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This entry in the Cash-book would be transferred to the Journal, at the time when it was made up, as follows:(Page 4.)

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Again, this entry in the Journal would be posted into the Ledger, as in the following examples :

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In the first entry here from the supposed Ledger, the form of the account and the entry itself are exactly the same as in the Cash-Book. Nor can this be otherwise; for the Cash-Book is merely an abstraction of the Cash Account from the Ledger as kept on the old Italian system, for the sake of the division of labour; so that the Cashier may have only this Account to attend to in a large establishment; while the Bookkeeper attends to the other Accounts. In small concerns, the Cash Account may still be kept in the Ledger, instead of being kept in a separate

READING AND ELOCUTION.—XVI.
ANALYSIS OF THE VOICE (continued).
IX.-JUST STRESS.

THE next characteristic of good reading and speaking is just "stress." This word is meant to designate a peculiar modification of force, which distinguishes speech from music. A longdrawn musical sound has its most forcible part-in consequence of "swell" and "diminish"-at the middle portion of the note. The tones of speech, on the contrary-although, in a few cases, they approach to this mode of voice-usually have the chief force of each sound at the opening or the closing part. In music, the increase of force is comparatively gradual; in speech and reading, it is frequently abrupt. To these distinctive modes of voice the term "stress" is applied.

To understand the application of this term in detail, it becomes necessary to advert to the mode of creating vocal sounds. In vocal music the result is obtained by full "inspiration' (inhaling or drawing in the breath), and comparatively slight expiration" (giving forth the breath). In this mode, much breath is drawn in, much retained or withheld, and little given out at a time; and thus are produced those smooth, pure, and gradually-increasing tones which are appropriate to music-all the breath that is given forth being converted into sound, and none escaping that is not vocalised. In notes of very short duration, singing and speech are, it is true, brought nearer to a resemblance. But this resemblance is more apparent than real; as may be observed in the execution of every good singer, which, in the most rapid passages, still produces the genuine

book called the Cash-Book; but this system we would by no means recommend.

In the second entry above from the supposed Ledger, we have combined the former transaction with the present, in order to show how matters are settled between the Merchant and his Customer. The account of Robert Brown in the Ledger is now considered closed or balanced; and may be considered as struck off, unless he renews transactions with the Merchant by fresh purchases and subsequent payments.

effect of song, as differing from speech. The resemblance is owing solely to the brevity of sound, in such cases, which does not afford time for broad and marked distinctions to be drawn by the ear.

The modes of voice which constitute speech, or are exemplified in reading, are the following:

I. RADICAL STRESS.-This form of force includes two modes -"explosion" and "expulsion."

1. "Explosion" is an abrupt and Instantaneous burst of voice --as, for example, in violent anger.

This being an instinctive, unconscious, involuntary, impulsive emotion, does not allow time or disposition for any intentional or deliberate effect, but makes the creation of vocal sound seem an irrepressible, spontaneous, electric production of nature, lying equally out of the reach of the understanding and the will. This tone has its contrast in the deep, calm, and regular swell of the tone of reverence, or the ample volume, and deliberate force, of conscious authority and command, in which the speaker is self-possessed and self-directed, and controls his vocal effects for purposes understood or felt.

Contrast, for instance, the following angry shout of Douglas when enraged by the defiance of Marmion, with the examples of reverential invocation and authoritative command which occur in the subsequent paragraphs.

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2.

the ear with an instantaneons, clear, sharp, abrupt, and rutting
force, at the initial or radical part of each.
Expulsion"-a constions, intentional, and deliberate
force, coming upon the ear with great power; as, for example,
in the language of authentature e la id.
Era "sion.”

Example of

Vanguard to right and left the front unfold!”

In this style, bold and forvible as it is, and even sudden as is its commencement, the accented vowels do not startle the car with the abrupt shock of the tone of anger, exemplified above. There is a partial, though very brief, swell, perceptible in the "radical," or initial part of each sound. Both of the preceding examples are classed under the head of "radical stress; as their chief force lies in the “radical," or first part of each sound.

