASE.

We know that it is difficult to draw the line between good social dispositions and actions generally, and a sickly regard to false exactions; and to avoid useless discriminations, we shall venture to say, that we dislike much of the current language on the subject of pleasing. We dislike the phrase, "trying to please.' It is deceptive, and the practice itself leads to effeminacy or fraud. It puts men in wrong positions towards each other.

To shun giving needless offence is one thing, and most important. This passive good-will or negative benevolence is not sustained without effort; and, as it is little noticed by those whom it spares, it is likely to be disinterested, and can scarcely do harm to either party.

Then, again, to give innocent pleasure to others by active efforts and personal sacrifices in their behalf, is safe for all concerned. And to gratify our friends by our moral excellence and high reputation, is a natural reward, though we should not propose it as the object of virtuous action. And undoubtedly our customary civilities and attentions are in part designed to give pleasure.

But Chesterfield's "passionate desire of pleasing everybody," this endeavouring so to adapt ourselves to the dispositions of others, that admiration and gratitude shall beam upon us whenever we appear, and our very persons become idols, is not the prompting or expression of benevolence; and it is foreign to the true spirit and purpose of civility. There is selfishness on both sides, and mutual mischief. Men have no right to such a show of devotion, and we have no right to

offer it.

We are not placed here, solely or chiefly to please or to be pleased, even in the best sense that we can give to these terms; but to be good and to do good. And, so far as manners promote these objects, let them be cultivated with enthusiasm as virtues; and, so far as they then give pleasure, they yield a natural fruit.-Edward T. Channing.

THE WILD BOY.

He sat upon the wave-washed shore
With madness in his eye;
The surge's dash,-the breaker's roar,
Pass'd unregarded by;

He noted not the billows' roll,

He heeded not their strife,

For terror had usurped his soul,
And stopped the streams of life.

They spoke him kindly,-but he gazed,
And offered no reply ;-

They gave him food, he looked amazed,
And threw the morsel by.

He was as one o'er whom a spell
Of darkness hath been cast;
His spirit seemed to dwell alone,
With dangers that were past.

The city of his home and heart,
So grand, so gaily bright,
Now touched by fate's unerring dart,
Had vanished from his sight.
The earthquake's paralyzing shake
Had rent it from its hold,-
And nothing but a putrid lake,
Its tale of terror told.

His kindred there, a numerous band,
Had watched his youthful bloom,-
In the broad ruin of the land,

All-all had met their doom! But the last night, a mother's voice Breathed over him in prayer,She perished, he was left no choice But mute and blank despair.

He sat alone, of all the crowd

That lately thronged around,The ocean winds were piping loud, He did not heed their sound; They asked him of that city's fate, But reason's reign was o'er,— He pointed to her ruined state, Then fled, and spoke no more.

Charles West Thomson.

THE MOCKING-BIRD.

The plumage of the mocking-bird, though none of the home liest, has nothing gaudy or brilliant in it; and, had he nothing else to recommend him, would scarcely entitle him to notice; but his figure is well proportioned, and even handsome. The euse, elegance and rapidity of his movements, the animation of his eye, and the intelligence he displays in listening, and laying up lessons from almost every species of the feathered creation within his hearing, are really surprising, and mark the peculiarity of his genius.

To these qualities we may add that of a voice full, strong and musical, and capable of almost every modulation, from the clear, mellow tones of the wood-thrush, to the savage screams of the bald eagle. In measure and accent, he faithfully follows his originals. In force and sweetness of expression he greatly improves upon them. In his native groves, mounted upon the top of a tall bush, or half-grown tree, in the dawn of a dewy morning, while the woods are already vocal with a multitude of warblers, his admirable song rises pre-eminent over every competitor.

others seems a mere accompaniment. Neither is this strain altoThe ear can listen to his music alone, to which that of all the gether imitative. His own native notes, which are easily distinguishable by such as are acquainted with those of our various limits. They consists of short expressions of two, three, or, at song birds, are bold and full, and varied seemingly beyond all the most, five or six syllables, generally interspersed with imita tions, and all of them uttered with great emphasis and rapidity, and continued with undiminished ardour for half an hour, or an hour, at a time; his expanded wings and tail, glistening with white, and the bouyant gaiety of his action, arresting the eye, as his song most irresistibly does the ear. He sweeps round with enthusiastic ecstasy. He mounts and descends, as his song swells, or dies away; and, as my friend Mr. Bartram, has beautifully expressed it, "he bounds aloft with the celerity of an arrow, as if to recover or recall his very soul, which expired in the last elevated strain."

