now rarely used; and in the cases in which it is chiefly used

“ How oft, my slice of pocket store consumed, namely, by the poets, and by the Society of Friends-the est is

Still hungering, penn less, and far from home, for the most part dropped. Indeed, but for its constant employ.

I fed on scarlet hips and stony haws."-Cowper, “Task." ment in the public prayers of Christian churches, it would now! Fy is from the Latin facio, I make. Facio, in combination, probably be wholly out of use. Nor would the language suffer becomes ficio, as in efficio. The fi in this word, written fu, is by its discontinuance; for, as the person is marked by the pro the particle under consideration. It is seen in fructify, literally, noun thou, there is no occasion for any inflection of the verb, to make fruit ; that is, to make fruitful. and such inflection abates the euphony, and diminishes the | “Calling drunkenness, good-fellowship; pride, comeliness; rage, adaptability of our verbs.

valour; bribery, gratification.”-Bishop Morton. Et, as in turret (Latin, turris, a tower), is a diminutive, a small

Head or hood, from the Saxon had, head, in composition, tower; coming to us from the Italian torretta.

denotes the essence of any person or thing; its essential condi. "Now like a maiden queen she will behold,

tion, viewed as a whole: thus, in Anglo-Saxon and English, From her high turrets, hourly suitors come;

manhad, manhood; wifhad, wifehood, or womanhood; cildhad, The east with incense, and the west with gold,

childhood ; brotherhad, brotherhood; preosthad, priesthood. Will stand like suppliants to receive her doom."

“ Canst thou, by reason, more of godhead know, Dryden.

Than Plutarch, Seneca, or Cicero ?” Eth, the old termination of the third person singular of the

Dryden, Religio Laici.” present tense of the English verb; as eateth, found in part in Head is sometimes employed with a more direct reference to the the Latin legit, and found in full in the Anglo-Saxon bærneth, meaning which it has in current use; as in wronghead and he burneth.

wrongheaded, etc "He that goeth forth and weepeth.”—Ps. cxxvi. 6.

“Much do I suffer, much to keep in peace, Ette, of French origin, is found in words taken from the

This jealous, waspish, wror.chead, rhyming race."-Pope. French; as, coquette, etiquette. Coquette is, with us, spplied to

" Whether we [the Irish] can propose to thrive so long as we enter. a female who employs her personal attractions to gain attention

tain a wrongheaded distrust of England."-Bishop Berkeley. from males. In French there is the word coquet, a male coquette. After a similar manner we use both heart and head, in faintCoquet seems to come from coq, a cock, a showy and uxorious hearted, lighthearted, hotheaded, lightheaded." animal; and accordingly, it signifies a man who resembles al Tole, see able, formerly explained under suffixes. Crk in his attention to woman. By a natural step in the pro- Ic, ick, ich, have counterparts in the Latia termination icus, gress of language, the term was applied to females.

and the German ich, isch; as soporificus (Latin, sopor, sleepiness), Etiquette is the same word as our ticket, and originally denoted soporific, rusticus (Latin, rus, the country), rustic, cildisc in Anglothe short inscriptions, or tickets, put on packages of goods to Saxon, childish in English ; bookish. point out what they contained. But similar etiquettes or tickets “The sweet showers of heaven that fell into the sea are turned into were employed to declare certain observances required in a | its brackish taste.”—Bates. public assembly; and so the word came to signify forms and Ical, an adjective-ending, from the Latin icaiis : for example, formalities, a strict regard to custom; and in general, social amicalis, amical (friendly), grammaticalis, grammatical ; SO conventionalism, particularly in relation to deportment.

critical (Greek, kpivw, pronounced kri'-no, I judge), which passes “ Coquet and coy at once her air,

into a noun by dropping al, as critic; so musical, music, mystical, Both studied, though both seom neglected; Careless she is with artful care,

" Fool, thou didst not understand Affecting to seem unaffected.”– Congreve.