II. MEDIAL STRESS.-This mode of force is exhibited in 1. "Effusion"—a moderate, gentle, and gradual swelling of tone-as, for example, in the calm and tranquil utterance of reverential feeling, in which no disturbing impulse agitates or forces out the breath, but the voice, somewhat as in music, glides out, with a smooth effusive stream of sound, enlarging as it flows, but never bursting out into irregular violence.

Example of "Fusion."

But chiefly Thon, O Spirit' that dost prefer,
Before all temples, the upright heart and pure,
Instruct me, for thou knowest.

The "effusivo" style avoids everything abrupt or sudden in the formation of sound, and swells gradually to its "acmé" (chief point), at the middle of each sound in the manner of music; and from this point" diminishes," or decreases, to the close. This species of "stress" is accordingly denominated "medial," from the Latin word medis, the middle.

2. "Suppression "--a powerful force of "explosion" or "expulsion," kept down in the very aot of giving forth the voice, and converted into the "medial" form, as in the case of a person communicating, in great earnestness of feeling, with another, standing at a distance, and yet exceedingly anxious not to be heard by a third person, still further off; or, as in the tone of extreme earnestness, uttered by the watcher in the chamber of a sick person.

Examples of “Suppression."

Hark! James, listen! for I must not speak loud. I do not wish John to hear what I am saying!

Step softly speak low! make no noise!

It is

This modo of voice may be termed a "half whisper;" it is the "aspirated" and "impure" tone, which lies half way between the ordinary tone of the voice and a whisper. caused by allowing a vast quantity of breath, not "vocalised," to rush out along with the sound of the voice. It is, in fact, "explosion," or "expulsion," merged, as it were, or drowned in a stream of "aspiration," and made to assume the style of

"medial stress."

III. VANISHING STRESS.-Besides the "radical," or initial, and the "medial," or middle, "stress," there is also a "vanishing," or final "stress," which begins softly, swells onward, and bursts out suddenly, and leaves off abruptly, at the very close of a sound, as in the jerking termination of the tone of impatient feeling.

Thus, in the language of maddened impatience, as uttered by Oncen Constance, in her frenzy of grief and disappointment, at The overthrow of all her hopes for her son, in consequence of *pace formed between France and England :

Example of "Vanishing Stress."

War! war!-no peace: peace is to me a war! lovers of this class the voice withholds its force, and delays thanh yêu em expulsion till the last moment of the emphatic 4 then throws it out with an abrupt, wrenching force, that of a stone suddenly jerked from the hand. , as it lies at the "vanish," or last point of Cormed the vanishing stress."

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-The designation of "compound *** that mode of forming tones which throws 4th in such a manner as to mark, with danadá mának kata kupil od bank nocented or emphatic sound. kikuchical" and the "vanish," or the begin

Thas, in the tone of surprise, which is marked by a beid veice strikes with peculiar force on the first and last points of "upward slide," beginning very low, and ending very high, the the slide, in order to stamp it more distinctly on the ear, as the vehicle of intense emotion. A striking example again occurs in the language of Queen Constance, in the situation mentioned before, when overwhelmed with astonishment at the news she has just received.

Example of "Compound Stress."

Gone to be married! gone to swear a peace!

Gone to be friends!

V. THOROUGH STRESS.-This designation is applied to that species of force which marks all the forms of "stress"-radical," "medial," and "vanishing "-with intense power, on the same sound, so as to cause the character of all to be deeply felt, in a bold shout, or any other very impressive form of voice. which indicates intense emotion.

Example of "Thorough Stress."
Awake! arise! or be for ever fallen!

will be perceived, is not that of mere volume or quantity, of
In this shout of the arch-fiend to his fallen host, the tone, it
mere loudness or physical force, as in the mechanical act of
calling, or the voice of a public crier. It has the wide "falling
inflection" of authority and command, and the forcible “radical”
stress and "expulsive" utterance of courage; and to preserve
the effect of all these, it must not only begin and close vividly.
but exhibit a "medial " " 'swell," and a distinct "vanish." It
must, in other words, give distinctive force and character to the
beginning, the middle, and the end of each accented sound
(trembling) or "intermittent" stress, takes place in the utter
VI. INTERMITTENT STRESS, OR TREMOR.-The “tremor,”
ance of all those emotions which enfeeble the voice, by their
grief, and sometimes joy, when extreme. This mode of utterance
overpowering effect on feeling; as, for example, in fear and
characterises also the feeble voice of age, or the tone of a
person shivering with cold.

