initial commit of ebook 29456HEAD main

author: Roger Frank <rfrank@pglaf.org> 2025-10-15 02:47:35 -0700
committer: Roger Frank <rfrank@pglaf.org> 2025-10-15 02:47:35 -0700
commit: f921b91c71f9aae560705df0be815849455b5f2d (patch)
tree: bdd80973e7b94f69315302917b8ac303b4480c47
77 files changed, 25121 insertions, 0 deletions
diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/29456-0.txt b/29456-0.txt
new file mode 100644
index 0000000..89684ad
--- /dev/null
+++ b/29456-0.txt
@@ -0,0 +1,5738 @@
+The Project Gutenberg EBook of The Comic Latin Grammar, by Percival Leigh
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Comic Latin Grammar
+       A new and facetious introduction to the Latin tongue
+
+Author: Percival Leigh
+
+Illustrator: John Leech
+
+Release Date: July 19, 2009 [EBook #29456]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE COMIC LATIN GRAMMAR ***
+
+
+
+
+Produced by Louise Hope
+
+
+
+
+[Transcriber’s Note:
+
+The Prosody section of this e-text uses characters that require UTF-8
+(Unicode) file encoding:
+
+  ā ē ī ō ū  [letters with macron or “long” mark]
+  ă ĕ ĭ ŏ ŭ y̆  [letters with breve or “short” mark; y̆ is rare]
+
+In addition, the “oe” ligature œ is used consistently, and the
+decorative symbol ⁂ appears in the advertising section.
+
+If these characters do not display properly--in particular, if the
+diacritic does not appear directly above the letter--or if the
+apostrophes and quotation marks in this paragraph appear as garbage,
+make sure your text reader’s “character set” or “file encoding” is set
+to Unicode (UTF-8). You may also need to change the default font.
+
+This book was written in 1840. It includes material that may be
+offensive to some readers. Students should be cautioned that the book
+predates “New Style” (classical) pronunciation. Note in particular
+the pronunciation of “j” (“Never jam today”) and of all vowels (“Yes,
+you Can-u-leia”).
+
+In the main text, boldface type is shown in +marks+. In the advertising
+section at the end, the same +marks+ represent sans-serif type.
+
+Typographical errors are listed at the end of the text, along with some
+general notes.]
+
+
+
+
+    [Frontispiece:
+    “Painted and Engraved by John Leech, R.C.A.”]
+
+
+
+
+                   THE COMIC
+
+                 LATIN GRAMMAR;
+
+        A new and facetious Introduction
+
+                     to the
+
+                  LATIN TONGUE.
+
+          With Numerous Illustrations.
+
+
+              The Second Edition.
+
+
+                    London:
+          CHARLES TILT, FLEET STREET.
+                    MDCCCXL.
+
+
+
+
+  Coe, Printer, 27, Old Change, St. Paul’s.
+
+
+
+
+  ADVERTISEMENT
+
+  TO THE SECOND EDITION.
+
+
+The Author of this little work cannot allow a second edition of it to go
+forth to the world, unaccompanied by a few words of apology, he being
+desirous of imitating, in every respect, the example of distinguished
+writers.
+
+He begs that so much as the consciousness of being answerable for a
+great deal of nonsense, usually prompts a man to say, in the hope of
+disarming criticism, may be considered to have been said already. But he
+particularly requests that the want of additions to his book may be
+excused; and pleads, in arrest of judgment, his numerous and absorbing
+avocations.
+
+Wishing to atone as much as possible for this deficiency, and prevailed
+upon by the importunity of his friends, he has allowed a portrait of
+himself, by that eminent artist, Mr. John Leech, to whom he is indebted
+for the embellishments, and very probably for the sale of the book, to
+be presented, facing the title-page, to the public.
+
+Here again he has been influenced by the wish to comply with the
+requisitions of custom, and the disinclination to appear odd, whimsical,
+or peculiar.
+
+On the admirable sketch itself, bare justice requires that he should
+speak somewhat in detail. The likeness he is told, he fears by too
+partial admirers, is excellent. The principle on which it has been
+executed, that of investing with an ideal magnitude, the proportions of
+nature, is plainly, from what we observe in heroic poetry, painting, and
+sculpture, the soul itself of the superhuman and sublime. Of the
+justness of the metaphorical compliment implied in the delineation of
+the head, it is not for the author to speak; of its exquisiteness and
+delicacy, his sense is too strong for expression. The habitual
+pensiveness of the elevated eyebrows, mingled with the momentary gaiety
+of the rest of the countenance, is one of the most successful points in
+the picture, and is as true to nature as it is indicative of art.
+
+The Author’s tailor, though there are certain reasons why his name
+should not appear in print, desires to express his obligation to the
+talented artist for the very favourable impression which, without
+prejudice to truth, has been given to the public of his skill. The ease
+so conspicuous in the management of the surtout, and the thought so
+remarkable in the treatment of the trousers, fully warrant his
+admiration and gratitude.
+
+Too great praise cannot be bestowed on the boots, considered with
+reference to art, though in this respect the Author is quite sensible
+that both himself and the maker of their originals have been greatly
+flattered. He is also perfectly aware that there is a degree of
+neatness, elegance, and spirit in the tie of the cravat, to which he has
+in reality never yet been able to attain.
+
+In conclusion, he is much gratified by the taste displayed in furnishing
+him with so handsome a walking stick; and he assures all whom it may
+concern, that the hint thus bestowed will not be lost upon him; for he
+intends immediately to relinquish the large oaken cudgel which he has
+hitherto been accustomed to carry, and to appear, in every respect, to
+the present generation, such as he will descend to posterity.
+
+
+
+
+  PREFACE.
+
+
+A great book, says an old proverb, is a great evil; and a great preface,
+says a new one, is a great bore. It is not, therefore, our intention to
+expatiate largely on the present occasion; especially since a long
+discourse prefixed to a small volume, is like a forty-eight pounder at
+the door of a pig-stye. We should as soon think of erecting the Nelson
+Memorial in front of Buckingham Palace. Indeed, were it not necessary to
+show some kind of respect to fashion, we should hasten at once into the
+midst of things, instead of trespassing on the patience of our readers,
+and possibly, trifling with their time. We should not like to be kept
+waiting at a Lord Mayor’s feast by a long description of the bill of
+fare. Our preface, however, shall at least have the merit of novelty;
+it shall be candid.
+
+This book, like the razors in Dr. Wolcot’s story, is made to _sell_.
+This last word has a rather equivocal meaning-- but we scorn to blot,
+otherwise we should say to be sold. An article offered for sale may,
+nevertheless, be worth buying; and it is hoped that the resemblance
+between the aforesaid razors, and this our production, does not extend
+to the respective _sharpness_ of the commodities. The razors proved
+scarcely worth a farthing to the clown who bought them for
+eighteen-pence, and were fit to shave nothing but the beard of an
+oyster. We trust that the “Comic Latin Grammar” will be found to _cut_,
+now and then, rather better, at least, than that comes to; and that it
+will reward the purchaser, at any rate, with his pennyworth for his
+penny, by its genuine bonâ fide contents. There are many works, the
+pages of which contain a good deal of useful matter-- sometimes in the
+shape of an ounce of tea or a pound of butter: we venture to indulge the
+expectation, that these latter additions to the value of our own, will
+be considered unnecessary.
+
+Perhaps we should have adopted the title of “Latin in sport made
+learning in earnest”-- which would give a tolerable idea of the nature
+of our undertaking. The doctrine, it is true, may bear the same relation
+to the lighter matter, that the bread in Falstaff’s private account did
+to the liquor; though if we have given our reader “a deal of sack,” we
+wish it may not be altogether “intolerable.” Latin, however, is a great
+deal less like bread, to most boys, than it is like physic; especially
+_antimony_, _ipecacuanha_, and similar medicines. It ought, therefore,
+to be given in something palatable, and capable of causing it to be
+retained by the-- mind-- in what physicians call a pleasant vehicle.
+This we have endeavoured to invent-- and if we have disguised the
+flavour of the drugs without destroying their virtues, we shall have
+entirely accomplished our design. There are a few particularly nasty
+pills, draughts, and boluses, which we could find no means of
+sweetening; and with which, on that account, we have not attempted to
+meddle. For these omissions we must request some little indulgence. Our
+performance is confessedly imperfect, but be it remembered, that
+
+  “Men rather do their broken weapons use,
+  Than their bare hands.”
+
+The “Comic Latin Grammar” can, certainly, never be called an
+_imposition_, as another Latin Grammar frequently is. We remember having
+had the whole of it to learn at school, besides being-- no matter what--
+for pinning a cracker to the master’s coat-tail. The above hint is
+worthy the attention of boys; nor will the following, probably, be
+thrown away upon school-masters, particularly such as reside in the
+north of England. “Laugh and grow fat,” is an ancient and a true maxim.
+Now, will not the “Comic Latin Grammar,” (like Scotch marmalade and
+Yarmouth bloaters) form a “desirable addition” to the breakfast of the
+young gentlemen entrusted to their care? We dare not say much of its
+superseding the use of the cane, as we hold all old established customs
+in the utmost reverence and respect; and, besides, have no wish to
+deprive any one of innocent amusement. We would only suggest, that
+flagellation is now _sometimes_ necessary, and that whatever tends to
+render it _optional_ may, now and then, save trouble.
+
+One word in conclusion. The march of intellect is not confined to the
+male sex; the fairer part of the creation are now augmenting by their
+numbers, and adorning by their countenance, the scientific and literary
+train. But the path of learning is sometimes too rugged for their tender
+feet. We pretend not to strew it for them with roses; we are not
+poetically given-- nay, we cannot even promise them a Brussels carpet;--
+but if a plain Kidderminster will serve their turn, we here display one
+for their accommodation, that thus smoothly and pleasantly they may make
+their safe ascent to the temple of Minerva and the Muses.
+
+
+
+
+  INTRODUCTION.
+
+
+Very little introductory matter would probably be sufficient to place
+the rising generation on terms of the most perfect familiarity with a
+“Comic Latin Grammar.” To the elder and middle-aged portion of the
+community, however, the very notion of such a work may seem in the
+highest degree preposterous; if not indicative of a degree of
+presumptuous irreverence on the part of the author little short of
+literary high treason, if not commensurate, in point of moral
+delinquency, with the same crime as defined by the common law of
+England. It is out of consideration for the praiseworthy, though perhaps
+erroneous, feelings of such respectable personages, that we proceed to
+make the following preliminary remarks; wherein it will be our object,
+by demonstrating the necessity which exists for such a publication as
+the present, to exonerate ourselves from all blame on the score of its
+production.
+
+When we consider the progress of civilization and refinement, we find
+that all ages have in turn been characterized by some one distinctive
+peculiarity or other. To say nothing of the Golden Age, the Silver Age,
+the Iron Age, and so forth, which, with all possible respect for the
+poets, can scarcely be said to be worth much in a grave argument; it is
+quite clear that the Augustan Age, the Middle Ages, the Elizabethan Age,
+and the Age of Queen Anne, were all of them very different, one from the
+other, in regard to the peculiar tone of feeling which distinguished the
+public mind in each of them. In like manner, the present (which will
+hereafter probably be called the Victorian Age) is very unlike all that
+have preceded it. It may be termed the Age of Comicality. Not but that
+some traces of comic feeling, inherent as it is in the very nature of
+man, have not at all times been more or less observable; but it is only
+of late years that the ludicrous capabilities of the human mind have
+expanded in their fullest vigour. Comicality has heretofore been evinced
+only, as it were, in isolated sparks and flashes, instead of that full
+blaze of meridian splendour which now pervades the entire mechanism of
+society, and illuminates all the transactions of life. Thus in the
+Golden Age, there was something very comical in human creatures eating
+acorns, like pigs. The Augustan Age was comical enough, if we may trust
+some of Horace’s satires. Much comicality was displayed in the Middle
+Ages, in the proceedings of the knights errant, the doings in Palestine,
+and the mode adopted by the priests of inculcating religion on the minds
+of the people. In the Elizabethan Age several comic incidents occurred
+at court; particularly when any of the courtiers were guilty of personal
+impertinence to their virgin queen. It must have been very comical to
+see Shakspere holding stirrups like an ostler, or performing the part of
+the Ghost, in his own play of Hamlet. The dress worn in Queen Anne’s
+time, and that of the first Georges, was very comical indeed-- but
+enough of this. Our concern is with the present time-- the funniest
+epoch, beyond all comparison, in the history of the world. Some few
+years back, the minds of nations, convulsed with the great political
+revolutions then taking place, were in a mood by no means apt to be
+gratified by whimsicality and merriment. Furthermore, certain poets of
+the lack-a-daisical school, such as Byron, Shelley, Goethe, and others,
+writing in conformity with the prevailing taste of the day, threw a wet
+blanket on the spirits of men, which all but extinguished the feeble
+embers of mirth, upon which ‘shocking events’ had exercised so
+pernicious an influence already: or, to change a vulgar for a scientific
+metaphor, they placed such a pressure of sentimental atmosphere on the
+common stock of laughing gas, as to convert it into a mere fluid, and
+almost to solidify it altogether. It is now exhibiting the amazing
+amount of expansive force, which under favourable circumstances it is
+capable of exerting. Many causes have combined to bring about the happy
+state of things under which we now live. Amongst these, the exertions of
+individuals hold the first rank; of whom the veteran Liston, the late
+lamented Mr. John Reeve, the facetious Keeley, and the inimitable
+Buckstone, are deserving of our highest commendation. And more
+especially is praise due to the talented author of the Pickwick Papers,
+whose genius has convulsed the sides of thousands, has revolutionized
+the republic of letters (making, no doubt, a great many _sovereigns_)
+and has become, as it were, a mirror, which will reflect to all
+posterity the laughter-loving spirit of his age.
+
+But it is not (as we have before remarked) in literature alone, that the
+tendency to the ludicrous is shewn. In many recent scientific
+speculations it is strikingly and abundantly obvious-- some of those on
+geology may be quoted as examples. The offspring of the sciences-- those
+pledges of affection which they present to art, almost all of them, come
+into the world with a caricature-like smirk upon their faces.
+Air-balloons and rail-roads have something funny about them; and
+photogenic drawings are, to say the least, very curious. The learned
+professions are all tinged with drollery. The law is confessedly
+ridiculous from beginning to end, and what is very strange, is that no
+one should attempt to make it otherwise. Medicine is comical-- or rather
+tragi-comical-- the disparity of opinion among its professors, the
+chaotic state of its principles, and the conduct of its students being
+considered. No one can deny that the distribution of church property is
+somewhat _odd_, or can assert that the doings-- at least of those who
+are destined for the clerical office, are now and then of rather a
+strange character. Political meetings are very laughable things, when we
+reflect upon the strong asseverations of patriotism there made and
+believed. The wisdom of the legislature is by no means of the gravest
+class, particularly when it offers municipal reforms as a substitute for
+bread. The debates in a certain House must be of a very humourous
+character, if we may judge from the frequent “hear hear, and a laugh,”
+by which the proceedings there are interrupted. Our risible faculties
+are continually called into action at public lectures of all kinds; and
+indeed, no lecturer, however learned he may be, has much chance
+now-a-days of instructing, unless he can also amuse his audience. Nor
+can the various public and even private buildings, which are daily
+springing up around us, like so many mushrooms, be contemplated without
+considerable emotions of mirthfulness. The new style of ecclesiastical
+architecture, entitled the Cockney-Gothic, affords a good illustration
+of this remark; but the comic Temple of the Fine Arts, in Trafalgar
+Square, is what Lord Bacon would have called a “glaring instance” of its
+correctness. The occurrences of the day bear all of them the stamp of
+facetiousness. The vote of approbation, lately passed on a certain
+course of policy, is a capital joke; the tricks that are constantly
+played off upon John Bull by the Russians, French, Yankees, and others,
+though somewhat impertinent to the aforesaid John, must seem very
+diverting to lookers on. The state of the Drama may also be brought
+forward in proof of our position. Tragedies are at a discount; farces
+are at a premium; lions, nay goats and monkeys, are pressed into the
+service of Momus. Even the various institutions for the advancement of
+morals have not escaped the influence of the prevailing taste. To
+mention that respectable body of men, the Teetotallers, is sufficient of
+itself to excite a smile. In short, look wherever you will, you will
+find it a matter of the greatest difficulty to keep your countenance.
