EXERCISE 17. 1. The writing-desk of the [be] gallant Pole. 2. The life of a prince is unsafe. 3. The gallant Pole with [mit] the [bem] lively [lebhaften] countenance [Gesicht] is an enemy of the Frenchman. 4. Is [ift] he a friend of the good [guten] captain? 5. That [jener] soldier is the brother of his beautiful cousin [Cousine]. 6. The diligent son of the brisk German has a good [gutes] conscience. SECTION XIV.-ABSOLUTE POSSESSIVES, ETC. 1. When mein, dein, sein, xc. (§ 58) are not followed by an adjective or a noun, they are called absolute possessives, and are declined, as are also fein and ein, like an adjective of the Old Declension, as Mein Hut ist groß, und sein-er (fein Hut) ist klein. Sein Hut ist groß, und mein-er (mein Sein Buch ist neu, ihr-es (ihr Buch) Er hat Geld, und Sie haben kein-es (kein Geld). My hat is large, and his (his His hat is large, and mine (my His book is new, hers (her He has money, and you have 1. Hat dieser Tuchhändler gutes Tuch? 2. Ja, er hat gutes Tuch; und dieser Gerber hat gutes Leder. 3. Was hat der Barbier? 4. Er hat gute Seife. 5. Wer hat gutes Heu? 6. Dieser Bauer hat gutes Heu. 7. Was hat der Schmied? 8. Er hat gutes Eisen, und sein Bruder, der Papierhändler, hat gutes Papier, rothes, blaues, und weißes. 9. Haben Sie rothen over weißen Wein? 10. Ich habe weder rothen, noch weißen. 11. 3hr Wein ist füß, aber dieser hier ist sauer. 12. Ihr rother Wein ist start, und der weiße Wein neines Nachbars ist schwach. 13. Hat dieser Müller gutes Mehl? 14. Ja, und dieser Bauer hat gutes Korn, guten Hafer, und gute Gerste. 15. Dieses Märchen hat eine schöne Stimme. 16. Mein Bruder hat etwas Schönes und ich habe nichts Häßliches. 17. Dieser Gines and feines (the neuters) often drop the vowel of the final | Mann hat nur ein wenig Gelt, und der antere hat gar keins. syllable; thus producing the forms eins and feins, as :-- 2. Gtwas is to be rendered "something," "anything," as Haben Sie etwas? have you anything? Ich habe etwas, I have something. Nicht (not) is seldom used with etwas; "not anything" being translated by nichte, which also signifies "nothing," as 3ch habe nichts, I have not anything, or, I have nothing. So etwas is best translated, "such a thing." none at 3. "At all" in such phrases as "nothing at all," " all," and the like, has in German its equivalent in the particle gar, which, however, always comes immediately before the word to which it relates. Kindred to this, is the still stronger expression, „ganz und gar," wholly and utterly; ganz und gar nicht," wholly and utterly not, i.e., by no means; not at all. 4. When an adjective is used with, etwas" or nichts," it follows the Old Declension, and is written with a capital initial; 48 " Ich habe etwas Schönes, I have something beautiful. " Sie sprechen von etwas Neuem, you speak of something new. 5. German verbs are conjugated negatively in the present and imperfect tenses, without an auxiliary, like the English verbs have" and "be;" as Ich habe nicht, I have not. Sie sind nicht, you are not. EXERCISE 19. 1. Has my brother, the tailor, black [schwarzes] or red cloth? 2. The friend of my [meines] brother has good paper, red, blue [blaues], and white. 3. The son of the bookbinder has something of the [von dem] barber. 4. The beautiful daughter of the old blacksmith has a [einen] dog and a cat. 5. The diligent car. penter [Tischler] has something beautiful. 6. The draper is a son of the industrious merchant [Raufmannes]. 7. The old tanner had not seen [geschen] the sly cat and the faithful dog. 8. Is the carpenter at home [zu Hause]? No [nein], he is not. 9. Have you taken [genommen] something? I have taken nothing. 10. Has pump-water [Brunnenwasser] a sweet or a salt taste? It has not [feinen] a salt taste, but [fontern] a sweet taste. LESSONS IN DRAWING.-IV. As it is necessary to dwell a little longer upon Parallel Perspective, in order to lay before our readers as many varied examples as we can in this division of the subject, we will for a few minutes restrict our observations to the details and method of drawing Fig. 32. But before taking up our pencil, let us say a few words upon a general principle of procedure, which merits the careful attention of all who are seeking to acquire a knowledge of Drawing by the aid of these lessons. There is doubt, the inquiry will be made by many, if not all, of our one question almost always asked by beginners, and as, no readers who wish to become good draughtsmen, we answer it This is a very natural query, and may be answered in more now. The question we allude to is, "Where shall I begin ?" than one way, according to the nature of the subject to be copied. We wish our readers to understand that the instructions contained in these lessons apply to drawing from objects as well as drawing from copies, and the same method is to be observed in both cases. If the subject before us is a drawing of a