Examples of the former will be found in the section on language both of the old woman and the farmer in Wordsworth's "Expressive Tones." Of the latter we have instances in the ballad, Goody Blake and Harry Gill."

She prayed, her withered hand uprearing,
While Harry held her by the arm-
[Tremor.] {Oh! may he never more be warm!"
"God! who art never out of hearing,
No word to any man he utters,
Abed or up, to young or old;
But ever to himself he mutters,
"Poor Harry Gill is very cold!"

[Tr.]

LESSONS IN GEOMETRY-XVI. PROBLEM XXXVIII.-To describe a circle which shall touch three given straight lines.

it is required to draw a circle Let X, Y, Z (Fig. 57) represent the three given straight lines; touching the three given straight lines X, Y, Z. If the given straight lines do not produced both ways, if neform a triangle, let them be cessary, until they form the triangle A B C, as shown by the dotted lines in the figure. Bisect the angle A B C by the straight line B D, and the line CD, and let these lines angle A CB by the straight intersect in the point D. pendicular to B C, and from D as a centre, with the radius DE, Then from the point D draw DE perdescribe the circle E F G. straight lines X, Y, Z in the points E, F, G. The result would be The circle E F G touches the given the same no matter what two angles of the triangle are bisected in order to obtain the point D, or to what side of the triangle a perpendicular is drawn from D in order to obtain the radius of the required circle, as shown in the figure.

E

Fig. 57.

By this problem we are taught how to inscribe a circle in any given triangle, the construction adopted being precisely the

X Y.

same as that which has been described above; and by Problem | D E F on the right of the straight line x Y that passes through XXXVI. in the last lesson (page 49), which teaches us how to their centres. The dotted lines G L, H D, D A, and ▲ G show draw the circumference of a circle through any three points how the tangent may be drawn to the left of the straight line that are not in the same straight line, it is plain that we are The straight lines A D, B E, with the arcs A X B, D Y E, shown how to describe a circle about any given triangle; for to show the position of an endless band passing over the wheels do this the circle must pass through the three points in which or drums A B C, D E F. the three straight lines (which form the sides and angles of the triangle) meet.

B

H

In making drawings of machines and machinery, the geometrical draughtsman will find it necessary to know how to draw circles of different A radii touching each other with the utmost nicety externally and internally, and to draw tangents to two circles, as when it is desired to represent in section the course of an endless band or belt of leather which passes round two X wheels or drums, and transmits motive power from one to the other. This brings us to the next two problems. PROBLEM XXXIX.-To draw a circle with a given radius touching another given circle externally or internally in a given point.

N

IK

Fig. 58.

M

Let A B C (Fig. 58) be the given circle; it is required to draw two circles with the given radius x, one touching the given circle A B C internally in the given point a, and the other externally in the given point c.

First, let us take the circle that is to touch the given circle internally in the point A. Find D, the centre of the given circle ABC. Join AD, and produce it, if necessary, to meet the circumference of the given circle A B C in the point E. Along A E set off AF equal to the given radius x, and from the centre F, at the distance FA, describe the circle A G H, which touches the given circle A B C internally in the given point A.

To describe a circle with the given radius x, touching A B C externally in the point c. Find D, the centre of the given circle ABC. Join DC, and produce it indefinitely towards K. Set off along C K the straight line CL equal to X, and from L as centre, with the distance L C, describe the circle c M N, which touches the given circle A B C externally in the given point c. PROBLEM XL. To draw a tangent to any two given circles.