+
+The truth is, that people are tired of crying, and find it much more
+agreeable to laugh. The sublime is out of fashion; the ridiculous is in
+vogue. A turn-up nose is now a more interesting object than a turn-down
+collar; and if it should be urged that the flowing locks of our young
+men are indicative of sentimentality by their _length_, let it be
+remembered that they are in general quite unaccompanied by a
+corresponding quality of face. It has been said that the schoolmaster is
+abroad:-- true; but he is walking arm and arm with the Merry-Andrew; and
+the members, presidents, and secretaries of mechanics’ institutions, and
+associations for the advancement of everything, follow in his train.
+Nothing can be taught that is not palatable, and nothing is now
+palatable but what is funny. That boys should be instructed in the Latin
+language will be denied by few (although by some eccentric persons this
+has been done); that they can be expected to learn what they cannot
+laugh at will, to all reflecting minds, especially on perusing the
+foregoing considerations, appear in the highest degree unreasonable. To
+conclude:-- let all such as are disposed to stare at the title of our
+work, ponder attentively on what we have said above; let them, in the
+language of the farce, “put this and that together,” and they will at
+once perceive the beneficial effect, which holding up the Latin Grammar
+to ridicule is likely to produce in the minds of youth. So much for the
+satisfaction of our senior readers. And now, no longer to detain our
+juvenile friends, let us proceed to business, or pleasure, or both:-- we
+will not stand upon ceremony with respect to terms.
+
+    [Illustration: THE SCHOOLMASTER ABROAD.]
+
+
+
+
+  THE
+
+  COMIC LATIN GRAMMAR.
+
+
+Of Latin there are three kinds: Latin Proper, or good Latin; Dog Latin;
+and Thieves’ Latin, Latin Proper, or good Latin, is the language which
+was spoken by the ancient Romans. Dog Latin is the Latin in which boys
+compose their first verses and themes, and which is occasionally
+employed at the Universities of Oxford and Cambridge, but much more
+frequently at Edinburgh, Aberdeen, and Glasgow. It includes Medical
+Latin, and Law Latin; though these, to the unlearned, generally appear
+Greek. Mens tuus ego-- mind your eye; Illic vadis cum oculo tuo ex--
+there you go with your eye out; Quomodo est mater tua?-- how’s your
+mother? Fiat haustus ter die capiendus-- let a draught be made, to be
+taken three times a day; Bona et catalla-- goods and chattels-- are
+examples.
+
+Thieves’ Latin, more commonly known by the name of slang, is much in use
+among a certain class of _conveyancers_, who disregard the distinctions
+of meum and tuum. Furthermore, it constitutes a great part of the
+familiar discourse of most young men in modern times, particularly
+lawyers’ clerks and medical students. It bears a very close affinity to
+Law Latin, with which, indeed, it is sometimes confounded. Examples:--
+to prig a wipe-- to steal a handkerchief. A rum start-- a curious
+occurrence. A plant-- an imposition. Flummoxed-- undone. Sold--
+deceived. A heavy swell-- a great dandy. Quibus, tin, dibs, mopuses,
+stumpy-- money. Grub, prog, tuck-- victuals. A stiff-’un-- a dead body--
+properly, a subject. To be scragged-- to suffer the last penalty of the
+law, &c.
+
+    [Illustration: A HEAVY SWELL.]
+
+All these kinds of Latin are to be taught in the Comic Latin Grammar.
+
+
+    [Illustration: TOBY, THE LEARNED PIG.]
+
+If Toby, the learned pig, had been desired to say his alphabet in Latin,
+he would have done it by taking away the W from the English alphabet.
+Indeed, this is what he is said to have actually done. The Latin
+letters, therefore, remind us of the greatest age that a fashionable
+lady ever confesses she has attained to,-- being between twenty and
+thirty.
+
+Six of these letters are called what Dutchmen, speaking English, call
+fowls-- vowels; namely, a, e, i, o, u, y.
+
+A vowel is like an Æolian harp; it makes a full and perfect sound of
+itself. A consonant cannot sound without a vowel, any more than a horn
+(except such an one as Baron Munchausen’s) can play a tune without a
+performer.
+
+Consonants are divided into mutes, liquids and double letters; although
+they have nothing in particular to do with funerals, hydrostatics, or
+the General post office. The liquids are, l, m, n, r; the double
+letters, j, x, z; the other letters are mutes.
+
+  “Hye dum, dye dum, fiddle _dumb_--c.” --STERNE.
+
+A syllable is a distinct sound of one or more letters pronounced in a
+breath, or, as we say in the classics, in a jiffey.
+
+A diphthong is the sound of two vowels in one syllable. Taken
+collectively they resemble a closed fist-- i.e. a bunch of _fives_. The
+diphthongs are au, eu, ei, æ, and œ. Of the two first of these, au and
+eu, the sound is _intermediate_ between that of the two vowels of which
+each is formed. This fact may perhaps be impressed upon the mind, on the
+principles of artificial memory, by a reference to a familiar beverage,
+known by the name of half-and-half. In like manner, ei, which is
+generally pronounced i, and æ and œ, sounded like e, may be said to
+exhibit something like an analogy to a married couple. The human
+diphthong, Smith female + Brown male, is called Brown only.
+
+    [Illustration: A HUMAN DIPHTHONG.]
+
+The reason, says the fool in King Lear, why the seven stars are no more
+than seven-- is a pretty reason-- because they are not eight. This is a
+fool’s reason; but we (like many other commentators) cannot give a
+better one, why the Parts of Speech are no more than eight-- because
+they are not nine. They are as follow:
+
+1. Noun, Pronoun, Verb, Participle-- declined.
+
+2. Adverb, Preposition, Conjunction, Interjection-- undeclined. Most
+schoolboys would like to decline them altogether.
+
+
++OF A NOUN.+
+
+A noun is a name,-- whether it be a Christian name, or a sur-name-- the
+name of a prince, a pig, a pancake, or a post. Whatever is-- is a noun.
+
+Nouns are divided into substantives and adjectives.
+
+A noun substantive is its own trumpeter, and speaks for itself without
+assistance from any other word-- brassica, a cabbage; sartor, a tailor;
+medicus, a physician; vetula, an old woman; venenum, poison; are
+examples of substantives.
+
+An adjective is like an infant in leading strings-- it cannot go alone.
+It always requires to be joined to a substantive, of which it shows the
+nature or quality-- as lectio longa, a long lesson; magnus aper, a great
+_boar_; pinguis puer, a fat boy; macer puer, a lean boy. In making love
+(as you will find one of these days) or in abusing a cab-man, your
+success will depend in no small degree in your choice of adjectives.
+
+    [Illustration: MACER PUER.]
+
+    [Illustration: PINGUIS PUER.]
+
+
++NUMBERS OF NOUNS.+
+
+Be not alarmed, boys, at the above heading. There are numbers of nouns,
+it is true, that is to say, lots; or, as we say in the schools,
+“a precious sight” of nouns in the dictionary; but we are not now going
+to enumerate, and make you learn them. The numbers of nouns here spoken
+of are two only; the singular and the plural.
+
+The singular speaks but of one-- as later, a brick; faba, a bean; tuba,
+a trump (or trumpet); flamma, a blaze; æthiops, a nigger (or negro);
+cornix, a crow.
+
+The plural speaks of more than one-- as lateres, bricks; fabæ, beans;
+tubæ, trumps; flammæ, blazes; æthiopes, niggers; cornices, crows.
+
+Here it may be remarked that the cynic philosophers were very _singular_
+fellows.
+
+Also that prize-poems are sometimes composed in very _singular numbers_.
+
+
++CASES OF NOUNS.+
+
+Nouns have six cases in each number, (that is, six of one and half a
+dozen of the other) but can only be put in one of them at a time. They
+are thus ticketed-- nominative, genitive, dative, accusative, vocative,
+and ablative.
+
+The nominative case comes before the verb, as the horse does before the
+cart, the “lieutenant before the ancient,” and the superintendant of
+police before the inspector. It answers to the question, who or what;
+as, Who jaws? magister jurgatur, the master jaws.
+
+The genitive case is known by the sign of, and answers to the question,
+whose, or whereof; as, Whose breeches? Femoralia magistri-- the breeches
+of the master, or the master’s breeches.
+
+The dative case is known by the signs to or for, and answers to the
+question, to whom, or to or for what; as, To whom do I hold out my
+hands? Protendo manus magistro-- I hold out my hands to the master.
+
+In this place we are called upon to consider, whether it be more
+agreeable to have Latin or the ferula at our _fingers’ ends_.
+
+Observe that _dative_ means _giving_. Schoolmasters are very often in
+the dative case-- but their generosity is chiefly exercised in bestowing
+what is termed monkey’s allowance; that is, if not more kicks, more
+boxes on the ear, more spats, more canings, birchings, and impositions,
+than halfpence.
+
+    [Plate:
+    A DATIVE AND A VOCATIVE CASE.]
+
+The accusative case follows the verb, as a bailiff follows a debtor,
+a bull-dog a butcher, or a round of applause a supernatural squall at
+the Italian Opera. It answers to the question Whom? or What? as, Whom do
+you laugh at? (behind his back) Derideo magistrum-- I laugh at the
+master.
+
+The vocative case is known by calling, or speaking to; as, O magister--
+O master; an exclamation which is frequently the consequence of shirking
+out, making false concords or quantities, obstreperous conduct in
+school, &c.
+
+The ablative case is known by certain prepositions, expressed or
+understood; as Deprensus magistro-- caught out by the master. Coram
+_rostro_-- before the _beak_. The prepositions, in, with, from, by, and
+the word, than, after the comparative degree, are signs of the ablative
+case. In angustiâ-- in a fix. Cum indigenâ-- with a native. Ab arbore--
+from a tree. A rictu-- by a grin. Adipe lubricior-- slicker than grease.
+
+
++GENDERS AND ARTICLES.+
+
+The genders of nouns, which are three, the masculine, the feminine, and
+the neuter, are denoted in Latin by articles. We have articles, also, in
+English, which distinguish the masculine from the feminine, but they are
+articles of dress; such as petticoats and breeches, mantillas and
+mackintoshes. But as there are many things in Latin, called masculine
+and feminine, which are nevertheless not male and female, the articles
+attached to them are not parts of dress, but parts of speech.
+
+    [Illustration: MASC. FEM.]
+
+We will now, with our readers’ permission, initiate them into a new mode
+of declining the article hic, hæc, hoc. And we take this opportunity of
+protesting against the old and short-sighted system of teaching a boy
+only one thing at a time, which originated, no doubt, from the general
+ignorance of everything but the dead languages which prevailed in the
+monkish ages. We propose to make declensions, conjugations, &c.,
+a vehicle for imparting something more than the mere dry facts of the
+immediate subject. And if we can occasionally inculcate an original
+remark, a scientific principle, or a moral aphorism, we shall, of
+course, think ourselves sufficiently rewarded by the consciousness-- et
+cætera, et cætera, et cætera.
+
+  Masc. hic.  Fem. hæc.  Neut. hoc, &c.
+
+  The nominative singular’s hic, hæc, and hoc,--
+  Which to learn, has cost school boys full many a knock;
+  The genitive ’s hujus, the dative makes huic,
+  (A fact Mr. Squeers never mentioned to Smike);
+  Then hunc, hanc, and hoc, the accusative makes,
+  The vocative-- caret-- no very great shakes;
+  The ablative case maketh hôc, hac, and hôc,
+  A cock is a fowl-- but a fowl ’s not a cock.
+  The nominative plural is hi, hæ, and hæc,
+  The Roman young ladies were dressed à la Grecque;
+  The genitive case horum, harum, and horum,
+  Silenus and Bacchus were fond of a jorum;
+  The dative in all the three genders is his,
+  At Actium his tip did Mark Antony miss:
+  The accusative ’s hos, has, and hæc in all grammars,
+  Herodotus told some American crammers;
+  The vocative here also-- caret-- ’s no go,
+  As Milo found rending an oak-tree, you know;
+  And his, like the dative the ablative case is,
+  The Furies had most disagreeable faces.
+
+Nouns declined with two articles, are called common. This word common
+requires explanation-- it is not used in the same sense as that in which
+we say, that quackery is common in medicine, knavery in the law, and
+humbug everywhere-- pigeons at Crockford’s, lame ducks at the Stock
+Exchange, Jews at the ditto, and Royal ditto, and foreigners in
+Leicester Square-- No; a common noun is one that is both masculine and
+feminine; in one sense of the word therefore it is _uncommon_. Parens,
+a parent, which may be declined both with hic, and hæc, is, for obvious
+reasons, a noun of this class; and so is fur, a thief; likewise miles,
+a soldier, which will appear strange to those of our readers, who do not
+call to mind the existence of the ancient amazons; the dashing white
+sergeant being the only female soldier known in modern times. Nor have
+we more than one authenticated instance of a female sailor, if we except
+the heroine commemorated in the somewhat apocryphal narrative-- Billy
+Taylor.
+
+Nouns are called doubtful when declined with the article hic or hæc--
+whichever you please, as the showman said of the Duke of Wellington and
+Napoleon Bonaparte. Anguis, a snake, is a doubtful noun. At all events
+he is a doubtful customer.
+
+    [Illustration]
+
+Epicene nouns are those which, though declined with one article only,
+represent both sexes, as hic passer, a sparrow, hæc aquila, an eagle,--
+cock and hen. A sparrow, however, to say nothing of an eagle, must
+appear a doubtful noun with regard to gender, to a cockney sportsman.
+
+After all, there is no rule in the Latin language about gender so
+comprehensive as that observed in Hampshire, where they call every thing
+_he_ but a tom-cat, and that _she_.
+
+
++DECLENSION OF NOUNS SUBSTANTIVE.+
+
+There are five declensions of substantives. As a pig is known by his
+tail, so are declensions of substantives distinguished by the ending of
+the genitive case. Our fear of outraging the comic feelings of humanity,
+prevents us from saying quite so much about them as our love of learning
+would otherwise induce us to do. We therefore refer the student to that
+clever little book, the Eton Latin Grammar, strongly recommending him to
+decline the following substantives, by way of an exercise, after the
+manner of the examples there set down. First declension, Genitivo æ.
+Virga, a rod. --Second, i. Puer, a boy. Stultus, a fool. Tergum, a back.
+--Third, is. Vulpes, a fox. Procurator, an attorney. Cliens, a client.
+--Fourth, ûs-- here you may have, Risus, a laugh at. --Fifth, ei.
+Effigies, an effigy, image, or Guy.
+
+The substantive face, facies, _makes faces_, facies, in the plural.
+
+Although we are precluded from going through the whole of the
+declensions, we cannot refrain from proposing “for the use of schools,”
+a model upon which all substantives may be declined in a mode somewhat
+more agreeable, if not more instructive, than that heretofore adopted.
+
+  _Exempli Gratiâ._
+
+    Musa mus_æ_,
+  The Gods were at tea,
+    Musæ mus_am_.
+  Eating raspberry jam,
+    Musa mus_â_,
+  Made by Cupid’s mamma,
+    Musæ mus_arum_,
+  Thou “Diva Dearum.”
+    Musis mus_as_,
+  Said Jove to his lass,
+    Musæ mus_is_.
+  Can ambrosia beat this?
+
+
++DECLENSIONS OF NOUNS ADJECTIVE.+
+
+Some nouns adjective are declined with three terminations-- as a pacha
+of three tails would be, if he were to make a proposal to an English
+heiress-- as bonus, _good_-- tener, _tender_. Sweet epithets! how
+forcibly they remind us of young Love and a leg of mutton.