The mystic language of the eye nor hand.”-Donne. Eur, a French termination, from the Latin or: thus vendeur

Ne, from the Latin adjective termination ilis, to be seen in (a seller) is from the Latin venditor; proditeur, a betrayer, from

docilis (Latin, docco, I teach), docile, teachable; fragilis (Latin, the Latin proditor. It is similar in import to our ending er, and

frango, I break), fragile, easily broken. Some Latin adjectives denotes an actor: for example, producteur, Fr. a producer. Of

in ilis are represented by adjectives in ful in our tongue, as old many English words, now terminating in or, terminated in utilis, useful. eur; as autheur for author. The termination is still retained

In, ine is from the Latin termination inus, which denotes in certain nouns denoting abstract qualities : for instance,

sometimes a name, as Tarentine, an inhabitant of Tarentum, grandeur (Latin, grandis, great); hauteur (French, haut, high),

but in English more often a quality, as genuine, from the Latin derived immediately from the French. The notion of the actor

genuinus, which is derived in its turn from genus, a kind or is retained in the French douceur (from the French doux, sweet), I

race—that is, that which possesses the qualities belonging to its a sweetener ; a fee, or bribe.

kind, in opposition to spurious, which, in its Latin meaning, Ever, connected in origin with the Latin ævum, age; and the

signifies a bastard.

" We use Greek alw (i'-own), age, comes to us directly from the Anglo

No foreign gums, nor essence fetched from far, Sanon ofre, and signifies always, an enduring reality, either in

No volatile spirits, nor compounds that are time past (Ps. xxv. 6; xc. 2), time present (Ps. cxix. 98), or

Adulterate ; but at Nature's cheap expence time to come (Ps. cxi. 5). Ever, as a suffix, strengthens the

With far more genuine sweets refresh the sense."--Carew. word to which it is appended : thus, " whatever you do” has more force than “what you do." Ever is found in other com

Ing, in Anglo-Saxon, signifies son, as Edgar Atheling; that is, pounds; for example, whoever, however, wherever, whenever. |

Edgar the son of Athel, or Edgar of noble blood. In English, ing Additional force is given by the insertion of the particle so ;

forms the ending of our active participles, as singing, from to 25 whosoever, whencesoever, whithersoever. This so used to

sing ; also a very large class of nouns; thus, singing itself may stand where ever is now placed; as, whoso, howso, whatso.

be employed as a noun, as the singing was good. These nouns,

as might be expected from the meaning of the Saxon ing, denote " Her cursed tongue (full sharp and short)

existence ; thus, to sing is a verb, but singing is the active of Appeared like aspis' sting, that closely kills,

the verb in actual being. When these words in ing are used as Or cruelly doth wound whomso she wills."

nouns they should have the government of nouns ; thus, the Spenser, “ Faerie Queone.”

singing of the birds was delightful. Almost every English verb Full, of Saxon origin, obviously the same as the adjective may be made into a noun by the suffix ing; to eat, the eating ; full, gives an instance of the origin of these particles in words to diminish, the diminishing; to run, the running. Observe which originally had a definite form and signification. According that the idea of activity is connected with nouns ending in ing; to its root-meaning, full (now in combination written ful) denotes as, the seeing; the hearing; the dancing; the reporting-that a large portion of the quality indicated by the word to which it is, the act, the process of dancing, reporting, etc.----wherein those is affixed ; as, hate, hateful; thank, thankful ; grateful, delightful. nouns differ from other nouns which express the result of an Full has for its opposite less ; for example, merciful, merciless. action; as sight, the result of the act of seeing; report, the In the employment of words, you cannot follow analogy alone, result of the act of reporting. The former have been called bat must consult anthority: thus, you may say penniless, but active, the latter class passive nouns, from the analogy they you cammot say penniful; yet pitiful is as good as pitiless. bear to active and passive verbs.



will give additional character and truthfulness. It may not be

necessary that these stems should be completed in the finished 32.15-IGH LIGHTS-SETTING DRAWINGS, ETC. a