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Fig. 59.

a

A straight line may be drawn touching any two given circles either on one side of the straight line that passes through and joins the centres of the circles, or crossing this line. First, let us take the case in which the tangent to the given circles is required to be on one side of the straight line that joins their centres.

Let A B C, D E F (Fig. 59) be the given circles. Draw an indefinite straight line X Y, passing through and joining the centres, & and H, of the given circles, and also passing through the point c in the circumference of the circle ABC, and the point F, in the circumference of the circle D E F. From the point F in the straight line X Y, set off F K equal to G C, the radius of the circle A B C. The remainder K H of the straight line F H, the radius of the circle D E F, is manifestly the difference of the radii of the given circles. With H K as radius, from the point H as centre, describe the circle K L M, and from the point a, the centre of the circle A B C, draw the straight line GM touching the circumference of the circle K L M in the point M. Join H м, and produce it to cut the circumference of the circle D F E in the point E, and through E draw E B parallel to G M. The straight line E B is a tangent to the two given circles A B C, D E F. The same result may be obtained by drawing G B through the point G, parallel to H E, and joining the points B and E. The straight line BE has been drawn as a tangent to the given circles A B C,

Now let it be required to draw a tangent to the given circles A B C, D E F, crossing the indefinite straight line X Y that passes through their centres G and H. From the point c in the direction of Y, set off along c Y the straight line C N equal to F H, the radius of the circle D F E. The straight line G N is then manifestly equal to the sum of the radii of the given circles, being made up of a c, the radius of the circle A B C, and C N, which has been made equal to F H, the radius of the circle D F E. From the centre G, with the radius & N, describe the arc o N P, and from H, the centre of the circle D F E, draw HO touching the arc o N P in the point o. Join G O, cutting the circumference of the circle A B C in the point Q; and through the point Q draw Q R parallel to н 0. The straight line Q R is a tangent to the two given circles A B C, D E F. The same result may be obtained by drawing H R through the point H, parallel to a o, and joining the points and R. The straight line Q R has been drawn as a tangent to the given circles A B C, D E F, crossing the straight line x Y that passes through their centres, from left to right; the dotted lines H P, P G, S T, and T H show how the tangent may be drawn crossing x Y from right to left. The straight lines Q R, S T, with the arcs Q A B S, T DE R, show the position of a crossed endless band passing over the wheels or drums A B C, D E F.

The effect of crossing the endless band is to make the wheels or drums over which it passes revolve in contrary directions. In the first case, when the band forms tangents to the wheels on both sides of the line that joins their centres, the wheels revolve in the same direction, that is to say, by the action of the band the wheels revolve, so that a point B, on the circumference of the wheel A B C, is carried round towards A, and a point E on the circumference of the wheel D E F is carried round towards D, the strap being supposed to move in the direction of the arrows placed near the letters A, D, E, B. In the second case, when the band forms tangents to the wheels crossing the line that joins their centres, a point Q in the circumference of the wheel A B C would be carried round towards s, and a point T in the circumference of the wheel D E F would be carried round towards R, the strap being supposed to move in the direction indicated by the arrows placed near the letters Q, R, T, S.

The circles K L M, D E F are called concentric circles because they are described from the same centre, H, and for the same reason the arcs A C B, O N P are called concentric arcs.

Fig. 59 suggests the method of drawing a circle of a giver. radius to touch two given straight lines. Let LG, M G, produced indefinitely to a and b, represent the two given straight lines, and z the radius of the required circle. In a a take any point u, and through u draw u w at right angles to a a. Bisect the angle a ab formed by the straight lines G a, ab (produced to meet in a if necessary) by the straight line G Y, and set off along the straight line U W, U v equal to z. Then through v draw v H parallel to a a, and meeting G Y in H. Then from the point H as centre, with a radius equal to z, describe the circle K L M. This circle touches the given straight lines & a, Gb in the points м and L. PROBLEM XLI.-To draw a tangent through any point in a given arc, when it is inconvenient to determine the centre of the circle of the circumference of which the given arc is a part. Let A B C (Fig. 60)

A

Fig. 60.

be the given arc, and c the given point through which it is required to draw a tangent to the arc A B C. Through c draw any straight line or chord C A, cutting the arc in the points A and c. Bisect A c in D, and through D draw DP at right angles to A c. Join B C, and at the point B in the straight line C B make the angle C B E equal to the angle D C r or E C B. Then through c draw the straight line x Y paralel to B E. The straight line X Y is a tangent to the arc A B C, and it is drawn through the given point c, as required.