+
+  Bonus, bona, bonum,
+  Thou little lambkin dumb,
+  Boni, bonæ, boni,
+  For those sweet chops I sigh,
+  Bono, bonæ, bono,
+  Have pity on my woe,
+  Bonum, bonam, bonum,
+  Thou speak’st though thou art mum,
+  Bone, bona, bonum,
+  “O come and eat me, come,”
+  Bono, bonæ, bono,
+  The butcher lays thee low,
+  Boni, bonæ, bona,
+  Those chops are a picture,-- ah!
+  Bonorum, bonarum, bonorum,
+  To put lots of Tomata sauce o’er ’em
+  Bonis-- Don’t, miss,
+  Bonos, bonas, bona,
+  Thou art sweeter than thy mamma,
+  Boni, bonæ, bona,
+  And fatter than thy papa.
+  Bonis,-- What bliss!
+
+In like manner decline tener, tenera, tenerum.
+
+Unus, one; solus, alone; totus, the whole; nullus, none; alter, the
+other; uter, whether of the two-- make the genitive case singular in
+_ius_ and the dative in i.
+
+RIDDLES.
+
+_Q._ In what case will a grain of barley joined to an adjective stand
+for the name of an animal?
+
+_A._ In the dative case of unus-- uni-corn.
+
+  _Uni_ nimirum tibi rectè semper erunt res.
+
+    _Hor. Sat. lib. ii._ 2. 106.
+
+_Q._ Why is the above verse like all nature?
+
+_A._ Because it is an _uni_-verse.
+
+The word alius, another, is declined like the above-named adjectives,
+except that it makes ali_ud_, not ali_um_, in the neuter singular.
+
+The difference of unus from alius, say the London commentators, like
+that of a humming-top from a peg-top, consists of the _’um_.
+
+N.B. Tu es unus alius, is not good Latin for “You’re another,” a phrase
+more elegantly expressed by “Tu quoque.”
+
+    [Illustration: TU QUOQUE.]
+
+There are some adjectives that remind us of lawyer’s clerks, and, by
+courtesy, of linen-drapers’ apprentices. These may be termed _articled_
+adjectives; being declined with the articles hic, hæc, hoc, after the
+third declension of substantives-- as tristis, sad, melior, better,
+felix, happy.
+
+It is not very easy to conceive any thing in which sadness and
+comicality are united, except Tristis Amator, a sad lover.
+
+    [Illustration: TRISTIS AMATOR.]
+
+Melior is not _better_ for comic purposes. Felix affords no room for a
+_happy_ joke.
+
+Decline these three adjectives, and others of the same class, according
+to the following rules:
+
+  If the nominative endeth in _is_ or _er_, why, sir,
+  The ablative singular endeth in _i_, sir;
+  The first, fourth, and fifth case, their neuter make _e_,
+  But the same in the plural in _ia_ must be.
+  _E_, or _i_, are the ablative’s ends,-- mark my song,
+  While _or_ to the nominative case doth belong;
+  For the neuter aforesaid we settle it thus:
+  The plural is _ora_; the singular _us_.
+  If than _is_, _er_, and _or_, it hath many more enders,
+  The nominative serves to express the three genders;
+  But the plural for _ia_ hath _icia_ and _itia_,
+  As Felix, felicia-- Dives, divitia.
+
+
++COMPARISONS OF ADJECTIVES.+
+
+Comparisons are odious--
+
+Adjectives have three degrees of comparison. This is perhaps the reason
+why they are so disagreeable to learn.
+
+The first degree of comparison is the positive, which denotes the
+quality of a thing absolutely. Thus, the Eton Latin Grammar is lepidus,
+funny.
+
+The second is the comparative, which increases or lessens the quality,
+formed by adding _or_ to the first case of the positive ending in _i_.
+Thus the Charter House Grammar, is lepidor-- funnier, or more funny.
+--The third is the superlative, which increases or diminishes the
+signification to the greatest degree, formed from the same case by
+adding thereto, _ssimus_. Thus the Comic Latin Grammar is lepidissimus,
+funniest, or most funny. A Londoner is acutus, sharp, or ’cute,--
+a Yorkshireman acutior, sharper, or more sharp, ’cuter or more ’cute--
+but a Yankee is acutissimus-- sharpest, or most sharp, ’cutest or most
+’cute, or tarnation ’cute.
+
+Enumerate, in the manner following, with substantives, the exceptions to
+this rule, mentioned in the Eton Grammar.
+
+  Bonus, good.
+  A plain pudding.
+
+    Melior, better.
+    A suet pudding.
+
+      Optimus, best.
+      A plum pudding.
+
+  Malus, bad.
+  A caning.
+
+    Pejor, worse.
+    A spatting.
+
+      Pessimus, worst.
+      A flogging.
+                    &c. &c.
+
+Adjectives ending in _er_, form the superlative in _errimus_. The taste
+of vinegar is acer, sour; that of verjuice acrior, more sour; the visage
+of a tee-totaller, acerrimus, sourest, or most sour.
+
+Agilis, docilis, gracilis, facilis, humilis, similis, change _is_ into
+_llimus_, in the superlative degree.
+
+  Agilis, nimble.-- Madlle. Taglioni.
+  Agilior, more nimble.-- Jim Crow.
+  Agillimus, most nimble.-- Mr. Wieland.
+
+  Docilis, docile.-- Learned Pig.
+  Docilior, more docile.-- Ourang-outang.
+  Docillimus, most docile.-- Man Friday.
+
+  Gracilis, slender.-- A whipping post.
+  Gracilior, more slender.-- A fashionable waist.
+  Gracillimus, most slender.-- A dustman’s leg.
+      &c. &c.
+
+If a vowel comes before _us_ in the nominative case of an adjective, the
+comparison is made by magis, _more_, and maximè, _most_.
+
+  Pius, pious.-- Dr. Cantwell.
+  Magis pius, more pious.-- Mr. Maw-worm.
+  Maximè pius, most pious.-- Mr. Stiggins.
+
+Sancho Panza called Don Quixote, Quixottissimus. This was not good
+Latin, but it evinced a knowledge on Sancho’s part, of the nature of the
+superlative degree.
+
+
++OF A PRONOUN.+
+
+A pronoun is a substitute, or (as we once heard a lady of the Malaprop
+family say), a _subterfuge_ for a noun.
+
+There are fifteen Pronouns.
+
+  Ego, tu, ille,
+  I, thou, and Billy,
+  Is, sui, ipse,
+  Got very tipsy.
+  Iste, hic, meus,
+  The governor did not see us.
+  Tuus, suus, noster,
+  We knock’d down a coster-
+  Vester, noster, vestras.
+  monger for daring to pester us.
+
+To these may be added, egomet, I myself; tute, thou thyself, idem the
+same, qui, who or what, and cujas, of what country.
+
+
++DECLENSION OF PRONOUNS.+
+
+Pronouns concern _ourselves_ so much, that we cannot altogether pass
+over them; though a hint or two with regard to the mode of learning
+their declension is all that we can here afford to give. We are
+constrained now and then to leave out a good deal of valuable matter,
+for the reason that induced the Dublin manager to omit the part of
+Hamlet in the play of that name-- the length of the performance.
+
+Pronouns may be thus agreeably declined:
+
+  Ego, mei, mihi,
+  Hoist the frog up sky-high.
+  Tu, tui, tibi,
+  In Chancery they fib ye.
+  Ille, illa, illud,
+  Cows chew the cud.
+  Is, ea, id,
+  Always do as you’re bid.
+  Qui, quæ, quod,
+  Or else you’ll taste the rod.
+
+Every donkey can decline is, ea, id. We heard one the other day on
+Hampstead Heath, repeat distinctly
+
+  E--o! e--a! e--o!
+
+    [Illustration: THE FIRST LESSON IN LATIN.]
+
+When you decline quis quæ _quid_, beware of any temptation to indulge in
+dirty habits. _Es_chew pig-tail instead of chewing it. Never have any
+_quid_ in your mouth, but a quid pro quo.
+
+
++OF A VERB.+
+
+A verb is the chief word in every _sentence_, as _Suspendatur_ per
+collum, let him be hanged by the neck.
+
+It expresses the action or being of a thing. Ego _sum_ sapiens, I am a
+wise man. Tu _es_ stultus, thou art a fool. Non hic amice, _pernoctas_,
+you don’t lodge here, Mr. Ferguson.
+
+Verbs have two voices, like the gentleman who was singing, a short time
+since, at the St. James’s Theatre.
+
+The active ending in _o_-- as amo, I love.
+
+The passive ending in _or_-- as amor, I am loved.
+
+In these two words is contained the terrestrial summum bonum-- In short,
+love beats everything-- cock-fighting not excepted. Amo! amor! How happy
+every human being, from the peer to the pot-boy, from the duchess to the
+dairy-maid, would be to be able to say so.
+
+They would _conjugate_ immediately. Except, however, certain modern
+political economists of the Malthusian school, who, albeit they are
+great advocates for the diffusion of learning, are violently opposed to
+unlimited conjugations.
+
+Of verbs ending in _o_ some are actives transitive. A verb is called
+transitive when the action passes on to the following noun, as Seco
+baculum meum, I cut my stick.
+
+Numerous examples of this kind of cutting, which may be called a _comic
+section_, are recorded in history, both ancient and modern. Even Hector
+cut his stick (with Achilles after him) at the siege of Troy. The
+Persians cut their stick at Marathon. Pompey cut his stick at Pharsalia,
+and so did Antony at Actium. Napoleon Bonaparte cut his stick at
+Waterloo.
+
+Other verbs ending in _o_ are named neuters and intransitives. A verb is
+called intransitive, or neuter, when the action does not pass on, or
+require a following noun, as curro, I run. Pistol cucurrit, Pistol ran.
+But to say, “Falstaff voluit _currere eum per_,” “Falstaff wished _to
+run him through_,” would be making a neuter verb, a verb active, and
+would therefore be Latin of the canine species, or Dog-Latin; so would
+Meus homo Gulielmus _cucurrit caput suum_ plenum sed contra te homo dic
+pax, My man William _ran his head_ full but against the mantel-piece.
+This, it is obvious, will not do after Cicero.
+
+Verbs transitive ending in _o_ become passive by changing _o_ into _or_,
+as Secor, I am cut. Cæsar was cut by his friend Brutus in the capitol.
+“This,” as Antony very judiciously observed on the hustings, “was the
+most unkindest _cut_ of all,”-- much worse, indeed, than any of the
+similar operations which are daily performed in Regent Street.
+
+    [Illustration: BRUTUS AND CÆSAR.]
+
+Verbs neuter and intransitive are never made passive. We may say, Crepo,
+I crack, but we cannot say, Crepor, I am cracked.
+
+The ancient heroes appear, from what Homer says, to have got into a way
+of _cracking_ away most tremendously when they were going to engage in
+single combat.
+
+Orestes was certainly _cracked_.
+
+Some verbs ending in _or_ have an active signification-- as Loquor,
+I speak.
+
+_Q._ Why are such verbs like witnesses on oath?
+
+_A._ Because they are called “Deponents.”
+
+Of these some few are neuters, as Glorior, I boast.
+
+Cæsar boasted that he came, saw, and overcame. Bald-headed people (like
+Cæsar) do not, in general, make _conquests_ so easily.
+
+Neuter Verbs ending in _or_, and verbs deponent, are declined like verbs
+passive; but with gerunds and supines like verbs active; thus presenting
+a curious combination of _activity_ and _supineness_.
+
+There are some verbs which are called verbs personal. A verb personal
+resembles a mixed group of old maids and young maids, because it has
+_different persons_, as Ego irrideo, I quiz. Tu irrides, thou quizzest.
+
+A verb impersonal is like a collection of tombstone angels, or small
+children; it has not _different persons_, as tædet, it irketh, oportet,
+it behoveth.
+
+It irketh to learn Greek and Latin, nevertheless it behoveth to do so.
+
+
++OF MOODS.+
+
+Moods in verbs are like moods in man, they have each of them a peculiar
+_expression_. Here, however, the resemblance stops. Man has many moods,
+verbs have but five. For instance, we observe in men the merry mood, the
+doleful mood, (or dumps), the shy, timid, or sheepish mood, the bold, or
+_bumptious_ mood, the placid mood, the angry mood, whereto may be added
+the vindictive mood, and the sulky mood; the sober mood, as
+contradistinguished from both the serious and the drunken mood; or as
+blended with the latter, in which case it may be called the sober-drunk
+mood-- the contented mood, the grumbling mood; the sympathetic mood, the
+sarcastic mood, the idle mood, the working mood, the communicative mood,
+the secretive mood, and the moods of all the phrenological organs;
+besides the monitory or mentorial mood, and the mendacious, or lying
+mood, with the imaginative, poetical, or romantic mood, the
+compassionate, or melting mood, and many other moods too tedious to
+mention.
+
+We must not however omit the flirting mood, the teazing or tantalizing
+mood, the giggling mood, the magging or talkative mood, and the
+scandalizing mood, which are peculiarly observable in the fair sex.
+
+The moods of verbs are the following:
+
+1. The indicative mood, which either affirms a fact or asks a question,
+as Ego amo, I _do_ love. Amas tu? _Dost_ thou love?
+
+The long and short of all courtships are contained in these two
+examples.
+
+    [Illustration: A LONG COURTSHIP.]
+
+2. The imperative mood, which commandeth, or entreateth. This two-fold
+character of the imperative mood is often exemplified in schools, the
+command being on the part of the master, and the entreaty on that of the
+boy-- as thus, Veni huc! Come hither! Parce mihi! Spare me! The
+imperative mood is also known by the sign _let_-- as in the well-known
+verse in the song Dulce Domum--
+
+  “Eja! nunc eamus.”
+
+“Hurrah! now let us be off”-- meaning for the vacation. N.B. This mood
+is one much in the mouth of beadles, boatswains, bashaws, majors,
+magistrates, slave drivers, superintendents, serjeants, and
+jacks-in-office of all descriptions-- monitors, especially, and præfects
+of public schools, are very fond of using it on all occasions.
+
+    [Illustration: THE IMPERATIVE MOOD.]
+
+3. The potential mood signifies power or duty. The signs by which it is
+known are, may, can, might, would, could, should, or ought-- as, Amem,
+I may love (when I leave school). Amavissem, I should have loved (if I
+had not known better,) and the like.
+
+4. The subjunctive differs from the potential only in being always
+governed by some conjunction or indefinite word, and in being subjoined
+to some other verb going before it in the same sentence-- as Cochleare
+eram cum amarem, I was a _spoon_ when I loved-- Nescio qualis sim hoc
+ipso tempore, I don’t know what sort of a person I am at this very time.
+
+The propriety of the above expression “cochleare,” will be explained in
+a Comic System of Rhetoric, which perhaps may appear hereafter.
+
+5. The infinitive mood is like a gentleman’s cab, because it has no
+number.
+
+We have not made up our minds exactly, whether to compare it to the
+“picture of nobody” mentioned in the Tempest, or to the “picture of
+ugliness,” which young ladies generally call their successful rivals. It
+may be like one, or the other, or both, because it has no _person_.
+
+Neither has it a nominative case before it; nor, indeed, has it any more
+business with one than a toad has with a side pocket.
+
+It is commonly known by the sign _to_. As, for example-- Amare, to love;
+Desipere, to be a fool; Nubere, to marry; Pœnitere, to repent.
+
+
++OF GERUNDS AND SUPINES.+
+
+Ever anxious to encourage the expansion of youthful minds, by as general
+a cultivation as possible of the various faculties, we beg to invite
+attention to the following combination of Grammar, Poetry, and Music.
+
+  _Air._-- Believe me if all those endearing young charms. --_Moore._
+
+  The gerunds of verbs end in di, do, and dum,
+    But the supines of verbs are but two;
+  For instance, the active, which endeth in _um_,
+    And the passive which endeth in _u_.