building, as in Fig. 32, begin by drawing the line of sight; this line may be ruled, but let it be the only ruled line in the Er_fiche nicht, he sees not (he Sie hört nicht, she hears not (she work. Then place the point of sight, and mark in the distance does not see). of the nearest line to this point on each side of it, and then the succeeding ones, without passing over a single line. It is much Ich sah nicht, I saw not (I did Sie liebten nicht, they loved not easier to mark in the distances between lines close together than (they did not love). when they are wide apart. The whole distance from P s to x is made up of the intermediate distances, P 8 a, a b, b c, c d, and dx, and if we correctly determine all the intermediate distances, we undoubtedly obtain the whole distance correctly. The reason we commence upon the line of sight from the point of sight is, because the eye is on a level with the parts of the subject on and near this line and point, from which we gradually extend our drawing to the outer limits. Once more we must impress upon our readers that this plan is to be followed when drawing from both copies and Nature, as it must be evident, when drawing from Nature, that the parts opposite the eye can be more easily and correctly arranged for the commencement of a drawing than those parts which are much above, or to the right or left of the eye. We have frequently seen beginners sit down to draw a house from a copy, and commence with the chimney, scratching away without having made any settlement as to the walls, doors, windows, etc., and when they get to the bottom find it altogether out of proportion. Who can expect anything but difficulty and failure, if he attempt to copy a drawing after this manner? No, we must copy from copies as we would copy from objects. When we are seated opposite the house of which we are about to make a drawing, it will naturally occur to the mind that the parts most in view, and best seen and understood, must be the first to be drawn, for from them the proportions of with the wall have the same vanishing point. A question may be asked with regard to the point of sight, as to whether the drawing, Fig. 33 (or any other where the point of sight is the principal vanishing point), could have been correctly made if the point of sight had been to the left of the door at g, instead of the right? Certainly it could. We have stated the point of sight determines the part of the building which is directly opposite us from the spot where we stand. This spot, remember, is called the "station point." If the point of sight had been to the left in this subject, we should not have seen such a broad extent of the retiring side of the projecting wall, ce; if it had been at h, we should not be able to see this retiring side at all, since we cannot see round a corner. Therefore all the rest of the subject are made and arranged. It very rarely occurs to any one, when drawing from the object, that to begin with the chimney is the right thing; then why should we do it when drawing from copies? When drawing a building, always commence with the parts opposite and on a level with the eye, and proceed to the foundation; then the superstructure may next be sketched, and the chimneys added last of all. Follow this practice in drawing from copies, and then you will hot find any difficulty when you are drawing from objects. When the question, "Where are we to begin?" refers to ornament, or to an arrangement of objects which can be placed on a table, look well at the whole first; then examine it carefully to discover the principal lines and characteristic angles, and begin with those nearest to the centre, passing outwardly from all sides of the centre gradually, without allowing any line of importance to be unnoticed, that is, unmarked. In Fig. 32 the eye of the pupil will quickly recognise the lines which go to the point of sight, and he will observe that the retiring lines of the window thrown open at a right angle it will be evident that four or five persons might sit in a row, all draw the same object, and all produce correct drawings, though not all alike, arising from the difference of position, each having his own point of sight, and each drawing his retiring lines to that point. We said, when giving an explanation of the definitions or fixed principles relating to retiring lines and planes, that the last (Definition 11) should engage our attention at a future time; we will now endeavour to make it clear with the help of a drawing, after repeating the definition itself, which was as follows:-"All lines inclined with the horizon and with the picture plane, have their vanishing points above or below the line of sight, according to the angle they form with the horizon, their vanishing points being always on a line perpendicular to the vanishing point upon the line of sight, to which they would have retired had they