LESSONS IN GERMAN.-XXVI.

SECTION XLIX-VERBS REQUIRING THE DATIVE. MANY verbs compounded with the particles ab, an, auf, bei, ent, er, nach, ver, ver, ju, and witer; as also, tanfen, to thank; troben, to threaten; felgen, to follow; gehorchen, to obey; it mentein, to flatter, etc. (§ 129. 4), govern the dative, as :-Gr entiate dem Glück und der Hoffnung, he resigned (the) happiness and (the) hope. Den besten Menschen lieben Fehler an, faults cleave to the best of Der Heltberr gehorchte dem Befehle tes Raifers, the commanderin-chief hearkened to the command of the emperor. Nur ein Sclave schmeichelt dem Herrn-lein Freier tem Freien, only a slave flatters the master-no freeman, a freeman.

men.

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Troßen, to dare, defy.,
Tribe gloomy.

lle belwellen, to wish
ill.

Ueberzielen to invade.
Un'umitraaft, para-

mount.
Umben, to beset.
Utjate ƒ cause.
Berlan gen,n. demand.
Bernunit', f. reason.
Berbaben, n. purpose.
Weg kommen, to get
away, be lost.
Witeritre'ben, to strug-
gle against.
Wunsch, m. wish.
3u gehören, to belong

to.

Zürnen, to be angry
at one.

mand. Gebrechen, to want, Ratb, m. council, ad- 3uver'fommen, to need. vice.

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9. Doch dem Herzøse, der einem Löwen glich, galt weder Vernunft, noch
guter Rath 10. Da er bisher alle feine Feinde überwunden batte, glaubte
er Jerem gewachsen zu sein 11. Gr widerfrebte dem Verlangen, tem
Kaiser die Gore zu erwerien, die demselben gebührte. 12. Der Kaiser, der dem
Herzoge schon seit langer Zeit übel wollte, und ihm wegen seines Stolzes
zürnte, fam ihm zuver und überzog ihn mit Krieg.
13. Der Kriegszug
mislang dem Kaver nicht. 14. Der Herzog konnte der feintlichen Macht
nicht widerstehen, und erlag tem Kaiser in ter Schlacht. 15. Gr mußte
nach England flieben, und nur seine Familie und einige Freunde folgten
ibm. 16. Hier entsagte er jerer Hoffnung, und fluchte dem Stolze, als ter
Ursache seines Gients. 17. Jbrem Wunsche entirrechent, werte ich Ihnen
beim Suchen des Bierces belfen, das Ihnen wegzekommen ist. 18. Gar
leucht gehorcht man einem etlen Herrn, ter überzeugt, indem er uns gebietet.
19. Dreier Braten schmeckt mir nicht.

EXERCISE 95.

1. I flatter myself that you will honour me with a visit. 2. He would certainly harm me, if he could get at me. 3. The star of hope lights man even in the gloomiest night. 4. I shall assist my friend for the assistance which he has rendered me. 5. The teacher has told me he was contented with his scholars; 6. I know no one who flatters the passions of others as he does. 7. It were to be wished that everybody might assist the poor. 8. Do not flatter your children too much. 9. Napoleon collected around him the best of his generals. 10. After he had made known to them his purpose, they volunteered to assist him. 11. He trusted to his own power, invaded Europe with hostile troops, and defied every danger. 12. According to his own opinion his power was paramount, and he thought not of the

they were diligent and anticipated all his wishes.

difficulties which beset him.