+
+  Amandi, of loving, kind reader, beware;
+    Amando, in loving, be brief;
+  Amandum, to love, if you ’re doom’d, have a care,
+    In the goblet to drown all your grief.
+
+  Amatum, Amatu, to love and be loved,
+    Should it be your felicitous (?) lot,
+  May the fuel so needful be never removed
+    Which serves to keep boiling the pot.
+
+
++OF TENSES.+
+
+In verbs there are five tenses, or times, expressing an action, or
+affirmation.
+
+1. The present tense, or time. There is no time (or tense) like the
+present. It expresses an action now taking place. Examples-- _Act._ I
+love, or am loving. Amo, I am loving. --_Pass._ I am made drunk, or am
+drunk. Inebrior, I am drunk.
+
+2. The preterimperfect tense denotes something, or a state of things,
+partly, but not entirely past. --Examp. I did love or was loving.
+Amabam, I was loving. I was made drunk an hour ago. Inebriabar, I was
+made drunk.
+
+3. The preterperfect tense expresses a thing lately done, but now ended.
+--Examp. I have loved, or I loved. Amavi, I loved. I have been made
+drunk, or have been drunk. Inebriatus sum, I have been drunk.
+
+4. The preterpluperfect tense refers to a thing done at some time past,
+but now ended. --Examp. Amaveram, I had loved. Inebriatus eram, I had
+been drunk.
+
+5. The future tense relates to a thing to be done hereafter, as, Amabo,
+I shall or will love. Inebriabor, I shall get drunk-- say to-morrow.
+
+
++OF NUMBERS AND PERSONS.+
+
+Verbs have two numbers. No. 1, Singular, No. 2, Plural.
+
+In most matters it is usual to pay exclusive attention to number one. In
+learning the verbs, however, it is necessary to regard equally number
+two.-- The _persons_ of verbs are generally considered very
+disagreeable. Verbs have three persons in each number. Thus, for
+instance, at a dancing academy--
+
+  Sing.
+  Ego salto,     I dance,
+  Tu saltas,     Thou dancest,
+  Ille saltat,   He danceth.
+
+  Plur.
+  Nos saltamus,  We dance,
+  Vos saltatis,  Ye dance,
+  Illi saltant,  They dance.
+
+At an academy on _Free-knowledge-ical_ principles-- or a Comic Academy.
+
+  Ego rideo,    I laugh,
+  Tu rides,     Thou laughest,
+  Ille ridet,   He laugheth.
+
+  Nos ridemus,  We laugh,
+  Vos ridetis.  Ye laugh,
+  Illi rident,  They laugh.
+
+Laughter, too, is very common at other academies, but generally occurs
+on the wrong side of the mouth. The right sort of laughter (which may be
+presumed to be on the _right_ side of the mouth), is most frequent about
+the time of the holidays. What does the song say?
+
+  “Ridet annus, prata rident
+    Nosque rideamus.”
+
+  “The year laughs, the meadows laugh,--
+  suppose we have a laugh as well.”
+
+_Note_-- That all nouns are of the third person except Ego, Nos, Tu, and
+Vos. Hence we see how absurdly the man who drew a couple of donkeys
+acted in endeavouring to prevail upon _us_ to call the picture “_We_
+Three”-- _Ille_, _he_,-- may, perhaps, have been qualified to make a
+_third person_ in the group, and have “written himself down an ass” with
+some correctness. _Ego_, _I_, and _Nos_, _we_, have certainly nothing in
+common with that animal, and it is to be hoped that neither Tu, thou,
+nor Vos, ye, can be said to partake of his nature.
+
+_Note_ also. That all nouns of the vocative case are of the second
+person. So that if we should say, O asine, O thou donkey; or O asini,
+O ye donkeys, we should have grammar at least on our side.
+
+Be it your care to prevent us from having justice also.
+
+
+  OF THE VERB ESSE, TO BE.
+
+Before other verbs are declined, it is necessary to learn the verb Esse,
+to be. And before we teach the verb Esse, to be, it is necessary to make
+a few remarks on verbs in general.
+
+In the first place we have to observe, that they are rather difficult;
+and in the next, that if any one expects that we are going to consider
+them in detail, he is very much mistaken.
+
+But our skipping a very considerable portion of the verbs, is no reason
+why boys should do the same. Were we all to follow the examples of our
+teachers, instead of attending to their precepts, where would be the
+world by this time?
+
+Whirling away, no doubt, far from the respectable society of the
+neighbouring planets, and blundering about right and left, pell-mell,
+helter-skelter among the fixed stars-- itself, “and all which it
+inherit” in that glorious state of confusion so admirably described by
+the poet Ovid--
+
+  “Quem dixere Chaos,”
+
+which men have called Shaos. It would indeed be little better than a
+broken down _Shay_-horse.
+
+But “revenons à nos moutons,” that is, let us get back to our verbs. We
+recommend the most attentive and diligent study of all of them as set
+forth in the Eton Grammar, assisted by that kind of association of
+ideas, of which we shall now proceed to give a few specimens.
+
+
+Sum, es, fui, esse, futurus, to be,-- or not to be-- that is the
+question.
+
+_Rule_ 1. To each person of a verb, singular and plural, join a noun,
+according to your taste or comic talent. Should you be deficient in the
+inventive faculty, apply for assistance to one of the senior boys,
+which, in consideration of your fagging for him, he will readily give
+you. If yourself a senior boy, apply to the master.
+
+  _Examples._
+
+  INDICATIVE MOOD.
+
+  Present Tense.  Am.
+
+  _Sing._
+  Sum,  I am,      Vir,      a man,
+  Es,   Thou art,  Stultus,  a fool,
+  Est,  He is,     Latro,    a thief.
+
+  _Plu._
+  Sumus,  We are,    Patricii,  gentlemen,
+  Estis,  Ye are,    Plebeii,   snobs,
+  Sunt,   They are,  Errones,   vagabonds.
+
+We would proceed in this way with Sum, but that we are afraid of being
+tire-_sum_.
+
+  VERBS REGULAR.
+
+  First Conjugation.  Amo.
+
+  _Sing._
+  Amo,   I love,       Puellam,          a lass,
+  Amas,  Thou lovest,  Fartum,           a pudding,
+  Amat,  He loveth,    Carnem porcinam,  pork.
+
+  _Plu._
+  Amamus,  We love,    Doctrinam,  learning,
+  Amatis,  Ye love,    Leporem,    comicality,
+  Amant,   They love,  Poesin,     poetry.
+
+The consideration of which three things leads us to
+
+_Rule_ 2. In repeating the different tenses of verbs, be careful to be
+provided with a short English verse, contrived so as to rhyme with the
+third person singular, and another to rhyme with the third person
+plural. In this way your powers of composition as well as of memory will
+be profitably exercised.
+
+  _Example._
+
+  Second Conjugation.  Moneo.
+
+  _Sing._  Moneo, mones, monet,
+    Reid & Co.’s _heavy wet_.
+
+  _Plu._ Monemus, monetis, monent,
+    Beats that from the firmament.
+
+  Third Conjugation.  Rego.
+
+  _Sing._ Rego, regis, regit,
+    A statesman for office unfit.
+
+  _Plu._ Regimus, regitis, re_gunt_,
+    Is much like a bear in a punt.
+
+_Rule_ 3. Should you be desired to give the English of each person in
+the tense which you are repeating, you may (we mean a class of you),
+follow a plan adopted with great success and striking effect in that
+kind of dramatic representation entitled “A Grand Opera,” that of
+_singing_ what you have to _say_. Hold up your head, turn out your toes,
+clear your voices, and begin. A-hem!
+
+    [Plate:
+    GOING THROUGH THE VERBS.
+    AUDIO--I HEAR.]
+
+  Fourth Conjugation.  Audio.
+
+  _Trio._
+
+  _Sing._ Audio, I hear the Tartar drum!
+    Audis, Thou hearest the Tartar drum!
+    Audit, He hears the Tartar drum!--
+      the Tartar drum! the Tartar drum!
+
+  _Chorus._ He hears!
+    He hears!
+
+  He h - - e - - - a - - rs the Tar - tar drum!
+  _Plu._ Audimus, We hear the Tartar drum, &c.
+
+
+  VERBS IRREGULAR--
+
+Are _regular_ bores. The above Rules are equally applicable to them, and
+also to the
+
+
+  DEFECTIVE VERBS;
+
+Concerning which it may be asserted, that though almost all of them have
+tenses more or less imperfect, there are some which have not a single
+_Imperfect Tense_.
+
+
+  IMPERSONAL VERBS.
+
+Such as delectat, it delighteth; decet, it becometh, &c., answer to such
+English verbs as take the word _it_ before them. When we consider that
+_it_ is a term of endearment used in speaking to babies, as “it’s a
+pretty dear,” we cannot help thinking that Verbs Impersonal ought to be
+_pet_ verbs. Such however, is not, as far as we know, the fact.
+
+    [Illustration: PRETTY DEAR.]
+
+
++OF A PARTICIPLE.+
+
+A participle is a hybrid part of speech; a kind of mongrel-cross,
+between a noun and a verb. It is two parts verbs, and four parts noun;
+wherefore its composition may be likened unto the milk sold in and about
+London, which is usually watered in the proportion of four to two. The
+properties of the noun belonging to it, are, number, gender, case, and
+declension; those of the verb, tense, and signification.
+
+As a horse hath four legs, so hath a verb four participles.
+
+  _Air._-- Bonnets of Blue.
+
+  There ’s one of the present,-- and then,
+    There ’s one of the future in _rus_;
+  Of the tense preterperfect a third,-- and again,
+    A fourth of the future in _dus_.
+
+Participles are declined like nouns adjective, as-- but no! how can we
+ask our fair (blue) readers to decline _a-man’s_ (amans) loving.
+
+Now here we feel called upon to say a few words on the difference
+between a man’s loving and a woman’s loving. It has often been a
+question, whether do men or women love most _dearly_? To us the matter
+does not appear to admit of a doubt. We defy any of our male readers to
+be in love (when they are old and silly enough) for six months without
+finding themselves most grievously out of pocket. We have a friend who
+was in that unfortunate condition for about a month, and it cost him at
+least seven and sixpence a week in fees to the maid servant, and that
+without once being enabled to exchange a word with the object of his
+affections. At last he began to think that he was paying rather too dear
+for his whistle; so he gave it up. What girl would have held on so long,
+and laid out so much money without a return-- not of soft affection, but
+of hard cash? Women, indeed, instead of loving dearly, love, according
+to our own experience, particularly cheaply. Think of what they save, by
+taking their admirers “shopping” with them, in ribands, bracelets, and
+the like, to say nothing of coach-hire, pastry-cooks, and the price of
+admission, when they go with them to the play. And we should like to
+hear of the young lady who in these days would dispose of her hand at
+any thing less than a good round sum if she could help it-- no, no. To
+love _dearly_ is the precious prerogative of the lords of the creation
+alone.
+
+But we are forgetting our participles.
+
+The participle of the present tense ends in _ans_, or _ens_; as
+Flagellans, whipping; Lædens, hurting.
+
+That of the future in _rus_, signifies a likelihood, or design of doing
+something, as Flagellaturus, about to whip; Læsurus, about to hurt.
+
+That of the preterperfect tense has generally a passive signification,
+and ends in _us_, as Flagellatus, whipped; Læsus, hurt.
+
+That of the future in _dus_ has also a passive signification, as
+Flagellandus, to be whipped; Lædendus, to be hurt.
+
+_Note_ 1. All participles are declined like nouns adjective. We
+recommend the above participles to be declined like _winking_.
+
+2. There are three things that are not hurt by whipping-- a top,
+a syllabub, and a cream.
+
+
++OF AN ADVERB.+
+
+Convex and concave spectacles are contrivances used to increase or
+diminish the magnitude of objects.
+
+Adverbs are parts of speech used to increase or diminish the
+signification of words.
+
+Spectacles are joined to the bridge of the nose.
+
+Adverbs are joined to nouns adjective, and verbs. Benè, well; multùm,
+much; malè, ill, &c. are adverbs.
+
+  Cæsar _multûm_ conturbavit indigenas:
+
+  Cæsar much astonished the natives.
+
+    [Illustration: CÆSAR ASTONISHING THE NATIVES.]
+
+
++OF A CONJUNCTION.+
+
+A conjunction is a part of speech that joineth together; wherefore it
+may be likened unto many things; for instance--
+
+To glue, to paste, to gum arabic, to mortar, (for it joins words and
+sentences together _like bricks_), to Roman cement, (_Latin_
+conjunctions more especially), to white of egg, to isinglass, to putty,
+to adhesive plaster, to matrimony.
+
+Conjunctions are thus used.
+
+Ova _et_ lardum, eggs and bacon. Dimidium dimidium_que_, half-and-half.
+Amor _et_ dementia, love and madness.
+
+    [Illustration: HALF-AND-HALF.]
+
+
++OF A PREPOSITION.+
+
+A Preposition is a part of speech commonly _set before_ another word.
+Words, however, do not eat each other, though men have been known to eat
+words. Ab, ad, ante, &c. prepositions.
+
+Sometimes a preposition is joined in composition with another word, as
+_pro_stratus, knocked down-- floored.
+
+  Tullius ab aquario _pro_stratus est:
+
+  Tully was knocked down by a waterman.
+
+
++OF AN INTERJECTION.+
+
+An interjection is a word expressing a sudden emotion or feeling, as
+Hei! Oh dear!-- Heu! Lack-a-day!-- Hem! Brute, Hollo! Brutus.-- Euge!
+Tite, Bravo! Titus.
+
+We here find ourselves approaching the delightful subject of the three
+Concords, with which we shall make short work, first, for fear of
+further _Accidence_, and, secondly, because we are no fonder than boys
+are of _repetitions_, which, were we to follow the Eton Grammar in the
+Concords, we should be obliged to make in the Syntax.
+
+However, there are just one or two points to be mentioned.
+
+_Rule._ (Text-hand copy-books.) “Ask no questions.”
+
+_Exception._ When you want to find where the concord should be, ask the
+following--
+
+Who? or what?-- to find the nominative case to the verb.
+
+Whom? or what? with the verb, for the accusative after it.
+
+Who? or what? with the adjective, for the substantive to the adjective.
+
+Who? or what? with the verb, for the antecedent to the relative.
+
+But remember, that the use of the interrogatives who? and what? however
+justifiable in grammar, is very impertinent in conversation. What, for
+example, can be more ill-bred than to say, Who are you? Indeed, most
+questions are ill mannered. We do not speak of such expressions as, Has
+your mother sold her mangle? and the like, used only by persons who have
+never asked themselves where they expect to go to? but of all
+unnecessary demands whatever. “Sir,” said the great Dr. Johnson, “it is
+uncivil to be continually asking, Why is a dog’s tail short, or why is a
+cow’s tail long.”
+
+
++OF THE GENDERS OF NOUNS,+
+
+  Commonly known by the name of
+
+  _“Propria Quæ Maribus.”_
+
+As the “Propria Quæ Maribus” is no joke, and the “As in Præsenti” is too
+much of a joke, we must do with them as we did with the verbs. Singing a
+song is always esteemed a valid substitute for telling a story; and the
+indulgence which we would have extended to us in this respect, is that
+universally granted to civilized society.
+
+Let the “Propria Quæ Maribus” be turned into a series of exercises,
+thus, or in like manner--
+
+  _Air._-- “Here ’s to the maiden of bashful fifteen.”
+
+  All names of the male kind you masculine call,
+    Ut sunt (for example), Divorum,
+  Mars, Bacchus, Apollo, the deities all,
+    And Cato, Virgilius, virorum.
+      Latin ’s a bore, and bothers me sore,
+      Oh how I wish that my lesson was o’er.
+
+  Fluviorum, ut Tibris, Orontes likewise,
+    Fine rivers in ocean that lost are,
+  And Mensium-- October an instance supplies;
+    Ventorum, ut Libs, Notus, Auster.
+      Latin ’s a bore, &c.