IC. drawing, as probably their whole extent may not be seen ; but I

ZAI o remarks upon Foregrounds, we introduce the slight indication of their whereabouts may be useful for the I GESTII S oap of dock-leaves. In the drawing, Fig. 108, purpose of adjusting the foliage according to the class of tree

dinozow the principles we endeavoured to explain in to be represented. This process is to be followed throughout D. L 10582 are to be carried out. The leaf in front repre- the whole drawing. This, which we will call the first stage, must eens II f a summary of our observations. Notice the pro- be done faintly, so that, with india-rubber-or, what is better p e past reeeiving the highest light; the dark cast shadow for the softer kinds of paper, bread crumbs—these marks may Luerat being the strongest in the drawing. Notice, also, the be weakened when the second stage is ready for commencement. ut. budow across the leaf (caused by the one on the left, which In this portion of the work there must be no indecision, par.

te the under-leaf back, and brings out the one in light), ticnlars must be entered into, especially those upon which the commencang strongly near the high light, and gradually becoming light falls. Amongst these will be found many that owe their


lower is tone sit reeds; this, together with the manner of prominence to sharp, clear terminations; and the distinctness drawing the curred lines on the surfaces of the leaves, tends to of their forms will be in proportion to the amount of light which give the perspective, and consequently assista in this way to falls upon them. The stems previously and slightly traced may determine the size of the leaf. Examples of this kind can be now receive in those parts in sight all the forcible and distinctiva so easily obtained from Nature, that we prefer to leave the pupil qualities they demand, even to the peculiarities observable upon to select theme for himself, advising him to preserve them for the bark. At all times avoid a multiplicity of lines when one pse as we have recommended, and, when drawing from them, to only will be sufficient. When we see, as we frequently do in the allow his mind to recor to the previous remarks upon the prin early attempts of beginners, a number of lines of all lengths and ciples we have laid before him, which apply not only to the thicknesses muddled together, we can only attribute the practa drawing of a simple weed or dock-leaf, but have their nerer to doubt and uncertainty; they are waiting to see the effecs failing influence upon all subjects admissible in art. In the before they can make up their minds as to the one right line drawing of trees and the larger kinds of shrubs, we must urge required. Such a proceeding indicates weakness, and creates the practice of being particularly careful of the outline, the first confasion. If we were to extend our instructions beyond the process of which must be confined to the general proportions single subject of a tree, and include the whole landscape generally, and positions of the parts in light; and, at the same time, where we could only repeat what has been said before, as our remark it is post

by a faint line the course of the stems, which are equally applicable to distances and mountains, whers

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would be a great mistake not to be especially careful in their with it cover down the whole of the part intended to be white; forms and outlines. These lines must not be strong, but firm when dry, proceed to the completion of the drawing. It will not and decisive, and the more simple the better; all darker lines in the least matter if the lead pencil should pass over the part must be reserved for the foreground. The method of securing gummed, it will not have any effect upon it. When the drawing the lights upon trees, which we have shown in Fig. 109, will is finished, pin it down at the corners on a board, let it be held explain to the papil the manner of proceeding more clearly than in an inclined position, and pour some hot water over it; the gum Fords can do. In his practice we recommend him first to copy immediately dissolves, leaving the parts which were covered by parts of the example, and make separate and repeated studies it perfectly white. Broad spaces in light, upon which are to be of those portions which, as he proceeds, he will find to be most drawn minute and sharply-cut details, may be preserved in this


difficult. He will be better able to decide for himself than we way, and, after the gum is washed off, the details may be made can for him as to which of those parts may require more frequent out upon them. This leads to the use of gum-water in another Fepetition; and it is almost needless to say, that by frequent way, and that is, as a means of fixing the drawing. If a drawing repetition only can he hope to succeed. There is a very easy is worth anything, it surely is worth setting, that is, fixing the and legitimate way of preserving in pencil drawings the sharp lead or chalk with which it is drawn, so that, under moderate Lonches of light which are seen upon polished surfaces, streaks treatment, it cannot injure by rubbing. For highly-finished in water, blades of grass, the bright parts of clouds, small objects drawings, or where the chalk or pencil has been very liberally of a naturally light colour on a dark background, or any effect applied, it will be better to proceed in this way :--Nearly fill a where brilliancy is requisite, and where a sharp, clear, and shallow dish or tray, somewhat larger than the drawing, with a distinct outline of the form must be preserved. It is this :- weak solution of gum-water, or—which may sometimes be more After the outline of the object, or part to be preserved, has been convenient-a mixture of milk and water, half of each ; pass made, dip a fine hair-pencil into tolerably strong gum-water, and the drawing carefully through the mixture (face uppermost) baekvarts and forwards; then fix it up on the wall by a corner