SECTION L-VERBS REQUIRING AN ACCUSATIVE OF A

PERSON, AND A GENITIVE OF A THING. Verbs signifying "to accuse, to acquit," and some others (§§ 126, 127) govern the accusatire of a person, and the genitive of a thing, as::-Gr flagt seinen Diener des Tiebstabls an, he accuses his servant of theft. Der Feind bemächtigte sich der Beftung, the enemy took possession of (mastered) the fortress. Sie beraubten mich meines Geltes und meiner Gbre, they robbed me of my money and of my honour. Die Richter sprachen ihn des Mertes les, the judges deanti-clared him (spoke him free) innocent of the murder. Gr entleriste sich seines Auftrags mit großer Pünktlichkeit, he delivered his commission with great punctuality. Der Lantmann rühme sich res Pflugs, the husbandman may pride himself of the plough. West tem, ter sich des Dürftigen annimmt, Vi. xli. 2, Blessed is he that considereth the poor (needy), Ps. xli. 2. VOCABULARY.

He who cannot renounce an
evil company, can belong to
no good one.

Your friend met me yesterday, Anchuftigen, to ac- Entle tigen, to release,

but I could not remember his
name (his name would not
occur to me).

Princes do not resign the
throne so easily.
What avails it for man to
struggle against (the) his
destiny ?-he must always
succumb to its power.
Trust not every one; and least
of all, those who flatter thee.

The admonition of a friend is
of much value to me, and I
follow it gladly.

EXERCISE 94.

1. Wenn in alten Zeiten ein Mächtiger dem andern feind war, so erklärte er ihm ten Krieg. 2. Aus allen Orten, tie ihm angehörten, sammelte dieser mächtige Herr rie Männer, tie ihm anhingen. 3. Nachtem sie seinem Vorhaben beigestimmt hatten, verrflichteten sie sich, ibm beizustehen, und ihm in ten Krieg zu setzen. 4. Selch ein (Sect. XL. 6.) mächtiger Herr war Heinrich der Löwe, Herzog von Bayern, welchem große Lanter zugehörten, und Tausende von Kriegern gehorchten. 5. Doch die Krone eines Kaisers schwebte ihm immer vor Auzen. 6. Der Herzoghut genügte ihm nicht. 7. Er traute seiner eigenen Kraft und trepte dem Kaiser. 8. Der Kaiser forderte ihn auf, sich seinen Befehlen zu fügen, und trohte ihm mit der Acht.

cuse of.
An'wefent, present.
Augenblic lich, instant-

ly, at once.
Bat, n. bath.
Beflei'ßen

Befler sizen (sich), to

be studious of.

Bege 'ben (sich), to re

Belch'ren, to teach,
sign, give up.

instruct.

Bemächtigen (fich), to

seize, take posses

sion of.

to

discharge.
Entschla'gen (sich), to
get rid of, banish.
Entset'en, to remove,
dismiss from.
Erbarmen (sich),
commiserate, have
pity on.
dessel, f. fetter.
drei srrechung, f. ac-
Stehen, to supplicate.
Freuen, to rejoice.
quittal.
Freuntschaft, f. friend-
ship.

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Arene, f. crown.

Lachen, to laugh.
Lant straße, f.highway.
Leer, empty.
Pflegen, to cherish,
indulge in.
Raub, m. robbery.
Räuber, m. robber.
Rühmen (c) to boast,
pride one's self in.
damen (fich), to be
ashamed of.
Serge, f. solicitude,

care.

Sretten, to scoff at,
deride.
Ueberführen, to con-
vict.
Un'sdultig, innocent.
Wieb hantler, m. dealer

in cattle, drover.
Bielmehr, much more,
rather.
Bell, full.
Verią, former, last.
Würtigen, to vouch-
safe, deign.

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Relieve me of (from) this sad
duty.

The righteous (man) is merciful
to his beast.
Remember the many good deeds
(favours) that I have shown
you.

Gerente reines Freundes selbst in Remember thy friend even in
weiter Ferne!
Drohe, wie du willst, ich lache deiner.

Nach geschehener Arbeit kann man ter Ruhe pflegen.

remote distance.
Threaten as thou wilt, I will
laugh at thee.