been horizontal." In Fig. 33 the learner will perceive that the inclined retiring lines are the lines of the roof ab and cd. If the roof had been flat that is. horizontal-its line would have been ce, and would hereafter He must, in copying this example, mark the distance from e to d in the usual manner, draw cd, and carry his pencil on to the perpendicular from P 8; the vanishing point, v P, will then be a guide for the remaining inclined lines. The eye, in deterraining the positions and proportions of lines, is very deceptive; many have recourse to measuring, in order to ensure correct outline. We beg the pupil not to measure; the understanding and the eye must be educated; and, as these not disdain to use a help which is not only true in principle, but a ready and decisive way of setting at rest every doubt and uncertainty relating to the treatment of these lines, which without vanishing points would be very difficult to determine. In Fig. 34, the lid of the box to the right inclines downwardthat is, the upper edge is nearest us-consequently, the VP of the lid is below the line of sight; the lid of the cellar retires upwards, having its v P above the line of sight. Bru-lo burnt. Fireship. Fût Mûre Fu A cask. Ripe. Brûler 43. O, o.-The o has, in French, three different sounds: short, Brûlot The short sound, as in cob, is the most common one. The o has a broad and prolonged sound, as in cord, when followed by an r, thus-castor, encore, etc. The full sound, as in coat, is always given to the o when it has a circumflex accent over it. It is also full when final, as in coco, loto, etc., and when followed by a mute consonant, as in mot, dos, etc. EXAMPLES OF THE SHORT SOUND. FRENCH. PRONUN. Locale Lo-kal Mode Mod ENGLISH. EXAMPLES OF THE BROAD, PROLONGED SOUND. Crû SECTION XIV.-PLAN OF THE EXERCISES IN COMPOSING Hitherto the student has been occupied exclusively in acquiring facts, forms, and principles, and in translating, by the aid of these, French into English, and again, English into French. Following still the plan of the work, let him now undertake the higher business of endeavouring to compose in French. With this intent, let him take some of the words given for this purpose in the following lists, and seek to incorporate them in sentences entirely his own. The words taken from the lists are to be used merely as things suggestive of thought. The form which, in any given case, the sentence may assume, should be determined by the models found in the sections preceding; for every sentence which the pupil has once mastered in the regular course of the sections, is, or should be, to him, a model on which he may at pleasure build other constructions of his own. Indeed, this constructing sentences according to models-that is, shaping one's thoughts according to the forms and idioms peculiar to a foreign tongue-is the true and only secret of speaking and writing that language well. The pupil, therefore, as he passes along in the ordinary course of the sections, should frequently be found applying his knowledge in the way of actually composing independent sentences; and thus Ro-tee (trill Roast-meat. he will soon acquire a facility and accuracy in the language, which is hardly otherwise attainable at all. LIST OF WORDS FOR EXERCISES IN COMPOSING. The words in the following lists are given as suggestive of thought. In conducting the exercise a particular word is selected, as relieur (bookbinder), and the student is required to compose a French sentence containing this term. He is duly notified that he is at liberty to take any thought suggested by the word, and to produce a sentence of any form found in any of the sections; regard being had all along to all the rules, notes, exceptions, etc., that may bear upon the case. Thus, adopting as a model the sentence, Votre marchand est bien obligeant (Sect. XVI., Résumé), or, Le Danois a-t-il quelques pommes? (Sect. XVII. 7), etc. etc., let him endeavour to produce others of the like kind. A little practice will render the exercise both easy and interesting. It will soon come to be easy to incorporate not only one, but two, three, or more of the words taken from the lists. 1. PROFESSIONS ET MÉTIERS.-PROFESSIONS AND TRADES. Plus Na-ture Nature. Urne Urne Urn. Aumonier, m., chaplain. 45. U, û CIRCUMFLEX.