VOCABULARY. to Irip a dry; or the drawing may be pinned down to a Autrefois, formerly. Ecolier, m., scholar. | Presque pas, almost noart Alt an incline over a dish, and the milk and water Brun, -e, broren. Mérit-er, 1, to deserve. Jam s ver it with a spoon, beginning at the top; it is necessary Chambre, f., room. Noir, -e, black,

Retrouv-er, 1, to And sesaat ail parts of the drawing have been passed over. If Crayon, m., pencil. Pantoufle, f., slipper. I again. he trawing are merely outlines, or have very little shading

Demeur-er,to live,dwell. Parchemin, m., parch. Thème, m., exercis.

De nouveau, again, ment. man mem, then the fixing medium may be passed over the whole

Vert, -e, green. Peter min a broad, flat camel-hair brush. With careful treat

EXERCISE 99. arnt this method of preserving drawings will be found to be 1. De qui parliez-vous ce matin quand je suis venu vous mite satisfactory.

trouver ? 2. Ma cousine parlait de son frère et je parlais da

mien. 3. N'aimiez-vous pas mieux le beuf que le mouton LESSONS IN FRENCH.-XXIX.

autrefois ? 4. J'aimais le bouf, mais je n'ai jamais aimé le

mouton. 5. Ne vendiez-vous pas beaucoup de livres lorsque SECTION LII.-THE IMPERFECT TENSE [$ 119]. vous demeuriez à Paris ? 6. J'en vendais beaucoup, parceque

j'étais libraire. 7. Le libraire a-t-il ven du beaucoup de crayons 1 The imperfect, or simultaneous past tense, may be called the

ce matin ? 8. I a vendu beaucoup de crayons aujourd'hui. Luar nive tense of the French. The action which it represents,

9. Vendiez-vous beaucoup de parchemin lorsque vous étiez 67. Pation which it describes, is imperfect of itself. This

libraire ? 10. Je n'en vendais presque pas. 11. Votre frère terte lesion the beginning, duration, and end of an action

| portait-il un habit vert lorsqu'il demeurait à Londres ? 12. II 1. Pind. It may often be rendered in English by the

portait un habit brun et des pantoufles noires. 13. Que cher. to ary wil, etc., and the participle present of the verb [$ 119,

chiez-vous ? 14. Je cherchais mon livre. 15. Depuis quand

l'aviez-vous perdu ? 16. Je l'avais perdu depuis hier. 17. kasi matin quand vous I was writing this morning when you L'avez-vous retrouvé ? 18. Je l'avais retrouvé, mais je l'ai

came in,

perdu de nouveau. 19. Ce boulanger vous fournissait-il de 14 * bolest quand vous m'ap. I was passing yesterday when you bon pain? 20. n nous en fournissait d'excellent. 21. Punis.

called me.

siez-vous souvent vos écoliers ? 22. Je les punissais quand 2 The impressort is also used to express an action which is

le len nund to expregg an action which is ils le méritaient. 23. Où étiez-vous ce matin quand je vous * 1.4.1 or of the pipeated. It may then be rendered in cherchais ? 24. J'étais dans ma chambre. 25. Je finissais mon Hird28Poy Robes wurde wed to placed before the verb.