After completed (taken place)
toil, we can indulge in (the)

repose.

acquittal of the innocent, and vouchsafed to them the greatest friendship. 9. The enemy (say, enemies) stormed the town and laughed at the supplicants, who besought them to have pity on them.

KEY TO EXERCISES IN LESSONS IN GERMAN.
EXERCISE 11 (Vol. I., page 68).

2. Yes, he is

1. Is your friend, the captain, still a young man? still young, but his good friend, the Dutchman, is old. 3. Have you a beautiful great dog? 4. No, I have a beautiful great horse. 5. Has your little child my new knife? 6. No, but your good son has your new stick. 7. Has the butcher a fat sheep? 8. Yes, and his good son has a beautiful white lamb. 9. Is your friend, the young Dutchman, rich or poor? 10. He is not rich, but he is contented. 11. A contented man is also rich. 12. A rich man is not always a contented man. 13. Your great house has a steep roof and a deep cellar. 14. From whom have you your new sofa? 15. I have it from a good friend. 16. The pig is a lazy fat animal. a strong protection.

17. A true friend is

EXERCISE 12 (Vol. I., page 94).

1. Have you my ripe fruit? 2. No, I have your silver fruit-knife, and your old friend, the teacher, has the ripe fruit. 3. Have you my silver pencil? 4. No, the good teacher has it. 5. Has the old cook my wooden table ? 6. No, the joiner has it, but the cook has a marble table. 7. Has he also a wooden cask? 8. Yes, and this diligent scholar has a beautiful leaden inkstand. 9. Has he also a silver cup? 10. Yes, and he has also a copper kettle and an iron mortar. 11. Have you my young friend's new knife ? 12. No, I have a new knife from the good merchant. 13. Has this diligent scholar the old

Viele rühmen sich großer Thaten, die Many boast themselves of great friend's good book, or his good cousin's silver pencil? 14. He has

fie niemals vollbracht' haben.

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deeds which they have never
accomplished.
Exempt me from the necessity
of punishing thee.
Before I had expected a blow,
I was already felled (lay
stretched) to the ground.
He was so proud that he did

not vouchsafe to me a look.

EXERCISE 96.

1. Sie erinnern (§ 86. 1, 2) sich wohl noch des jungen Mannes, der im verigen Jahre des Naubes angeklagt war. 2. Er war beschultigt, einen reichen Bichhändler auf der Landstraße seines Gelves beraubt zu haben. 3. Man konnte ihn jedoch dieses Verbrechens nicht überführen. 4. Er hatte sich bereits aller Hoffnung einer Freisprechung begeben, und sich des Gedan, kens entschlagen, für unschuldig erklärt zu werden. 5. Der Richter jet och enthob ihn aller Sorge. 6. Nachdem er den Angeklagten aufgefortert hatte, nur gutes Muths zu sein, und sich alles Kummers zu entschlagen, erklärte er: Ich bin der vollen Meinung, daß man diesen jungen Mann nicht des Raubes bezüchtigen kann. 7. Denn nicht Jeter, der sich des Vertelns schämt, und aller Mittel entblößt ist, wird ein Räuber. 8. Ich kann seines Betragens lobend erwähnen, denn er hat sich immer eines ordentlichen Lebens beslissen. 9. Ich erinnere euch aber an seine Thaten im lezten Kriege, teren er sich mit Recht rühmen kann. 10. Freuet euch seiner Freisprechung, und würziget ihn eurer Freundschaft. 11. Spottet seiner nicht, weil er im Kerfer war, sondern erbarmt euch vielmehr seiner, und gedenket seiner Leiten. 12. Jeder, der seiner lacht, schäme sich seines eigenen Betragens. Alle Anwesenden freuten sich dieser Rete, und man entledigte augenblicklich ben Angeklagten seiner Fesseln. 14. Lehre uns deine Wege, o Herr! und beraube uns nicht deiner Gnade! 15. Ich bin Willens (§ 128), im näch. ften Sommer ein Bad zu besuchen. 16. Ich kann durchaus nicht der Ansicht sein, daß man nach Tische der Ruhe nicht pflegen sollte. 17. Wer sich des Lebens freut, soll sich auch des Sterbens erinnern. 18. Als General Tilly sich der Stadt Magreburg bemächtigt hatte, lachte er der Flehenden, welche ihn baten, sich ihrer zu erbarmen.