While thus exerting himself, a bystander, destitute of sight, would suppose that the whole feathered tribe had assembled together on a trial of skill, each striving to produce his utmost effect::-so perfect are his imitations. He many times deceives the sportsman, and sends him in search of birds that perhaps are not within miles of him, but whose notes he exactly imitates. Even birds themselves are frequently imposed on by this admirable mimic, and are decoyed by the fancied calls of their mates; or dive with precipitation into the depths of thickets, at the scream of what they suppose to be the sparrowhawk.-Alexander Wilson.

FRENCH READING S.-No. XXX.

LES HIRONDELLES.

CAPTIF au rivage du Maure,1
Un guerrier courbé sous ses fers,
Disait je vous revois encore,
Oiseaux ennemis des hivers.
Hirondelles, que l'espérance
Suit jusqu'en ces brûlants climats,"
Sans doute vous quittez la France:
De mon pays ne me parlez-vous pas ? 4
Depuis trois ans je vous conjure
De m'apporter un souvenirs
Du vallon où ma vie obscure
Se berçait d'un doux avenir,
Au détour d'une eau qui chemine
A flots purs, sous de frais lilas,
Vous avez vu notre chaumine;

De ce vallon ne me parlez-vous pas ?7

L'une de vous peut-être est née
Au toit où j'ai reçu le jour ;
Là d'une mère infortunée
Vous avez dû plaindre l'amour."
Mourante, elle croit à toute heure
Entendre le bruit de mes pas;10
Elle écoute, et puis elle pleure:"1
De son amour ne me parlez-vous pas ?12
Ma sœur est-elle mariée ?13
Avez-vous vu de nos garçons
La foule aux noces conviée,
La célébrer dans leurs chansons?
Et ces compagnons du jeune âge
Qui m'ont suivi dans les combats,
Ont-ils revue tous le village ?14
De tant d'amis ne me parlez-vous pas ?15
Sur leur corps l'étranger, peut-être,
Du vallon reprend le chemin ;16

Sous mon chaume,' il commande en maître ;
De ma sœur il troubles l'hymen.
Pour moi plus de mère qui prie,
Et partout des fers1 ici bas,17.
Hirondelles de ma patrie,

De ses malheurs ne me parlez-vous pas ?18
BE'RANGER.

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LE VIEUX ROI ET LA JEUNE FILLE. SECTION I.

J'E'TAIS depuis deux mois à Londres; les deux mois les plus brumeux de la orumeuse Angleterre. Enfin, vers la mi-février, à travers un voile de nuées grisâtres, j'aperçus comme une pâle copie de notre soleil de France, le soleil de la Grande-Bretagne. J'avais besoin, pour respirer à l'aise, de sortir de l'atmosphère pesantes qui oppressait ma poitrine, et je résolus d'aller guérir un méchant rhume à Richmond, que j'avais si souvent entendu citer comme un des plus beaux fieux des environs de Londres. Quittant avec plaisir mon hôtel noir et enfumé, je montai dans une légère et bonne diligence et arrivai en quelques heures à la destination que je m'étais fixée.

La vue qui s'offre au voyageur du haut de la terrasse de Richmond est des plus riantes et des plus grâcieuses." Devant ses yeux se déroule une forêt immense et épaisse, qui semble dominer tout le pays, et au milieu de laquelle toutes les habitations ont l'air d'être enfoncées dans des épais et moelleux ombrages. De distance en distance s'étendent de belles pelouses, qui ressemblent à ces clairières qui entrecoupent les bois,11 où les cerfs, les biches et les faons viennent bondir et jouer sous les rayons du sceil.12

C'est de la colline de Richmond que l'on voit le cours de la Tamise; ce n'est point encore l'orgueilleuse reine des fleuves; ici elle est simple et modeste comme la villageoise qui n'a point encore vu la ville des rois. Toute poésie à part, la Tamise est peu de chose à Richmond; on ne dirait pas en la voyant si humble, que quelques milles plus loin, elle va devenir si puissante par ses ondes et par ses richesses.

Après avoir déjeûné à l'hôtel de l'Etoile, j'allai visiter le maison du célèbre Pope." Les princes d'Orleans l'habitaient alors. Cette jolie villa devait être selon le cœur du poète anglais; elle est merveilleusement et tranquillement assise sur la pente très douce d'un coteau qui forme pelouse devant le château et que baignent les ondes de la Tamise. Un énorme bouquet de chênes séculaires est comme la toile de fond,20 sur laquelle se dessine en clair l'élégante habitation.

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NOTES AND REFERENCES.-a. from résoudre; L. part ii., p. 104.-6. L. S. 97, R. 6.—c. L. S. 97, R. 2.—d. faon is pronounced as if it were written fan.-e. toile de fond, ground.

SECTION II.