EXERCISE 100. I. andre har * .ie uns les Last year I went (used to go) every day to school,

1. Who was at your house this morning ? 2. My friend G. ti na umu la cam. When we were used to be) in the was there, and was looking for you. 3. Did you speak to my we work *** 1723. nis ordi- country, we used to go to bed at father yesterday? 4. I was speaking to him when they brought

nine o'clock,

me your letter. 5. Did your father (use to) wear a white bat ... ofert can seldom be rendered in English by the when he lived in London ? 6. He used to wear a black hat, front .. , takes didas an auxiliary. The past definite

and my brother wore a black coat. 7. Were you singing when ve d'Is in meaning to the English imperfect, com

my father came? 8. No, Sir, I was finishing my exercise. 9. Wu the QX.Jiary was and the participle present. It cannot

Had you lost your pencil this morning ? 10. I had lost it, and a borgo uy the verb preceded by used to.

was looking for it when you spoke to me. 11. You used to like

reading (la lecture); did your sister (use to) like it also ? 12. de chasse hier matin I was going a hunting yesterday morn She liked it also. 13. What song were you singing this morn. i am Ws rencontrâmes, ing when we met (did meet).

ing? 14. I was singing an Italian song. 15. Have you been borish k er bier matin, I went (did go) a hunting yesterday afraid to

nting yesterday afraid to speak to me? 16. I have never been afraid to speak morning.

to you. 17. Have you brought my book ? 18. I have not 4 * perfect is formed from the participle present, by brought it. ""4", 6.4% 484 into ais, etc. ($ 61]. It may also be formed by

SECTION LIII.-THE IMPERFECT TENSE (continued). We will to the stem of the verb for the first and fourth

1 1. The imperfect of the indicative of every French verb, Adve, hapa; 1839is, etc., for the second ; and evais, etc., for

regular or irregular, ends in ais, ais, ait, ions, iez, aient.

2. No verb of the first conjugation, er, is irregular in this b. ' TAMINATIONS OF THE IMPERFECT TENSE OF THE FOUR tense. CONJUGATIONS.

3. The only irregularity found in the irregular verbs of the 1. 2. 3.

second conjugation, ir, is that, to form the imperfect, the stem de chant ais An i ssaig reo -evais rend -ais. of these verbs takes ais, etc., instead of essais ; as, ven-ir, je

Wax enging was finishing was receiving was rendering. ven-ais ; cour-ir, je cour-ais; cueill-ir, je cueill-ais. Exception : 7. garlais chór-iggais aperc -evais vend -ais.

Fuir, to flee-je fuyais. 7 was speaking vast cherishing wast perceiving wast selling.

4. The irregular verbs of the third conjugation, vir, change ait fournissait perc -evait tend -ait. HA -*gem was furnishing was gathering was tending.

that termination (oir) into ais, etc., like the irregular verbs of 1 born ons pun -issions conc-evions entend -ions.

the same; as, sav-oir, je sav-ais; av-oir, j'av-ais. Exceptions: We want making were punishing were conceiving were hearing. se-oir, to become; voir, to see; and their compounds, and déchoir V pred l»* - sais -issiez d e viez perd -iez. [see $ 63]. I were carryny were seizing were owing were losing.

5. The changes which the stem of the irregular verbs of the sient un issaient décevaient mord -aient. | fourth conjugation undergoes, in this tense, are too various to y were wins were uniting were deceiving were biting.

admit of a complete classification. We, however, offer the RÉSUMÉ OF EXAMPLES.

following :# hentais quand on m'apporta I was singing when they brought me

PRENDRE, to take. ÉCRIRE, to write. CRAINDRE, to fear. lottre, your letter.

Jo pren -ais, etc. écriv -ais, etc. craigu a is, etc. e refois à lire les poètes I used to like formerly to read the CONNAÎTRE, to know.

| CONDUIRE, to conduct.
English poets.
Counaiss ais, etc.