+
+We do not pretend that the mode of study here recommended, is perfectly
+original. The genuine Propria Quæ Maribus, and As in Præsenti, like the
+writings of the most remote antiquity, consist of certain useful truths
+recorded in harmonious numbers. It has been a question among
+commentators, whether these interesting compositions were originally
+intended to be said or sung. Analogy (we mean that derived from the
+works of Homer and Virgil) would incline us to the latter opinion, which
+however does not appear to have been generally entertained in the
+schools. We shall give one more specimen in the above style; and we beg
+it may be remembered, that in so doing, we have no wish to detract in
+any way from the merit of the illustrious poet in the Eton Grammar; all
+we think is, that he might have introduced a little more _comicality_
+into his work, while he was about it.
+
+
++OF THE PRETERPERFECT TENSE, &c. OF VERBS.+
+
+  _Otherwise the “As in Præsenti.”_
+
+  As in Præsenti-- Preterperfect-- avi,
+  Oh! send me well done, lean, and lots of gravy,
+  Save lavo, lavi, nexo, nexui.
+  Ah! me-- how sweet is cream with apple-pie,
+  Juvi from juvo, secui from seco,
+  Could n’t I lie and tipple, more Græco!
+  From neco, necui, and mico, word
+  Which micui makes, Oh! roast goose, lovely bird!
+  Plico which plicui gives. Delightful grub!
+  And frico, fricas, fricui, to rub--
+  So domo, tono, domui, tonui make.
+  And sono, sonui.-- Lead me to the stake,
+  I mean the beef-_stake_-- crepo, crepui too,
+  Which means to _crack_ (as roasted chestnuts do,)
+  Then veto, vetui makes-- _forbidding_ sound,
+  Cubo, to lie along (these verbs confound
+  Ye gods) makes cubui, do gives rightly dedi;
+  What viler object than a coat that ’s seedy?--
+  Sto to form steti has a predilection;
+  Well-- let it if it likes, I’ve no objection.
+    &c. &c. &c.
+
+
++SYNTAXIS,+
+
+  _or the Construction of Grammar._
+
+_Q._ What part of the grammar resembles the indulgences sold in the
+middle ages?
+
+_A._ _Sin_-tax.
+
+
+  THE FIRST CONCORD;
+  THE NOMINATIVE CASE AND THE VERB.
+
+Where there is much _personality_, there is generally little concord.
+
+However, a verb personal agrees with its nominative case in number and
+person, as Sera nunquam est ad bonos mores via, The way to good manners
+is never too late. Mind that, brother Jonathan.
+
+    [Illustration: AMERICAN GENTLEMEN.]
+
+_Note_-- The above maxim is especially worthy of the attention of
+neophytes in law and medicine; of the gods in the gallery, and of
+Members of the _House_.
+
+The nominative case of pronouns is rarely expressed, except for the sake
+of distinction or emphasis, as--
+
+  _Tu_ es exquisitus, _tu_ es,
+
+  _You_ ’re a nice man, _you_ are.
+
+    [Illustration]
+
+Sometimes a sentence is the nominative case to the verb, as
+
+  Ingenuas pugni didicisse fideliter artes,
+    Mollitos mores non sinit esse viri.
+
+  The faithful study of the fistic art
+  From mawkish softness guards a Briton’s heart.
+
+    [Plate:
+    INGENUAS PUGNI DIDICISSE FIDELITER ARTES
+    MOLLITOS MORES NON SINIT ESSE VIRI.]
+
+Who can doubt it? But, besides, we have much to say in praise of boxing.
+In the first place, it is a _classical_ accomplishment. To say nothing
+of the Olympic and Isthmian Games, which are of themselves sufficient
+proof of the elegant and _fanciful_ tastes of the ancients; we need only
+allude to the fact, that the _Corinthians_ are universally celebrated
+for their proficiency in this science. Then, of its eminently _social_
+tendency, there can be no doubt. What can be more conducive to good
+fellowship, and conviviality than the frequent _tapping of claret_,
+attendant both on its study and practice? Nor can its beneficial
+influence on the fine arts be called in question, seeing that its
+immediate object is to teach us the _use of our hands_. And (which
+perhaps is the most pursuasive argument of all), it is particularly
+pleasing to the fair sex, who besides their well known admiration of
+_bravery_, are, to a woman, devotedly attached to the _ring_.
+
+Sometimes an adverb with a genitive case stands in the place of the
+nominative, as--
+
+  Partim astutorum mordebantur,
+
+  Part of the knowing ones were bit.
+
+We must contend that the above is a _racy_ observation.
+
+
+  EXCEPTIONS TO THE RULE.
+
+Verbs of the infinitive mood-- but hold. Remember that there is scarcely
+any rule without an exception; and this axiom particularly applies to
+the Syntax. We used to wish it did not; because then we should not have
+had so much to learn-- to resume however--
+
+Verbs of the infinitive mood often have set before them an accusative
+case instead of a nominative; the conjunction quod, or ut, being left
+out, as
+
+  Annam reginam aiunt occubuisse:
+
+  They say that Queen Anne’s dead.
+
+A verb placed between two nominative cases of different numbers, is not
+like a donkey between two stacks of hay, it makes choice of one or the
+other, and agrees with it, as
+
+  Amygdalæ amaræ venenum _est_,
+
+  Bitter almonds _is_ poison.
+
+We have written the English beneath the Latin. Perhaps it may be
+imagined that we think good English _beneath_ us.
+
+A singular noun of multitude is sometimes joined to a plural verb; as
+
+  Pars puerorum philosophum secuti sunt,
+
+  Part of the boys followed the philosopher.
+
+    [Illustration]
+
+And so they would now, particularly if they saw one in costume.
+
+Verbs impersonal have no nominative case before them, as
+
+  Tædet me Grammatices, I am weary of Grammar.
+
+  Pertæsum est Syntaxeos, I am quite sick of Syntax.
+
+  Mirificum visum est Socratem in gyrum saltantem videre,
+
+  It seemed wonderful to behold Socrates jumping Jim Crow.
+
+    [Illustration]
+
+
+  SECOND CONCORD.
+  THE SUBSTANTIVE AND THE ADJECTIVE.
+
+Adjectives, participles, and pronouns agree with the substantive in
+gender, number, and case, as
+
+  Vir exiguo conventui, sobrioque idoneus:
+
+  A nice man for a small tea-party.
+
+    [Illustration: A TEA SPOON.]
+
+The Spartans, probably, were men of this kind; their aversion to
+drunkenness being well known.
+
+Observe how close the concord is between substantive and adjective. The
+ties of wedlock are nothing to it; for, besides that in that happy state
+there is very often not a little discord, it is quite impossible that
+man and wife should ever agree in _gender_.
+
+Sometimes a sentence supplies the place of a substantive; the adjective
+being placed in the neuter gender, as
+
+  Audito reginam leones cœnantes visisse:
+
+  It being heard that Her Majesty had gone to see the lions at supper.
+
+
+  THIRD CONCORD.
+  THE RELATIVE AND THE ANTECEDENT.
+
+The relative and antecedent hit it off very well together; they agree
+one with the other in gender, number, and person, as
+
+  Qui plenos haurit cyathos, madidusque quiescit,
+  Ille bonam degit vitam, moriturque facetus.
+
+  “He who drinks plenty, and goes to bed mellow,
+  Lives as he ought to do, and dies a jolly fellow.”
+
+    [Illustration]
+
+Horace was the fellow for this kind of thing. Cato must have been a
+regular wet blanket.
+
+Sometimes a sentence is placed for an antecedent, as
+
+  Heliogabalus, spiritu contento, viginti quatuor ostrearum
+  demersit in alvum, quod Dandoni etiam longé antecellit.
+
+  Heliogabalus, at one breath, swallowed two dozen of oysters,
+  which beats even Dando out and out.
+
+    [Illustration: HELIOGABALUS.]
+
+Many of the ancients could swallow a good deal.
+
+A relative placed between two substantives of different genders and
+numbers, sometimes agrees with the latter, as
+
+  Pueri tuentur illum librum quæ Latina Grammatices et Comica dicitur.
+
+  Boys regard that book which is called the Comic Latin Grammar.
+
+Sometimes a relative agrees with the primitive, which is understood in
+the possessive, as
+
+  Mirabantur impudentiam suam qui ad reginam literas misit.
+
+  They wondered at his impudence, who wrote a letter to the queen.
+
+If a nominative case be interposed between the relative and the verb,
+the relative is governed by the verb, or by some other word which is
+placed in the sentence with the verb, as
+
+  Luciferi quos Prometheus surripuit, ad Jovem cujus numen contempsit,
+  pertinebant.
+
+  The Lucifers which Prometheus shirked, belonged to Jupiter,
+  whose authority he despised.
+
+In fact, Prometheus _made light_ of Jupiter’s _lightning_.
+
+We now take leave of the Concords, observing only how pleasant it is to
+see _relatives agree_.
+
+    [Illustration: IT ’S PLEASANT TO SEE RELATIVES AGREE.]
+
+    [Plate:
+    PROMETHEUS VINCTUS.]
+
+Our next subject is the
+
+
+  CONSTRUCTION OF NOUNS SUBSTANTIVE.
+
+Which is not quite so amusing as the construction of small boats, paper
+kites, pinwheels, crackers, or any other mode of displaying the faculty
+of “constructiveness”-- though in one sense the construction of nouns
+substantive, is not unlike the construction of _puzzles_.
+
+When two substantives of a different signification meet together, the
+latter is put in the genitive case, as
+
+  Ulysses lumen Cyclopis extinxit:
+
+  Ulysses doused the glim of the Cyclops.
+
+This genitive case is sometimes changed into a dative, as
+
+  Urbi pater est, urbique maritus. --Gram. Eton.
+
+  He is the father of the city, and the husband of the city.
+
+He must have been a pretty fellow, whoever he was.
+
+An adjective of the neuter gender, put without a substantive, sometimes
+requires a genitive case, as
+
+  Paululùm honestatis sartori sufficit:
+
+  A very little honesty is enough for a tailor.
+
+A genitive case is sometimes placed alone; the preceding substantive
+being understood by the figure ellipsis, as
+
+  Ubi ad magistri veneris, cave verbum de porco:
+
+  When you are come to the master’s (house), not a word about the pig.
+
+The word pig is a very general term, and is used to signify not only the
+animal so called, and such of the human race as resemble him in habits,
+appearance, or feelings; but also to denote a variety of little things,
+which it is sometimes necessary to keep secret. A pedagogue now and then
+discovers a _pig-tail_ appended to his coat collar-- this, or rather the
+way in which it got there, is one of the little _pigs_ in question.
+Robbing the larder or the garden is another; so is insinuating
+horse-hairs into the cane, or putting cobbler’s wax on the seat of
+learning -- we mean the master’s stool. A sort of _pig_ (or rather a
+_rat_) is sometimes _smelt_ by the master on taking his nightly walk
+though the dormitories, when roast fowl, mince pies, bread and cheese,
+shrub, punch, &c. have been slyly smuggled into those places of repose.
+Shirking down town is always a _pig_, and the consequences thereof, in
+case of discovery, a great _bore_.
+
+Considering that a secret is a _pig_, it is singular that betraying one
+should be called letting the _cat_ out of the bag.
+
+    [Plate:
+    SMELLING A PIG.]
+
+Two substantives respecting the same thing are put in the same case, as
+
+  Telemachum, juvenem bonæ indolis, Calypso existimavit.
+
+  Calypso thought Telemachus a nice young man.
+
+By the way, what a nice young man Virgil makes out Marcellus to have
+been!
+
+Praise, dispraise, or the quality of a thing is placed in the ablative,
+and also in the genitive case-- as
+
+  Vir paucorum verborum et magni appetitûs:
+
+  A man of few words and large appetite.
+
+  Paterfamilias. Vir multis miseriis:
+
+  A father of a family. A man of many woes.
+
+    [Illustration]
+
+The man of most _woes_, however, is a hackney-coachman.
+
+Opus, need, and usus, need, require an ablative case, as
+
+  Didoni marito opus erat;
+
+  Dido had need of a husband.
+
+  Æneæ cœnâ usus erat;
+
+  Æneas had need of a dinner.
+
+But opus appears to be sometimes placed like an adjective for
+necessarius, necessary, as
+
+  Regi Anthropophagorum coquus opus est:
+
+  The King of the Cannibal Islands wants a cook.
+
+Which would serve his purpose best-- a valet-de-chambre who _dresses_
+men, or a wit, who _roasts_ them?
+
+
+  THE CONSTRUCTION OF NOUNS ADJECTIVE.
+
+  THE GENITIVE CASE AFTER THE ADJECTIVE.
+
+Adjectives which signify desire, knowledge, memory, fear, and the
+contrary to these, require a genitive case, as
+
+  Est natura vetularum obtrectationis avida:
+
+  The nature of old women is fond of scandal.
+
+This particularly applies to old maids. As those delightful creatures
+now-a-days, not content with being _grey_ aspire to be actually _blue_;
+we cannot help recommending to them a kind of study, for which their
+propensity to _cutting up_ renders them peculiarly adapted; we mean
+_Anatomy_. And since it is on the foulest and most odious points of
+character that they chiefly delight to dwell, we more especially suggest
+to them the pursuit of _Morbid Anatomy_, as one which is likely to be
+attended both with gratification and success.
+
+  Mens tempestatum præscia:
+
+  A mind foreknowing the weather.
+
+A piece of _sea-weed_ has often, heretofore, been used as a barometer;
+but it is only of late that this purpose has been answered by a
+_murphy_.
+
+  Immemor beneficii:
+
+  Unmindful of a kindness.
+
+The sort of kindness one is least likely to forget is that which our
+master used to say he conferred upon us, when he was inculcating
+learning by means of the rod. We cannot help thinking, however, that he
+began _at the wrong end_.
+
+  Imperitus rerum:
+
+  Unacquainted with the world, i.e. Not ‘up to snuff’.
+
+Much controversy has been wasted in attempts to determine the origin of
+the phrase “up to snuff”. Some have contended that it was suggested by
+the well-known quality possessed by snuff, of _clearing the head_; but
+this idea is far fetched, not to say absurd. Others will have that the
+expression was derived from Snofe, or Snoffe, the name of a cunning
+rogue who flourished about the time of the first crusade; so that “up to
+Snoffe” signified as clever, or knowing, as Snoffe; and was in process
+of time converted into “up to snuff.” This opinion is deserving of
+notice; though the only argument in its favour is, that the phrase in
+question was in vogue long before the discovery of tobacco. Probably the
+soundest view is that which connects it with the proper name Znoufe,
+which in ancient High-Dutch is equivalent to Mercury, whose reputation
+for astuteness among the ancients was exceedingly great. Conf.
+Hookey-Walk, ii. 13. Hok. Pok. Wonk-Fum. viii. 24. Cheek. Marin. passim,
+with a host of commentators, ancient and modern.
+
+  Roscius timidus Deorum fuit:
+
+  _Roscius_ was afraid of the _Gods_.
+
+Adjectives ending in _ax_, derived from verbs, also require a genitive
+case, as
+
+  Tempus edax rerum:
+
+  Time is the consumer of all things.
+
+Hence Time is sometimes figured as an alderman.
+
+Nouns partitive, nouns of number, nouns comparative and superlative, and
+certain adjectives put partitively, require a genitive case, from which
+also they take their gender; as
+
+  Utrum horum mavis accipe:
+
+  Take which of those two things you had rather.
+
+So Queen Eleanor gave Fair Rosamond her choice between the dagger and
+the bowl of poison. This, to our mind, would have been like choosing a
+tree to be hanged on.
+
+  Primus fidicinum fuit Orpheus:
+
+  Orpheus was the first of fiddlers.
+
+He is said to have charmed the hearts of broomsticks.
+
+  Momus lepidissimus erat Deorum:
+
+  Momus was the funniest of the Gods.
+
+Other deities may have made Jupiter shake his head. Momus used to make
+him shake his sides.