17. Quelle question la reine fit-
elle encore?

18. Comment la petite fille y
répondit-elle ?

19. Que dit alors le roi Geor-
ges?

20. Que faisait-il pendant qu'il
parlait?

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| 21. Que dit alors l'enfant ?
22. Que fit la reine Charlotte?
23. Qu'est-ce que la gouver

nante était loin de croire? 24. Que dit-elle à la petite fille ?

25. Que dit Charlotte à la gouvernante?

La reine Charlotte s'en arrangeait à merveille; elle y était plus heureuse qu'à Windsor. Cette reine d'un esprit peu agréable, mais solide, possédait de grandes qualités ;2 NOTES AND REFERENCES.-a. L. part ii., § 49, R. (1).—b. L. elle était le modèle des épouses de la Grande-Bretagne. S. 36, R. 2.-c. L. part ii., § 135, R. (3).—d. L. S. 25, R. 2.—e. Les Anglais de mon âge se souviennent encore des soins L. S. 56, R. 2.-f. que, may.--g. mise, dressed.-h. L. S. 41, assidus et pleins d'égards,' qu'elle n'a cessé de rendre R. 9. à son malheureux époux pendant sa longue et cruelle maladie.

A Kew, Charlotte et Georges III. vivaient très retirés ; souvent, on les voyait assis tous les deux sous les nobles ombrages des cèdres ; là, ils oubliaient les soucis du trône, les ennuis de la cour, et s'occupaient avec les délices de la botanique qu'il aimaient passionnément.

Un jour, une jolie enfant, avec de beaux cheveux noirs bouclés, passa près du banc où ils se reposaient de leur promenade. La reine appela la petite fille, qu'elle trouva charmante. C'étais l'enfant d'un émigré français. La petite fille avait rempli son tablier, de fleurs champêtres,1 qu'elle venait de cueillir sur les pelouses. La reine lui parla d'abord en anglais. L'enfant ne comprenant point cette langue, sa famille ne faisait que d'arriver en Angleterre,12 la reine lui dit en français:

ils ?13

Vous avez là de bien jolis bouquets; pour qui sont

ANSWERS TO CORRESPONDENTS.

P. R. BEAUCHAMP: We have for some time contemplated the publica

tion of the lessons you desire, bnt when we shall be able to accomplish it DIVINIO cannot do better than commence with Dr. Jenkyn's lessons in

we connot positively say.

Theology in the "Biblical Educator."

scarcely worthy of insertion in our pages, which are already overcrowded with a multiplicity of subjects.

W. FAIRLEY: We regret to say our correspondent's verses appear to us

JOHN M'MEATH: It will be impossible for us to give any more lessons in the subjects you mention.

PUPIL: We are sorry we cannot give you any further assistance than may be gathered from what has already appeared in our pages. The accentuation of Latin is a very simple affair. Words of two syllables are always accented on the first. Words of more than two syllables receive the accent on the last but one if that is long, and on the last but two in all other cases.

WILLIAM: The quantity of electricity is greater in proportion to the size

of the condensing plate and the quantity of friction.

Xapire seems to have knowledge enough for the situation he desires, but has he sufficient influence to procure it? That is the great point. He will find our Lessons in Stenography answer every purpose.

-Pour maman, qui aime bien les fleurs; mais qui ne peut plus venir voir les belles plantes qu'il y a ici...parce-seller. We have not yet published a key to the Italian exercises. qu'elle est malade.

ELIZABETH may obtain a key to the French exercises from any book

Y a-t-il longtemps qu'elle souffre ?15

Oh! oui, bien longtemps! bien longtemps !16....depuis qu'elle a appris la mort de papa, que les méchants ont

tué.

-Quels méchants ?17

-Les révolutionnaires, qui ont tué le roi.18

LITERARY NOTICES.

Now ready, price 4s. in paper covers, 5s. in cloth,

DICTIONARY.

-Pauvre enfants dit le roi Georges en passant sa main THE LATIN-ENGLISH DIVISION OF CASSELL'S LATIN dans la belle chevelure de jais de la petite Français;20 que

Dieu te conserve ta mère!

-Je le demande au bon Dieu tous les jours11....et cependant elle ne guérit pas.....Je voulais rester auprès d'elle aujourd'hui; mais elle a ordonné à ma bonne de m'amener ici.

Alors Charlotte se leva et pria l'enfant de la conduire à sa bonne.22 La vieille gouvernante était loin de croire que c'était une reine, qui venait ainsi vers elle,23 si simplement mises et tenant la petite par la main.

-D'où venez-vous, Mademoiselle Louise ?24 demanda-t-elle d'un ton sévère; je vous avais recommandé de ne pas vous éloigner.

Ne la grondez pas,25 dit la reine, elle était, la pauvre petite, à me parler de sa mère, et je viens vous demander, Madame, de me conduire chez elle.

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