Conduis -ais, etc.
w wwyobre chambre lorsque I was in your room when you came

6. Like prendre and écrire are conjugated, in this tense, those w arte la matinée. I spoke yesterday tho hole morning. verbs in which prendre and crire appear in composition; as,

e lorsque votre I was speaking to your father when | comprendre, je comprenais ; souscrire, je souscrivais. Like W moment hier,

your friend met us yesterday. craindre and connaître, those ending in indre and aitre-teindre, I was looking for your father. je teignais; paraître, je paraissais. Like conduire, those ending

| in ire; as, lire, je lisais; faire, je faisais; luire, je luisais; dire, www. interrogative sentences, did is used as an auxiliary je disais, etc. Exceptions : rire, traire, écrire, and their comterstood.

1 pounds.



7. Mettre and its compounds, and être, are regular in this sommeil, mais j'ai faim. 3. Avez-vous du poivre ou du sel? 4. Je tense.

n'ai ni poivre ni sel, j'ai du fromage. 5. Votre frère a-t-il soif ou faim ? 8. The participle present, from which the French grammarians 6. Mon frère n'a ni soif ni faim. 7. Votre saur a-t-elle raison ou tort ?

8. Elle n'a pas tort, elle a raison. 9. Le bon nenuisier a-t-il peur ? derive the imperfect, presents, of course, the same irregularities :

10. Il n'a pas peur, mais honte. 11. Avez-vous du lait ou du fro28, venant, valani, prenant, écrivant, craignant, connaissant,

mage? 12. Je n'ai pi lait ni fromage, j'ai du beurre. 13. Avez-vous le conduisant. Exceptions : avoir, ayant; savoir, sachant.

beau drap ou le bon thé ? 14. Je n'ai ni le beau drap ni le ton thé. RÉSUMÉ OF EXAMPLES.

15. Avez-vous quelque chose, mon bon ami? 16. Je n'ai rien, mon bon

Monsieur. 17. N'avez-vous pas de pain? 18. Oui, Madame, j'ai do De quoi notre ami avait-il peur ? Of what was our friend afraid ?

bon pain, de bon beurre, et de bon fromage. 19. Le charpentier a-t-il Il n'avait peur de rien. He was afraid of nothing.

sommeil? 20. Le charpentier n'a pas sommeil, mais le ferblantier a N'aviez-vous pas besoin de mon Did you not want my brother ?

faim. 21. Avez-vous le marteau de bois du ferblantier ? frère ?

marteau de bois du ferblantier? 22. Je n'ai

pas son marteau de bois. 23. Quel marteau avez-vous ? 24. J'ai lo Nous avions besoin de lui. We wanted him.

marteau d'acier. 25. Avez-vous un bon babit de drap ? 26. Non, la marehand n'avait-il pas besoin Did not the m chant want money? Monsieur mais i'ai une robe de soie. 27. Le tailleur a-t-il le bon d'argent ?

bouton d'or? 28. Oui, Monsieur, il a le bon bouton d'or. Il en avait grand besoin.

He had great need of it.
Quelle voiture conduisiez-vous ? What carriage were you driving?

EXERCISE 11 (Vol. I., page 43).
Pour qui me preniez-vous ?
For whom were you taking me ? !

1. Have you the silver fork? 2. Yes, Sir, I have it. 3. Has the Je renais vous trouver quand je I was coming to you when I met you.

cook the beef ? 4. No, Sir, he has it not. 5. What mutton have you? vous rencontrai.

6. I have the butcher's good mutton and good veal. 7. Has your À qui écriviez-vous ce matin ? To whom were you writing this morn.

relation the chest of drawers ? 8. No, Sir, he has it not. 9. Has he ing!

my fish? 10. Who has all the baker's biscuit? 11. The sailor has J'écrivais à ma sưur et à mon I was writing to my sister and to my

neither his bread nor his biscuit. 12. Has he his knife and his fork? frère. brother.

13. He has neither his kuife nor his fork; he has his plate. 14. What VOCABULARY.

e ? 15. He has the pretty china dish. 16. Have you mine

or his ? 17. I have neither yours nor his; I have ours. 18. Are you Antrement, otherwise. Oubli-er, 1, to forget. Teind-re, 4, ir., to d-je. afraid, Sir? 19. No, Madam, I am not afraid, I am hungry. 20. Has Casz-er, 1, to break, | Pêche, f., fishing. | Teinturier, m.. duer

any one my gold watch? 21. No, Sir, no one has it. 22. What is the Chasse, 1., hunting. Peind-re, 4, ir., to paint. Toile, f., linen cloth.

matter with you, Sir? 23. Nothing is the matter with me.
Dire, 4, ir., to say. Reven-ir, 2, ir., to re-Rencontrer, 1, to meet.
Montre, f., watch.