+
+  Sequimur te, sancte deorum:
+
+  We follow thee, O sacred deity.
+
+Namely, the aforesaid Momus. He is the only heathen god that we should
+have had much reverence for, and certainly the only one that we should
+ever have sacrificed to at all. The offering most commonly made to the
+god of laughter was, probably, _a sacrifice of propriety_.
+
+But the above nouns are also used with these prepositions, a, ab, de, e,
+ex, inter, ante; as,
+
+  Primus inter philosophos Democritus est:
+
+  Democritus is the first amongst philosophers.
+
+And why? Because he alone was wise enough to find out that laughing is
+better than crying. He it was who first proved to the world that
+philosophy and comicality are, in fact, one science; and that the more
+we learn the more we laugh. We forget whether it was he or Aristotle who
+made the remark, that man is the only laughing animal except the hyæna.
+
+_Secundus_ sometimes requires a dative case, as
+
+  Haud ulli veterum virtute secundus:
+
+  Inferior to none of the ancients in valour.
+
+    [Illustration]
+
+Surely Virgil in saying this, had an eye to a hero, whose fame has been
+perpetuated in the verses of a later poet.
+
+  “Some talk of Alexander, and some of Pericles,
+    Of Conon and Lysander, and Alcibiades;
+  But of all the gallant heroes, there ’s none for to compare,
+    With my ri-fol-de-riddle-iddle-lol to the British grenadier!”
+
+An interrogative, and the word which answers to it, shall be of the same
+case and tense, except words of a different construction be made use of;
+as
+
+  Quarum rerum nulla est satietas? Pomorum.
+
+  Of what things is there no fulness? Of fruit.
+
+Dr. Johnson used to say that he never got as much wall fruit as he could
+eat.
+
+    [Illustration]
+
+
+  THE DATIVE CASE AFTER THE ADJECTIVE.
+
+Adjectives by which advantage, disadvantage, likeness, unlikeness,
+pleasure, submission, or relation to any thing is signified, require a
+dative case; as
+
+  Astaci incocti patriæ idonei sunt in pace; cocti autem in bello.
+
+  Raw lobsters are serviceable to their country in peace; but boiled
+  ones in war.
+
+Lobster’s _claws_ are nasty things to get into.
+
+The Corporation of London seemed very much afraid of the _Police
+clause_.
+
+One of the reasons why a soldier is sometimes called a lobster, probably
+is, that the latter is a _marine_ animal.
+
+  Balænæ persimile:
+
+  Very like a whale.
+
+  Qui color albus erat nunc est contrarius albo:
+
+  The colour which was white is now contrary to white.
+
+Some people will swear white is black to gain their ends; and a man who
+will do this, though he may not always be--
+
+  Jucundus amicis:
+
+  Pleasant to his friends;
+
+is nevertheless frequently so to his _constituents_.
+
+Hither are referred nouns compounded of the preposition _con_, as
+contubernalis, a comrade; commilito, a fellow soldier, &c. You must
+_con_ all such words attentively before you can _con_strue well, or the
+_con_sequence will be, that you will be _con_siderably blown up, if not
+_con_foundedly flogged.
+
+Some of these which signify similitude, are also joined to a genitive
+case, as
+
+  Par uncti fulminis:
+
+  Like greased lightning.
+
+The familiarity of our transatlantic friends with the nature of the
+electric fluid, is no doubt owing to the discoveries of their countryman
+Franklin. _Q._ Was the lightning which that philosopher drew down from
+the clouds, of the kind mentioned in the example?
+
+Communis, common; alienus, strange; immunis, free, are joined to a
+genitive, dative, and also to an ablative case, with a preposition, as
+
+  Aures longæ communes asinorum sunt:
+
+  Long ears are common to asses.
+
+Though _musical_ ears are not. We even doubt whether they would have the
+slightest admiration for _Bray_-ham.
+
+  Non sunt communes caudæ hominibus:
+
+  Tails are not common to men.
+
+Except coat-tails, shirt-tails, pig-tails, and rats’-tails-- to which
+en-_tails_ may perhaps also be added, though these last are often cut
+off.
+
+  Non alienus a poculo cerevisiæ:
+
+  Not averse to a pot of beer.
+
+We should think we were not; and should as soon think of engaging in an
+unnatural quarrel with our bread and butter.
+
+Natus, born; commodus, convenient; incommodus, inconvenient; utilis,
+useful; inutilis, useless; vehemens, earnest; aptus, fit, are sometimes
+also joined to an accusative case with a preposition, as
+
+  Natus ad laqueum:
+
+  Born to a halter.
+
+    [Illustration]
+
+Those who are reserved for this exalted destiny, are said to enjoy a
+peculiar immunity from drowning. Is this the reason why _watermen_ are
+such a set of rogues?
+
+To prevent mistakes, it should be mentioned, that the _watermen_ here
+meant are those who, by their own account, are so called from their
+office being _to shut the doors of hackney coaches_.
+
+Verbal adjectives ending in _bilis_, taken passively, and participles
+made adjectives ending in _dus_, require a dative case; as
+
+  Nulli penetrabilis astro;
+
+  Penetrable by no _star_--
+
+not fond of _acting_?
+
+  O venerande mihi Liston! te luget Olympus:
+
+  O Liston, to be venerated by me the _Olympic_ bewails thee.
+
+
+  THE ACCUSATIVE CASE AFTER THE ADJECTIVE.
+
+The measure of quantity is put after adjectives, in the accusative, the
+ablative, and the genitive case, as
+
+  Anguis centum pedes longus:
+
+  A snake a hundred feet long.
+
+  Arbor gummifera, alta mille et quingentis passibus.
+
+  A gum-tree a mile and a half high.
+
+  Aranea, lata pedum denum:
+
+  A spider ten feet broad.
+
+An accusative case is sometimes put after adjectives and participles,
+where the preposition secundum, appears to be understood, as
+
+  Os humerosque asello similis:
+
+  Like to a cod-fish as to his head and shoulders.
+
+Some men _are_ exceedingly like a cod-fish, as to their head and
+shoulders, and they often endeavour to increase this natural resemblance
+as much as possible, by wearing _gills_.
+
+
+  THE ABLATIVE CASE AFTER THE ADJECTIVE.
+
+Adjectives which relate to plenty or want, sometimes require an
+ablative, sometimes a genitive case, as
+
+  Amor et melle et felle est fœcundissimus:
+
+  Love is very full both of honey and gall.
+
+The _honey_ of love is-- we do not know exactly what. Honey, however, is
+Latin for love, as the Irishman said.
+
+The gall of love consists in
+
+First. Tight boots, in which it is often necessary to do penance before
+_our Lady’s_ window. This is at all events very _galling_.
+
+    [Illustration: A TIGHT BOOT.]
+
+Secondly. In lover’s sighs, to which it communicates their peculiar
+_bitterness_.
+
+Thirdly. Another very _galling_ thing in love is being cut out.
+
+Fourthly. Love is one of the passions treated of by _Gall_ and
+Spurzheim.
+
+Adjectives and substantives govern an ablative case, signifying the
+cause and the form, or the manner of a thing, as
+
+  Demosthenes vociferatione raucus erat:
+
+  Demosthenes was hoarse with bawling.
+
+  Nomine grammaticus, re barbarus:
+
+  A grammarian in name; in reality a barbarian.
+
+Like many of the old masters-- we do not mean painters-- though we
+certainly allude to _brothers of the brush_-- perhaps it would be better
+to call them _brothers of the angle_, on account of their partiality to
+the _rod_. Does the reader _twig_? If so, it is unnecessary to _branch_
+out into a discussion with regard to the nature of the barbarity hinted
+at-- a kind of barbarity which, though it may proclaim its perpetrators
+to be by no means allied to the _feline_ race, connects them most
+decidedly with the _canine_ species.
+
+Dignus, worthy; indignus, unworthy; præditus, endued; captus, disabled;
+contentus, content; extorris, banished; fretus, relying upon; liber,
+free; with adjectives signifying price, require an ablative case, as
+
+  Leander dignus erat meliore fato:
+
+  Leander was worthy of a better fate.
+
+Poor fellow! first to be head over ears in love, and then over head and
+ears in the sea! Shocking! What an _hero_ic young man he must have
+been.-- What _a duck_, too, the fair Hero must have thought him as she
+watched him from her lonely tower, nearing her every moment, as he cleft
+with lusty arm the foaming herring-pond. We mean the Hellespont-- but no
+matter. What a _goose_ he must have been considered by any one else who
+happened to know of his nightly exploits! How miserably he was _gulled_
+at last! Never mind. If Leander went to the _fishes_ for love, many a
+better man than he, has, before and since, gone, from the same cause, to
+the _dogs_.
+
+  Conscientia procuratoris solidis sex, denariis octo, venale est;
+
+  A lawyer’s conscience is to be sold for six and eightpence.
+
+Some of these, sometimes admit a genitive case, as
+
+  Carmina digna deæ:
+
+  Verses worthy of a goddess.
+
+Whether the following verses are worthy of a goddess or not, we shall
+not attempt to decide; they were addressed to one at all events-- at
+least to a being who, if _idolizing_ constitutes a goddess, may,
+perhaps, be termed one. We met with them in turning over the pages of an
+album.
+
+  LINES BY A FOND LOVER.
+
+  Lovely maid, with rapture swelling,
+    Should these pages meet thine eye,
+  Clouds of absence soft dispelling;
+    Vacant memory heaves a sigh.
+
+  As the rose, with fragrance weeping,
+    Trembles to the tuneful wave,
+  So my heart shall twine unsleeping,
+    Till it canopies the grave!
+
+  Though another’s smiles requited,
+    Envious fate my doom should be:
+  Joy for ever disunited,
+    Think, ah! think, at times on me!
+
+  Oft amid the spicy gloaming,
+    Where the brakes their songs instil,
+  Fond affection silent roaming,
+    Loves to linger by the rill--
+
+  There when echo’s voice consoling,
+    Hears the nightingale complain,
+  Gentle sighs my lips controlling,
+    Bind my soul in beauty’s chain.
+
+  Oft in slumber’s deep recesses,
+    I thy mirror’d image see;
+  Fancy mocks the vain caresses
+    I would lavish like a bee!
+
+  But how vain is glittering sadness!
+    Hark, I hear distraction’s knell!
+  Torture gilds my heart with madness!
+    Now for ever fare thee well!
+
+    [Illustration: AN ALBUM AUTHOR.]
+
+It would be interesting as well as instructive to settle the difference
+between love verses and nonsense verses, if this were the proper place
+for doing so. But we are not yet come to the Prosody; nor shall we
+arrive there very soon unless we get on with the Syntax.
+
+Comparatives, when they may be explained by the word quam, than, require
+an ablative case, as
+
+  Achilles Agamemnone velocior erat:
+
+  Achilles was a faster man than Agamemnon.
+
+_Fast men_ in modern times are very apt to _outrun the constable_.
+
+Tanto, by so much, quanto, by how much, hoc, by this, eo, by this, and
+quo, by which; with some other words which signify the measure of
+exceeding; likewise ætate, by age, and natu, by birth, are often joined
+to comparatives and superlatives, as
+
+  Tanto deformissimus, quanto sapientissimus philosophorum.
+
+  By so much the ugliest, by how much the wisest of philosophers.
+
+Such an one was Socrates. It is all very well to have a contemplative
+disposition; but it need not be accompanied by a _contemplative nose_.
+
+  Quo plus habent, eo plus cupiunt:
+
+  The more they have the more they want.
+
+This is a curious fact in the natural history of school-boys, considered
+in relation to roast beef and plum pudding.
+
+  Maximum ætate virum in totâ Kentuckiâ contudi:
+
+  I whopped the oldest man in all Kentucky.
+
+
+  THE CONSTRUCTION OF PRONOUNS.
+
+All those who would understand the construction of pronouns, should take
+care to be well versed in the distinction between _meum_ and _tuum_,
+ignorance of which often gives rise to the disagreeable necessity of
+becoming too intimately acquainted with _quod_.
+
+Mei, of me, tui, of thee, sui, of himself, nostri, of us, vestri, of
+you, (the genitive cases of their primitives ego, tu, &c.) are used when
+a person is signified, as
+
+  Languet desiderio tui:
+
+  He languishes for want of you.
+
+You cannot give a more acceptable piece of information than the above,
+to any young lady. The fairer and more amiable sex always like to have
+something-- if not to love, at least to pity.
+
+  Parsque tui lateat corpore clausa meo. --_Eton Gram._
+
+  And a part of you may lie shut up in my body.
+
+Or rather _may_ it so lie! How forcibly a sucking pig hanging up outside
+a pork-butcher’s shop always recals this beautiful line of Ovid’s to the
+mind!
+
+Meus, mine, tuus, thine, suus, his own (Cocknicè his’n), noster, ours,
+vester, yours, are used when action, or the possession of a thing is
+signified; as
+
+  Qui bona quæ non sunt sua furtim subripit, ille
+    Tempore quo capitur, carcere clausus erit:
+
+  Him as prigs wot isn ’t his’n,
+  Ven he’s cotch’d ’ll go to pris’n.
+
+    [Illustration]
+
+These possessive pronouns, meus, tuus, suus, noster, and vester, take
+after them these genitive cases,-- ipsius, of himself, solius, of him
+alone, unius, of one, duorum, of two, trium, of three, &c., omnium, of
+all, plurium, of more, paucorum, of few, cujusque, of every one, and
+also the genitive cases of participles, which are referred to the
+primitive word understood; as
+
+  Meis unius impensis pocula sex exhausi:
+
+  I drank six pots to my own cheek.
+
+We wonder that any one should have the _face_ to say so.
+
+Sui and suus are reciprocal pronouns, that is, they have always relation
+to that which went before, and was most to be noted in the sentence,
+as--
+
+  Jonathanus nimium admiratur se:
+
+  Jonathan admires himself too much.
+
+  Parcit erroribus suis, He spares his own errors.
+
+  Magnoperè Jonathanus rogat ne se derideas, Jonathan earnestly begs
+  that you would not laugh at him.
+
+If you _do_, take care that he does not _blow you up_ one of these fine
+days.
+
+These demonstrative pronouns, hic, iste, and ille are thus
+distinguished: hic points out the nearest to me; iste him who is by you;
+ille him who is at a distance from both of us.
+
+In making _game_ of the Syntax, we regard them as _pointers_.
+
+When hic and ille are referred to two things or persons going before,
+hic generally relates to the latter, ille to the former, as
+
+  Richardus Thomasque suum de more bibebant,
+    Ebrius hic vappis, ebrius ille mero:
+
+  Both Dick and Tom caroused away like swine,
+  Tom drunk with swipes, and Dicky drunk with wine.
+
+
+  THE CONSTRUCTION OF VERBS.
+
+  THE NOMINATIVE CASE AFTER THE VERB.
+
+Verbs substantive, as sum, I am, forem, I might be, fio, I am made,
+existo, I am; verbs passive of calling, as nominor, I am named,
+appellor, I am called, dicor, I am said, vocor, I am called, nuncupor, I
+am named, and the like to them, as videor, I am seen, habeor, I am
+accounted, existimor, I am thought, have the same cases before and after
+them, as
+
+  Adeps viridis est summum bonum:
+
+  Green fat is the chief good.
+
+Even among the ancients, _turtles_ were the emblems of love; which, next
+to eating and drinking, has always been the first object of human
+pursuit. This fact proves, very satisfactorily, two things, first, their
+proficiency in the science of gastronomy; and, secondly, their extreme
+susceptibility of the tender passion.
+
+  Pileus vocatur tegula:
+
+  A hat is called a tile.
+
+    [Illustration: TILED IN.]
+
+Likewise all verbs in a manner admit after them an adjective, which
+agrees with the nominative case of the verb, in case, gender, and
+number, as
+
+  Pii orant taciti. --_Eton Gram._
+
+  The pious pray silently.
+
+Is this a sly rap at the Quakers?
+
+
+  THE GENITIVE CASE AFTER THE VERB.