EXERCISE 97.

13.

1. In former times the people knew not how to read, much less to write. 2. I am willing to visit next summer the baths of Homburg and Laubach. 3. When Louis Philippe, King of the French, had abdicated his throne, he went with his whole family to England. 4. Some kings have little reason to boast of their reigning. 5. The Emperor Charles V. gave up his crown and went into a convent. 6. It becomes a man better to be studious of his actions, than to boast of his abilities. 7. I will relieve my self of all business, and enjoy a quiet life. 8. He rejoiced at the

neither a good book nor a silver pencil-he has only a wooden pencil. 15. Where is the cook's copper kettle? 16. The poor man has only an iron kettle.

EXERCISE 13 (Vol. I., page 94).

1. Hat sie mein reifes Obst? 2. Der alte Koch hat meinen filbernen Bleistift. 3. Hat er auch ein neues Messer? 4. Der gute Kaufmann hat einen alten marmornen Tisch. 5. Er hat weder ein golrenes Obstmesser, noch einen silbernen Becher. 6. Der Sommer ist eine goltene Zeit. 7. Der fleißige Tischler hat den eisernen Kessel des Kochs.

EXERCISE 14 (Vol. I., page 94).

1. Is this young lady's young sister in Germany? 2. No, she is in France, but her brother is in America. 3. Where is my new gold pen? 4. Your young friend Miss S. has it. 5. Has your mother the beautiful silk of your aunt? 6. Yes, and also the beautiful fine linen. 7. Where are [ift] your gold spectacles? 8. I have no gold spectacles. 9. Have you a silver or gold watch? 10. I have a silver watch. 11. Is it a good watch? 12. Yes, but it is not very beautiful. 13. Where is your 14. It is in my watch-pocket. 15. Has your sister a gold watch? watch? 16. Yes, and she has also a beautiful gold chain. 17. Where are my new scissors? 18. I have them, but they are not very sharp. 19. Where is your sister? 20. She is with her mother in the library. 21. Where is my glass lamp? 22. I have it. 23. Who has my new opera-glass? 24. I have it, and your new spectacles.

EXERCISE 15 (Vol. I., page 94).

1. Die Mutter dieser Dame ist in Frankreich. 2. Hat die schöne Tochter der guten Tante eine goltene Uhr? 3. Mein fleißiger Bruder hat weder eine geltene Uhr noch ein gutes Overnglas. 4. Meine gute Schwester hat keine feine Leinwand, aber sie hat eine neue gläserne Lamye. 5. Mein etter mit der goldenen Brille ist bei meinem schönen Bruder in der Bibliothek.

EXERCISE 16 (Vol. I., page 102).

13. 14. Is this

1. Has the Frenchman the German's wine? 2. Yes, and the German has the Frenchman's cloth. 3. What has the Russian? 4. He has the country of the Pole. 5. This Greek is no friend of the Turk. 6. Who has the sharp knife of this boy? 7. The friend of this Greek has it. 8. Have you your nephew's writing-desk? 9. No, I have my father's writing-desk. 10. Have you this boy's book, or his nephew's paper? 11. I have the boy's book, and my niece has the nephew's paper. 12. Is our friend, the captain, a Frenchman or a Greek? Ho is a Frenchman, and a great enemy of the Russian. child a son of our neighbour, the merchant? 15. No, ho [it] is the lively countenance is not always the sign of a quiet conscience. Have you the count's book? 18. No, but the prince has the book. 19. The life of a soldier is fatiguing and unsafe. 20. Have you & monarchy or a republic? 21. America has no prince, but liberty. 22. I have a gold watch, and you havo a silver pencil,

son of a Jew, and his father is the neighbour of a Christian. 16. A 17.

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