Val-oir, 3, ir., to be worth.

EXERCISE 12 (Vol. I., page 43).
Moins (au), at least. Sav-oir, 3, ir., to know. Ven-ir, 2, ir., to come, to

1. Avez-vous le porte-crayon d'argent ? 2. Non, Monsieur, je ne l'ai Mort, -e, dead. Se tromp-er, 1, to be have just.

pas. 3. Avez-vous l'assiette de mon frère ? 4. Oui, Madame, je l'ai. Offens-er, to offend. I mistaken.

| Vite, quickly.

5. Le boucher a-t-il le bon biscuit? 6. Il ne l'a pas ; il a le bop bouf, EXERCISE 101.

le bon mouton, et le bon veau. 7. Avez-vous mon couteau et ma 1. Pourquoi n'écriviez-vous pas plus vite ce matin ? 2.

fourchette ? 8. Je n'ai ni votre couteau ni votre fourchette. 9. Qui Parceque j'avais peur de me tromper. 3. Ne craigniez-vous

a le biscuit du bon matelot? 10. Le boulanger l'a, et j'ai le mien. 11.

Avez-vous le mien aussi ? 12. Je n'ai ni le vôtre ni lo sien, 13. Avezpas d'offenser cette dame? 4. Je craignais de l'offenser, mais

vous faim? 14. Je n'ai pas faim, j'ai soif et j'ai sommeil. 15. N'avezje ne pouvais faire autrement. 5. Que peigniez-vous ce matin?

vous pas honte ? 16. Non, Monsieur, je n'ai pas honte, mais j'ai froid. 6. Je peignais un tableau d'histoire. 7. Votre teinturier que 17. Votre parent a-t-il raison ou tort ? 18. Mon parent a raison, Monteignait-il ? 8. teignait du drap, de la soie et de la toile. sieur. 19. A-t-il mon plat de porcelaine ou mon couteau d'argent ? 9. De quelle conleur les teignait-il ? 10. Il teignait le drap en 20. Il n'a ni votre plat de porcelaine ni votre couteau d'argent; il a poir, et la soie et la toile en vert. 11. Conduisiez-vous le jeune votre assiette de porcelaine. 21. Quelqu'un a-t-il mon porte-crayon Polonais à l'école lorsque je vous ai rencontré ? 12. Je con

d'argent ? 22 Personne ne l'a, mais votre frère a votre habit de drap. duisais mon fils aîné à l'église. 13. Que lisiez-vous ? 14. Je

23. Avez-vous le mien ou le sien ? 24. J'ai le vôtre. lisais des livres que je venais d'acheter. 15. Ne saviez-vous pas

EXERCISE 13 (Vol. I., page 59). que ce monsieur est mort ? 16. Je l'avais oublié. 17. Combien 1. Has your brother his silver inkstand? 2. He has it no longer, la montre que vous avez cassée valait-elle ? 18. Elle valait au he has a lead inkstand. 3. Have we the stranger's letter ? 4. Yes, moins deux cents francs. 19. Ne valait-il pas mieux rester ici Sir, we have the stranger's. 5. Your sister has not her slate, but she que d'aller à la chasse ? 20. Il valait beaucoup mieux aller à has her satin bonnet. 6. Has the joiner your wood or his ? 7. He Parola disait-il ? 22. Il me d

either mine nor his, he has the gardener's. 8. Have you my good son frère est revenu d'Espagne. 23. N'alliez-vous pas à la

silk umbrella? 9. I have your silk umbrella and your satin parasol. chasse tous les jours lorsque vous demeuriez à la campagne ?