+
+Sum requires a genitive case as often as it signifies possession, duty,
+sign, or that which relates to any thing; as
+
+  Quod rapidam trahit Ætatem pecus est Melibœi,
+
+  The cattle _wot_ drags the _Age_, fast coach, is Melibœus’s.
+
+Alas! that such an Age should be banished by the Age of rail-roads!--
+let us hear the
+
+  COACHMAN’S LAMENT.
+
+  _Air._-- “Oh give me but my Arab steed.”
+
+  Farewell my ribbons, and, alack!
+      Farewell my tidy drag;
+  Mail-coach-men now have got the _sack_,
+      And engineers the _bag_.
+
+  My heart and whip alike are broke--
+      I’ve lost my varmint team
+  That used to cut away like _smoke_,
+      But could n’t go like _steam_.
+
+  It is, indeed, a bitter _cup_,
+      Thus to be sent to _pot_;
+  My bosom boils at boiling up
+      A gallop or a trot.
+
+  My very brain with _fury_ ’s rack’d,
+      That railways are the _rage_;
+  I’m sure you’ll never find them _act_,
+      Like our old English _stage_.
+
+  A man whose _passion_ ’s crost, is sore,
+      Then pray excuse my _pet_;
+  I ne’er was _overturn’d_ before,
+      But now am quite _upset_.
+
+    [Illustration]
+
+These nominative cases are excepted from the above rule, meum, mine,
+tuum, thine, suum, his, noster, our, vester, your, humanum, human,
+belluinum brutal, and the like, as
+
+  Non est tuum aviam instruere:
+
+  Don’t teach your grandmother-- to suck eggs.
+
+  Humanum est inebriari.
+
+  It is a human frailty-- or an amiable weakness-- to get drunk.
+
+Lord Byron proves it to be a _human_ frailty.
+
+  “_Man_ being _reasonable_, _must_ get drunk.”
+
+    [Illustration: A REASONABLE CREATURE.]
+
+Another poet (anon.) proves it to be an _amiable_ one, by establishing
+the analogy which exists between it and an intoxication of another
+kind--
+
+  “Love is like a dizziness,
+  Never lets a poor man go about his business.”
+
+Verbs of accusing, condemning, advising, acquitting, and the like,
+require a genitive case which signifies the charge; as
+
+  Qui alterum accusat probri, eum ipsum se intueri oportet.
+
+  It is fit that he who accuses another of dishonesty
+  should look into himself.
+
+If this maxim were acted up to, what attorney could we ever get to frame
+an indictment?
+
+  Furti damnatus, “tres menses” adeptus est:
+
+  Being condemned of theft, he had “three months.”
+
+We do not see much _fun_ in that. We cannot help thinking, however,
+that “Three Months at Brixton,” would form a taking (at least a
+_thief_-taking) title for a novel.
+
+  Admoneto magistrum squalidarum vestium:
+
+  Put the master in mind of his seedy clothes.
+
+That is if you want a _good dressing_.
+
+This genitive case is sometimes changed into an ablative, either with or
+without a preposition, as
+
+  Putavi de calendis Aprilibus te esse admonendum:
+
+  I thought that you ought to be reminded of the first of April.
+
+Young reader! were you ever, on the above anniversary, sent to the
+cobbler’s for pigeons’ milk, and dismissed with _strap-oil_ for your
+_pains_? Were your domestic and alimentive affections ever sported with
+by the false intelligence that a letter from home and a large cake were
+waiting for you below! Or worse, did some waggish, but inconsiderate
+friend ever send you a fool’s-cap and a hamper of stones?
+
+Reader, of a more advanced age, were you ever?-- but we cannot go on--
+Oh! Matilda-- we might have been your _slave_-- but it was cruel of you
+to _sell_ us in such a manner.
+
+Uterque, both, nullus, none, alter, the other, neuter, neither of the
+two, alius, another, ambo, both, and the superlative degree, are joined
+to verbs of that kind only in the ablative case, as
+
+  Fratris, an asini, trucidationis accusas me? Utroque,
+  sed sceleris unius:
+
+  Do you accuse me of killing my brother or my donkey?
+  Of both; but of one crime.
+
+Satago, to be busy about a thing, misereor and miseresco, to pity,
+require a genitive case, as
+
+  Qui ducit uxorem rerum satagit:
+
+  He who marries a wife has his hands full of business.
+
+We hear frequently of lovers being _distracted_. Husbands are much more
+so.
+
+  O! tergi miserere mei non digna ferentis:
+
+  Oh! have pity on my back, suffering things undeserved.
+
+Reminiscor, to remember, obliviscor, to forget, memini, to remember,
+recorder, to call to mind, admit a genitive or accusative case, as
+
+  Reminiscere nonarum Novembrium:
+
+  Remember the fifth of November.
+
+No wonder that so many _squibs_ are let off on that day; considering the
+political feeling connected with it.
+
+  Hoc te spectantem me meminisse precor:
+
+  When this you see remember me.
+
+How particularly anxious all young men and women who are lovers, and all
+waiters and chambermaids, whether they are lovers or no, besides
+coachmen and porters of all kinds, seem to be _remembered_. A coachman
+in one respect especially resembles a lover; he always wishes to be
+remembered by his _fare_.
+
+Potior, to gain, is joined either to a genitive or to an ablative case,
+as
+
+  Xantippe, marito subacto, femoralium potita fuit.
+
+  Xantippe, her husband being overcome, gained the breeches.
+
+  Terentius Thrace potitus est:
+
+  Terence got a Tartar.
+
+At least he said he did, when he took the prisoner who would n’t let him
+come.
+
+
+  THE DATIVE CASE AFTER THE VERB.
+
+All verbs govern a dative case of that thing to or for which any thing
+is gotten or taken away, as
+
+  Diminuam tibi caput:
+
+  I will break your head.
+
+  Eheu! mihi circulum ademit!
+
+  Oh dear, he has taken away my hoop!
+
+What a thing it is to be a junior boy!
+
+Verbs of various kinds belong to the above rule. In the first place
+verbs signifying advantage or disadvantage govern a dative case, as
+
+  Judæi ad commodandum nobis vivunt:
+
+  The Jews live to accommodate us.
+
+Or accommodate us to live-- which?
+
+Of these juvo, lædo, delecto, and some others, require an accusative
+case, as
+
+  Maritum quies plurimum juvat:
+
+  Rest very much delighteth a married man-- when he can get it.
+
+    [Illustration]
+
+Verbs of comparing govern a dative case, as
+
+  Ajacem “Surdo” componere sæpe solebam:
+
+  I was often accustomed to compare Ajax to the “Deaf un,”--
+  not because he was hard of hearing, but hard in hitting.
+
+Sometimes, however, they require an ablative case with the preposition
+cum; sometimes an accusative case with the prepositions ad and inter, as
+
+  Comparo _Pompeium_ cum _globo nivali_:
+
+  I compare _Pompey_ with a _snow-ball_.
+
+Pompey is called in the schools a proper name. Whether it is a _proper
+name_ for a nigger or not, may be questioned. It may also be doubted
+whether a negro can ever rightly be called “snow-ball,” except he be _an
+ice_ man; in which case even though he should be the knave of _clubs_,
+it is obvious that he ought never to be _black balled_.
+
+  Si ad pensum verberatio comparetur nihil est:
+
+  If a flogging be compared to an imposition, it is nothing.
+
+A flogging is a fly-blow, or at least a _flea_-blow to the boy, and a
+task only to the master; whereas an imposition is a task to the boy, and
+very often a _verse_ task.
+
+Verbs of giving and of restoring govern a dative case, as
+
+  Learius unicuique filiarum dimidium coronæ dedit:
+
+  Lear gave his daughters half-a-crown a-piece.
+
+Hence we are enabled to gain some notion of the great value of money in
+the time of the Ancient Britons.
+
+Verbs of promising and of paying govern a dative case; as
+
+  Menelaus Paridi fustuarium promisit:
+
+  Menelaus promised Paris a drubbing.
+
+    [Illustration]
+
+  “Gubernatoris” est pendere sartoribus pecuniam:
+
+  It is the place of “the governor” to pay tailors.
+
+Hence young men may learn how desirable it is to be “in statu
+pupillari.” True, in that state of felicity, they are somewhat under
+control, but the above example, and many others of a like nature,
+sufficiently prove, that such restriction, compared to the
+responsibilities of manhood, is but a _minor_ inconvenience.
+
+Verbs of commanding and telling govern a dative case, as
+
+  Alexander, vinosus, animis imperare non potuit:
+
+  Alexander, when drunk, could not command his temper.
+
+Thus, in a state of beer, he committed manslaughter at least, by killing
+and slaying his friend Clitus. We could not resist the temptation to
+mention this fact, since, as we have so often laughed at its narration
+in those interesting compositions called themes, we thought there must
+needs be something very funny about it. Alexander the Great, be it
+remarked, for the special behoof of schoolboys, furnishes an example of
+any virtue or vice descanted on in any prose task or poem under the sun.
+
+  Antonio dixit Augustus Lepidum veteratorem fuisse.
+
+  Augustus told Antony that Lepidus was a humbug.
+
+We don’t know exactly where this historical fact is mentioned. _Lepidus_
+is a _funny_ name.
+
+Except, from the foregoing rule, rego, to rule, guberno, to govern,
+which have an accusative case; tempero and moderor, to rule, which have
+sometimes a dative, sometimes an accusative case; as
+
+  Luna regit ministros:
+
+  The moon rules the ministers.
+
+That is to say, when it is at the full, and resembles a great O.
+
+  Præco pauperes gubernat:
+
+  The beadle governs the paupers.
+
+  Non semper temperat ipse sibi:
+
+  He does not always govern himself.
+
+  Non animos mollit proprios, nec temperat iras:
+
+  He neither softens his own mind, nor tempers his anger.
+
+  Ecce, Ducrow moderatur equos:
+
+  Lo, Ducrow manages the horses.
+
+_Q._ Why is a general officer like a writing-master?
+
+_A._ Because he is a _ruler of lines_.
+
+Verbs of trusting govern a dative case, as
+
+  Credite, fœmineæ, juvenes, committere menti,
+  Nil nisi lene decet.
+
+  Believe me, young men, it is fit to entrust nothing to a female mind
+  but what is _soft_.
+
+In fact, _soft nothings_ are fittest for the ear of a lady.
+
+  Pomarius poetæ non credit:
+
+  The costermonger trusts not the poet.
+
+How wrong, therefore, it is to call him a _green_ grocer.
+
+Verbs of complying with and of opposing govern a dative case, as
+
+  Nunquam obtemperat tiro hodiernus magistro:
+
+  A modern apprentice never obeys his master.
+
+Verbs of threatening and of being angry govern a dative case, as
+
+  Utrique latronum mortem est minitatus:
+
+  He threatened death to both of the robbers,--
+
+By presenting a pistol right and left at each of them. This when done by
+some well-disposed sailor in a melodrame, constitutes a situation of
+thrilling interest.
+
+    [Illustration]
+
+Sum with its compounds, except possum, governs a dative case, as
+
+  Oculi nigri non semper sunt faciei ornamentum:
+
+  Black eyes are not always an ornament to the face.
+
+    [Illustration]
+
+Verbs compounded with these adverbs, bene, well, satis, enough, male,
+ill, and with these prepositions, præ, ad, con, sub, ante, post, ob, in,
+inter, for the most part govern a dative case, as
+
+  Saginatio multis hominibus benefacit:
+
+  Cramming does good to many men.
+
+For instance, it does good to aldermen, especially in these days of
+reform, _by enlarging the Corporation_. Cramming, or rather the effect
+of it, benefits medical men, who again do good to their patients by
+_cramming_ them in another way. There is also a species of cramming
+which is found very serviceable at the Universities, by enabling certain
+students to _pass in a crowd._
+
+    [Illustration: OH! HERE ’S A COMPLIMENT.]
+
+In this respect however it differs essentially from aldermanic cramming,
+which enhances the difficulty of such a feat in a very remarkable
+manner.
+
+  Puellæ, aliæ aliis prælucere student:
+
+  Girls endeavour to outshine one another.
+
+And yet they _make light_, as much as they can, of each other’s charms
+and accomplishments.
+
+  Intempestive parum longe prospicienti Doctori adlusit.
+
+  He joked unseasonably on the short-sighted Doctor.
+
+Johnson was not so short-sighted as to be blind to a joke.
+
+Not a few of the verbs mentioned in the last rule, sometimes change the
+dative into another case; as
+
+  Præstat ingenio alius alium:
+
+  One exceeds another in ability.
+
+    [Illustration]
+
+Thus one boy learns Latin and Greek better than the rest; another learns
+slang. One is a good hand at construing, another at climbing. Some boys
+are peculiarly skilled at casting accounts, others in casting stones.
+Here we have a boy of a small appetite and many words, there one of a
+large appetite and few words. Sometimes precocious talent is evinced for
+playing the fiddle, sometimes for playing a _stick_; sometimes, again,
+a strong propensity is discovered for playing the fool. This boy makes
+verses, as it were, by inspiration; that boy shows an equal capacity in
+making mouths. The most peculiar talent, however, and the one most
+exclusive of all others, is that of riding. Those who are destined to
+attain great proficiency in this science, can seldom do any thing else;
+and usually begin their career by being _horsed_ at school.
+
+Est, for habeo to have, governs a dative case, as
+
+  Est mihi qui vestes custodit avunculus omnes:
+
+  I have an uncle who takes care of all my clothes.
+
+Suppetit, it sufficeth, is like to this, as
+
+  Pauper enim non est cui rerum suppetit usus:
+
+  For he is not poor, to whom the use of things suffices.
+
+The two last examples must suggest a rather alarming idea to those who
+are accustomed to propitiate the relation to whom we have just alluded,
+by relinquishing _their habits_. Is it possible that he can ever _use_
+one’s _things_? We recommend this query to the serious consideration of
+theatrical persons, and all others who are addicted to _spouting_.
+
+_Sum_ with many _others_ admits a double dative case, as
+
+  Exitio est avidis alvus pueris:
+
+  The belly is the destruction of greedy boys.
+
+Particularly those of _Eton_ College.
+
+Sometimes this dative case tibi, or sibi, or also mihi, is added for the
+sake of elegance in expression, as
+
+  Cato suam sibi uxorem Hortensio vendidit:
+
+  Cato sold his own wife to Hortensius.
+
+    [Illustration]
+
+Some say he only lent her. The fact most probably is, that the lady,
+being tired of her husband, wished to be a-_loan_.
+
+
+  THE ACCUSATIVE CASE AFTER THE VERB.
+
+Verbs transitive, of what kind soever, whether active, deponent, or
+common, require an accusative case, as
+
+  Procuratorem fugito, nam subdolus idem est:
+
+  Avoid an attorney, for the same is a cunning rogue.
+
+Yet the legal profession are always boasting of their _deeds_.
+
+Verbs neuter have an accusative case of a like signification to
+themselves, as
+
+  Pomarii asinus duram servit servitutem:
+
+  A coster-monger’s donkey serves a hard servitude.
+
+Poor animal! A _Sterne_ heart was once melted by thy sufferings-- how
+then must they affect that of the _gentle_ reader?
+
+There are some verbs which have an accusative case by a figure, as
+
+  Nec vox hominem sonat;
+
+  Nor does your voice sound like a human creature’s.
+
+This may be said of boys of various kinds-- as pot-boys, butcher’s boys,
+baker’s boys, and other boys who are in the habit of bawling down areas;
+also of several descriptions of men, as cab-men, coach-men, watch-men,
+and dust-men. The same may likewise be asserted of some women, such as
+apple-women, oyster-women, fish-women, and match-women. Here also the
+singing of charity children of both sexes, and the voices of
+parish-clerks, may be specified, and, lastly, of many foreigners whose
+names terminate in ini.