-Name, U, u; sound, like the letter u in the English word brunette. Still, It must be acknowledged, however, that the English letter u does not represent the correct sound of the French u, which is a combination of sounds not recognised in our language. we must use it as the representative of the sound of the French u, for the want of a better one. The following rule has also been given, and found useful:The sound of the French u is based upon that of English e. Pronounce the English letter e as naturally as possible, observing at the same time the position of the internal organs of the mouth. Now keep these organs in the same position as nearly as possible, protrude the lips as if to whistle, drawing them nearly together at the same time, and then try to pronounce the English e again, which will give you the correct sound of the French u. Practise often aloud, according to the directions of this rule, and success will crown your efforts. The rule has never yet failed to impart the correct sound of the French u in this manner, when seconded by the patient, persevering, and determined efforts of the pupil. Apothicaire, m., apothecary. Auteur, m., author. Blanchisseuse, f., washerwoman. Cordier, m., ropemaker. Dentiste, m., dentist. Drapier, m., draper. Ecclésiastique, m., clergyman. Fripier, m., a dealer in old clothes. Fruitière, f., fruit-woman. Graveur, m., engraver. Horloger, m., clock and watchmaker. Instituteur, m., institutrice, f., schoolmaster, mistress. Imprimeur, m., printer. Joaillier, m., jeweller. Maçon, m., mason, bricklayer. Maréchal, m., blacksmith. Musicien, m., musician. Naturaliste, m., naturalist. Orateur, m., orator. Orfèvre, m., gold and silver smith. Pape, m., pope. Pâtre, m., shepherd, herdsman. Perruquier, m., hairdresser. Philosophe, m., philosopher. Poissonnier, m., poissonnière, f., fishmonger. Prédicateur, m., preacher. Prêtre, m., priest. 2. The comparative of equality is expressed by aussi-que, as, or as much as, before an adjective, an adverb, or a pronoun. Anssi aimé que son frère, As much loved as his brother. Autant de que de, as much, or as many-as, before a substantive. Autant de crayons que de plumes, As many pencils as pens. 3. The comparative of superiority is expressed by plus-que, more-than, before an adjective, an adverb, or a pronoun. Il est plus docile que son frère, He is more docile than his brother. Plus de que de, more-than, before a noun. Plus de bonté que de jugement, More goodness than judgment. 4. The comparative of inferiority is expressed by pas si; pas aussi; moins-que, not so; not so; less-than, before an adjective, an adverb, or a personal pronoun. Vous n'êtes pas si grand que votre You are not so tall as your sister. sœur, 1. Êtes-vous aussi content que votre frère ? 2. Je suis aussi content que votre frère. 3. Votre père a-t-il autant de courage que de modestie ? 4. Il a moins de modestie que de courage. 5. Le libraire a-t-il autant de manuscrits que d'estampes? 6. Il a plus de celles-ci que de ceux-là. 7. A-t-il autant d'amis que d'ennemis ? 8. Il a plus de ceux-ci que de ceux-là. 9. A-t-il autant de pain que de fromage? 10. Il a tout autant de celuici que de celui-là. 11. Le maréchal a-t-il plus de chevaux que votre frère? 12. Il en a plus que mon père et plus que mon frère. 13. N'avez-vous pas froid? 14. Non, Monsieur, je n'ai pas froid, j'ai très chaud. 15. Avez-vous deux manteaux de drap? 16. J'en ai un de drap et un de velours bleu. 17. N'avezvous pas plus de verres que d'assiettes ? 18. Nous en avons davantage.* 19. Le maréchal a-t-il plus de fer que d'acier ? 20. Il n'a pas autant de celui-ci que de celui-là. 21. Il a moins de celui-ci que de celui-là. 22. Les Hollandais ont-ils de beaux jardins? 23. Leurs jardins sont très beaux. 24. Les jardins des Italiens sont plus beaux que ceux des Espagnols. EXERCISE 26. 1. Are you more attentive than your sister? 2. I am not so attentive as your brother. 3. Have you more courage than my brother? 4. I have quite as much. 5. Has the blacksmith as much money as iron? 6. He has more of the latter than of the former. (Sect. VII. 5.) 7. Has he more modesty than the Spaniard? 8. He has more. 9. He has more than your friend's sister. 10. Are you not cold, Sir? 11. No, Sir, but I am afraid and sleepy. 12. Has the Dutchman more cheese than the Italian ? 13. He has more cheese and more money. 14. Have you as much English silk as Italian silk ? 15. I have more of this than of that. 16. Who has more friends than the Spaniard? 17. Your friend has more. 18. Has the Spaniard as much of your money as of his? 19. He has less of mine than of his. 20. Have we more silk cloaks than cloth cloaks? 21. We have more of these than of those. 22. Have you good cloaks? 23. Yes, Sir, I have good cloaks, good hats, and good leather shoes. 24. Have you more plates than dishes? 25. I have not more plates than dishes, but I have more glasses than plates. 26. Are you not very cold? 27. No, Sir, I am neither cold nor warm. 28. Has your carpenter wood? 29. Yes, Sir, he has wood, money, cheese, and meat. 30. Who has more money than the carpenter? 31. The Dutchman has more. 32. Who has more engravings than books? 33. The bookseller has more of these than of those. 34. Are you as attentive as your friend? 35. I am more attentive than my friend. LESSONS IN ENGLISH.-IV. BY parsing is meant the telling of the parts (pars, Latin, a part) It Davantage means more. It can never be placed before a noun. may be used instead of plus at the end of a sentence. |