10. Have you my bottle? 11. I have not your bottle, I have your

sister's trunk, 12. Has the servant this salt-cellar? 13. He has not 24. J'allais souvent à la pêche. 25. Mon frère allait tous les

this salt-cellar, he has that. 14. Have you the good or the bad jours à l'école quand il était ici.

chicken? 15. I have neither this nor that. 16. Which chicken have EXERCISE 102.

you? 17. I have the cook's. 18. Has the baker poultry ? 19. The

baker has no poultry, he has milk. 20. Have you your cheese or 1. Were you afraid this morning when you came to our house?

mine? 21. I have neither yours nor mine, I have the sailor's. 22. Is 2. I was afraid. 3. Of what were you afraid ? 4. I was afraid |

any one hungry? 23. No one is hungry. 24. Is anything the matter of the horse. 5. Was not your friend afraid of falling (de with you? 25. No, Sir, nothing is the matter with me. 26. Have you tomber)? [See Sect. XX. 2, 4.] 6. He was not afraid of falling, my joiner's mahogany sofa ? 27. No, Sir, I have it not. 28. I have but he was afraid of making a mistake (de se tromper). [See 2, in his pretty looking-glass and his good pencil. exercise above.] 7. Were you taking your son to school ? 8. I

EXERCISE 14 (Vol. I., page 59). was conducting him to school. 9. What colour was the dyer dyeing the silk P 10. He was dyeing some red and some green.

1. Votre frère a-t-il le parapluie de cette dame? 2. Mon frère a le

parapluie de cette dame. 3. Avez-vous ce parasol-ci ou celui-là ? 4. 11. Was he dyeing his cloth black or green? 12. He was

Je n'ai ni celui-ci ni celui-là. 5. Avez-vous la montre d'or de l'étranger ? neither dyeing it black nor green, he was dyeing it pink (rose). 6. N.

6. Non, Monsieur, j'ai celle du boulanger. 7. Qui a mon ardoise ? 8. 13. What was the gentleman reading ? 14. He was reading a J'ai votre ardoise et celle de votre frère. 9. Le cuisinier a-t-il une letter which he had just received. 15. Were you cold when you salière d'argent ? 10. Le cuisinier a une salière d'argent, et un plat came here ? 16. I was cold, hungry, and thirsty. 17. Were d'argent. 11. Le cuisinier a-t-il cette volaille-ci ou celle-là ? 12. Il you not ashamed of your conduct (conduite) ? 18. I was n'a ni celle-ci ni celle-là. 13. A-t-il ce pain-ci ou celui-là ? 14. Il n'a ashamed of it. 19. Whither were you going when I met you ? ni celui-ci ni celui-là, il a le bon pain du boulanger. 15. Avez-vous 20. I was going to your house. 21. Were you driving your

mon parasol de coton ? 16, Je n'ai pas votre parasol de coton, j'ai brother's carriage?

votre parasol de soie. 22. I was driving my own (la mienne).

17. Le jardinier a-t-il une malle de cuir ? 18.

Le jardinier a une malle de cuir. 19. Qui a mon bon fromage ? 20. 23. Were you writing to me or to my father? 24. I was writing

n'a votre fromage, mais quelqu'un a celui de votre frère. to your friend's cousin.

21. Avez-vous le mien ou le sien ? 22. Je n'ai ni le vôtre ni le sien, j'ai

celui de l'étranger. 23. Le cuisinier a-t-il cette bouteille-ci ou ce KEY TO EXERCISES IN LESSONS IN FRENCH.

balai-là ? 21. Il a cette bouteille-ci. 25. Avez-vous un enorier de

plomb ? 26. Non, Monsieur, j'ai un encrier de porcelaine. 27. EXERCISE 10 (Vol. I., page 43).

L'étranger a-t-il de la volaille ? 28. L'étranger n'a pas de volaille, mais 1. Avez-vous sommeil, Monsieur? 2. Non, Monsieur, je n'ai pas il a de l'argent. 29. Votre frère a faim et soif, peur et sommeil. 30.

21. Votre

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