+
+    [Illustration]
+
+Verbs of asking, of teaching, of clothing, and of concealing, commonly
+govern two accusative cases, as
+
+  Ego docebo te, adolescentule, lectiones tuas:
+
+  _I’ll_ teach you your lessons, young man.
+
+This speech is usually the prelude to something which elicits that
+exemplification of the vocative case which has been given in the first
+part of the Grammar.
+
+Some verbs of this kind have an accusative case even in the passive
+voice, as
+
+  Bis denos posceris versus de scoparum manubrio:
+
+  You are required to make twenty verses on a broomstick.
+
+Why should not a broomstick form the subject of a poetical effusion,
+when the material of the broom itself is so often used in schools to
+stimulate inventive genius?
+
+Nouns appellative are commonly added with a preposition to verbs which
+denote motion, as
+
+  Interea ad templum non æquæ Palladis ibant
+  Crinibus Iliades passis.  _Virgil._
+
+  In the mean time the Trojan woman went to the temple of
+  unfriendly Pallas with their hair about their ears.
+
+How odd they must have looked. Here we take occasion to remind
+schoolboys never to lose an opportunity of giving a comic rendering to
+any word or phrase susceptible thereof, which they may meet with in the
+course of their reading. To say “crinibus passis”,-- “with dishevelled
+hair” would be to give a very feeble and spiritless translation. Vir is
+literally construed _man_; some school-masters will have it called
+_hero_,-- we propose to translate it _cove_. So dapes may be rendered
+_grub_, or perhaps _prog_; aspera Juno, _crusty Juno_; animam efflare,
+to _kick the bucket_; capere fugam, to _cut one’s stick_, or _lucky_;
+confectus, _knocked up_; fraudatus, _choused_; contundere, _to whop_,
+&c. &c.
+
+
+  THE ABLATIVE CASE AFTER THE VERB.
+
+Every verb admits an ablative case, signifying the instrument, or the
+cause, or the manner of an action, as
+
+  Pulvere nitrato Catilina senatum subruere voluit:
+
+  Catiline wished to blow up the Parliament. Catiline was a regular Guy.
+
+A noun of price is put after some words in the ablative case, as
+
+  Ovidius solidis duobus fibulas siphonem ascendere fecit:
+
+  Ovid pawned his buckles for two shillings.
+
+The _sipho_ was a tube, pipe, or spout, projecting from the shops of
+pawnbrokers, of whom there is every reason to believe that there were a
+great many in ancient Rome. Into this _sipho_ the pledges were placed in
+order to be conveyed to the _adytum_ or secret recess of the dwelling.
+_Vide_ Casaubon de Avunc: Roman.
+
+Vili, at a low rate, paulo, for little, minimo, for very little, magno,
+for much, nimio, for too much, plurimo, for very much, dimidio, for
+half, duplo, for twice as much, are often put by themselves, the word,
+pretio, price, being understood, as
+
+  Vili venit cibus caninus:
+
+  Dog’s meat is sold at a low rate.
+
+These genitive cases put without substantives are excepted, tanti, for
+so much, quanti, for how much, pluris, for more, minoris, for less,
+quantivis, for as much as you please, tantidem, for just so much,
+quantilibet, for what you will, quanticunque for how much soever, as
+
+  Non es tanti: You’re no great shakes.
+
+Flocci, of a lock of wool, nauci, of a nut-shell, nihili, of nothing,
+assis, of a penny, pili, of a hair, hujus, of this, teruncii, of a
+farthing, are added very properly to verbs of esteeming, as
+
+  Nec verberationem flocci pendo, nec ferulâ percussionem pili æstimo:
+
+  I don’t value a flogging a straw, nor do I regard a spatting a hair.
+
+A boy who can say this, must have a brazen front, and an iron back, and
+be altogether a lad of _mettle_.
+
+Verbs of abounding, of filling, of loading, and their contraries, are
+joined to an ablative case, as
+
+  Tauris abundat Hibernia:
+
+  Ireland aboundeth in bulls.
+
+This circumstance it most probably was which gave rise to the _Tales_ of
+the O’Hara family.
+
+We once heard a son of Erin, while undergoing the operation of bleeding
+from the arm, remark that that would be an easy way of _cutting one’s
+throat_.
+
+Some of these sometimes govern a genitive case, as
+
+  Optime ostrearum implebantur:
+
+  They had a capital blow out of oysters.
+
+We are sorry to remark that these are the only _native_ productions
+patronized by great people.
+
+Fungor, to discharge, fruor, to enjoy, utor, to use, vescor, to live
+upon, dignor, to think one’s self worthy, muto, to change, communico, to
+communicate, supersedeo, to pass by, are joined to an ablative case, as
+
+  Qui adipisci cœnas optimas volet, leonis fungatur officiis.
+
+  He who shall desire to obtain excellent dinners, should discharge
+  the office of a lion.
+
+    [Illustration]
+
+In which case he will come in for the “lion’s share.”
+
+_Q._ Why is the lion of a party like one of the grand sources of
+prejudice mentioned by Lord Bacon?
+
+_A._ Because he is the _Idol_ of the _den_.
+
+Mereor, to deserve, with these adverbs, bene, well, satis, enough, male,
+ill, melius, better, pejus, worse, optime, very well, pessime, very ill,
+is joined to an ablative case with the preposition de, as
+
+  De libitinario medicus bene meretur:
+
+  The doctor deserves well of the undertaker.
+
+Notwithstanding it might at first sight appear, that the doctor, in
+_furnishing funerals_, invades the undertaker’s province.
+
+Some verbs of receiving, of being distant, and of taking away, are
+sometimes joined to a dative case, as
+
+  Augustus eripuit mihi nitorem:
+
+  Augustus has taken the shine out of me.
+
+    _Last Dying Speech of M. Antony._
+
+An ablative case, taken absolutely, is added to some verbs, as
+
+  Porcis volentibus lætissime epulabimur:
+
+  Please the pigs we’ll have a jolly good dinner.
+
+The pig had divine honours paid to it by the ancient Greeks. --Jos.
+Scalig. de Myst. Eleusin.
+
+An ablative case of the part affected, and by the poets an accusative
+case, is added to some verbs, as
+
+  Qui animo ægrotat, eum aera risum moventem ducere oportet.
+
+  He who is sick in mind should breathe the laughing gas.
+
+Much learned controversy has been expended in endeavouring to determine
+whether this gas was the exhalation by which it is supposed that the
+ancient Pythonesses were affected.
+
+  Rubet nasum:
+
+  His nose is red.
+
+  Candet genas:
+
+  His cheeks are pale.
+
+Some of these words are used also with the genitive case, as
+
+  Angitur animi juvenis iste, et mundum indignatur.
+
+  That young man is grieved in mind and disgusted with the world.
+
+Such a man is called by the ladies an interesting young man.
+
+
+  VERBS PASSIVE.
+
+An ablative case of the doer (but with the preposition a or ab going
+before), and sometimes also a dative case, is added to verbs passive, as
+
+  Darius eleganter ab Alexandro victus est:
+
+  Darius was elegantly licked by Alexander.
+
+The other cases continue to belong to verbs passive which belonged to
+them as verbs active, as
+
+  Titanes læsæ majestatis accusati sunt:
+
+  The Titans were indicted for high treason.
+
+And being found guilty were _quartered_ in a very uncomfortable manner,
+as well as _drawn_ by various artists, whose skill in _execution_ has
+been much commended.
+
+Vapulo, to be beaten, veneo, to be sold, liceo, to be prized, exulo, to
+be banished, fio, to be made, neuter passives, have a passive
+construction, as
+
+  A præceptore vapulabis. _Eton Gram._
+
+  You will be beaten by the master.
+
+It appears to us that vapulo, to be beaten, is here at all events more
+susceptible of a passive construction than a funny one.
+
+  Malo a cive spoliari quam ab hoste venire. _Eton Gram._
+
+  I had rather be stripped by a citizen than sold by an enemy.
+
+The Romans were regularly _sold_ by the enemy for once, when they had to
+go under the yoke.
+
+
+  VERBS OF THE INFINITIVE MOOD.
+
+Verbs of the infinitive mood are put after some verbs, participles, and
+adjectives, and substantives also by the poets, as
+
+  Timotheus ursos saltare fecit:
+
+  Timotheus made the bears dance.
+
+This was done in ancient as it is in modern times, by playing the
+Pandean pipes.
+
+  Inconcinnus erat cerni Telamonius Ajax;
+  Ajax (ut referunt) vir bonus ire minor:
+
+  The Telamonian Ajax was a rum un to look at;
+  The lesser Ajax (as they say) a good un to go.
+
+The Grecians used to call Ajax senior, the _fighting cock_, and Ajax
+junior, the _running cock_.
+
+Verbs of the infinitive mood are sometimes placed alone by the figure
+ellipsis, as
+
+  Siphonum de more oculis demittere fluctus Dardanidæ:
+
+  The Trojans (began understood) to pipe their eyes.
+
+As for Æneas he might have been a town _crier_.
+
+
+  GERUNDS AND SUPINES
+
+govern the cases of their own verbs, as
+
+  Efferor studio pulices industrios videndi:
+
+  I am transported with the desire of seeing the industrious fleas.
+
+    [Illustration]
+
+
+  GERUNDS.
+
+  “When Dido found Æneas would not come,
+  She mourned in silence, and was Di-do-dum.”
+
+Gerunds in di have the same construction as genitive cases, and depend
+both on certain substantives and adjectives, as
+
+  Londinensem innatus amor civem urget edendi:
+
+  An innate love of eating excites the London citizen.
+
+People are accustomed to utter a great deal of cant about the
+intellectual poverty of civic magistrates, and common councilmen in
+general; but it must be allowed that those respectable individuals have
+often _a great deal in them_.
+
+    [Illustration: TURTUR ALDERMANICUS.]
+
+Gerunds in do have the same construction with ablative, and gerunds in
+dum with accusative cases, as
+
+  Scribendi ratio conjuncta cum loquendo est:
+
+  The means of writing are joined with speaking.
+
+Some things are written precisely after the writer’s way of speaking. We
+once, for example, saw the following notice posted in a gentleman’s
+preserve.
+
+  Whear ’as Gins and Engens are Set on
+    Thes Grouns for the Destruction Of
+    Varmint, Any trespussing Will be prossy-
+    Cuted a-cordin Too Law.
+
+  Locus ad agendum amplissimus:
+
+  A place very honourable to plead in.
+
+It may be questioned whether Cicero would have said this of the Old
+Bailey.
+
+When necessity is signified, the gerund in dum is used without a
+preposition, the verb est being added.
+
+  Cavendum est ne deprênsus sis:
+
+  You must take care you ’re not caught out.
+
+    [Illustration]
+
+A piece of advice of special importance to schoolboys on many occasions,
+such as the following: shirking down town; making devils, or letting off
+gunpowder behind the school, or in the yard; conducting a foray or
+predatory excursion in gardens and orchards; emulating Jupiter, à la
+Salmoneus,-- in his attribute of Cloud-Compelling-- by blowing a cloud,
+or to speak in the vernacular, indulging in a cigar; hoisting a frog;
+tailing a dog or cat, or in any other way acting contrary to the
+precepts of the Animals’ Friend Society; learning to construe on the
+Hamiltonian system; furtively denuding the birch-rods of their “budding
+honours.” Cum multis aliis quæ nunc perscribere longum est.
+
+Gerunds are also changed into nouns adjective, as
+
+  Ad faciendos versus molestum est:
+
+  It is a bore to make verses.
+
+This being a self-evident proposition, we shall not enlarge upon it.
+
+The supine in um signifies actively, and follows a verb expressing
+motion to a place, as
+
+  Spectatum veniunt, veniunt spectentur ut ipsæ:
+
+  They come to see, they come that they themselves may be seen.
+
+So said, or sung the poet Ovid. Was there an opera at Rome in his time?
+
+The supine in u signifies passively, and follows nouns adjective, as
+
+  Quod olfactu fœdum est, idem est et esu turpe:
+
+  That which is foul to be smelled, is also nasty to be eaten.
+
+Except venison, onions, and cheese.
+
+
+  NOUNS OF TIME AND PLACE.
+
+  TIME.
+
+Tempus-- time. There is a story, mentioned (we quote from memory) by the
+learned Joe Miller; of a fellow who seeing “Tempus Fugit” inscribed upon
+a clock, took it for the name of the artificer.
+
+Persons who have lived a long _time_ in the world, are generally
+accounted _sage_; and are sometimes considered to have had a good
+_seasoning_.
+
+Nouns which signify a part of time are put more commonly in the ablative
+case, as
+
+  Nemo mortalium omnibus horis sapit:
+
+  No mortal man is wise at all hours.
+
+The excuse of a philosopher for getting married.
+
+But nouns which signify the duration of time are commonly put in the
+accusative case, as
+
+  Pugna inter juvenem Curtium et Titum Sabinum tres horas perduravit.
+
+  The fight between young Curtius and Sabine Titus lasted three hours.
+
+It is an error to suppose that Roman mills were only water-mills and
+wind-mills. The above mill must have been rather a “winder” though, and
+must have cost the combatants much _pains_.
+
+We say also: in paucis diebus, in a few days: de die, by day, de nocte,
+by night, &c.
+
+A jest upon the nouns of _Time_ would, perhaps, be somewhat ill timed:
+we hope, however, to have _Space_ for one presently.
+
+
+  THE SPACE OF A PLACE.
+
+The space of a place is put in the accusative, and sometimes also in the
+ablative, as
+
+  Cæsar jam mille passus processerat, summâ diligentiâ.
+
+  Cæsar had now advanced a mile with the greatest diligence--
+
+not on the top of the vehicle so named, as a young gentleman was
+once flogged for saying.
+
+  Qui non abest a scholâ centenis millibus passuum, balatronem novi.
+
+  I know a blackguard who is not absent a hundred miles from the school.
+
+“Cantare et apponere” to sing and apply, is the maxim we would here
+inculcate on our youthful readers.
+
+Every verb admits a genitive case of the name of a city or town in which
+any thing takes place, so that it be of the first or second declension,
+and of the singular number, as
+
+  Quid Romæ faciam? mentiri nescio:
+
+  What shall I do at Rome? I know not how to lie.
+
+What a bare-faced perversion of the truth that cock and bull story is of
+Curtius jumping into the hole in the forum. How the Romans managed to
+get _credit_ from any body but the tailors is to us a mystery.
+
+These genitive cases, humi, on the ground, domi, at home, militiæ, in
+war, belli, in war, follow the construction of proper names, as
+
+  Parvi sunt foris arma nisi est consilium domi:
+
+  Arms are of little worth abroad unless there be wisdom at home.
+
+Cicero must have said this with a prospective eye to Canada.
+
+But if the name of a city or town shall be of the plural number only, or
+of the third declension, it is put in the ablative case, as
+
+  Aiunt centum portas Thebis fuisse:
+
+  They say there were an hundred gates at Thebes.
+
+You needn’t believe it unless you like.
+
+  Egregia Tibure facta videnda sunt:
+
+  Fine doings are to be seen at Tivoli.
+
+The name of a place is often put after verbs signifying motion to a
+place in the accusative case without a preposition, as
+
+  Concessi Cantabrigiam ad capiendum ingenii cultum:
+
+  I went to Cambridge to become a fast man.
+
+After this manner we use domus, a house, and rus, the country, as Rus
+ire jussus sum, I was rusticated. Domum missus eram, I was sent home.
+
+Going _too fast_ at Cambridge sometimes necessitates, in two senses,
+a dose of country air.
+
+The name of a place is sometimes added to verbs signifying motion from a
+place, in the ablative case without a proposition, as
+
+  Arbitror te Virginiâ veteri venisse:
+
+  I reckon you’ve come from old Virginny.
+
+
+  VERBS IMPERSONAL.
+
+Verbs impersonal have no nominative case, as
+
+  Scenas post tragicas multum juvat ire sub umbras:
+
+  After a tragedy it is very pleasant to go under the _Shades_.
+
+The worst of these “Shades” is, that people are now and then apt to get
+rather “too much in the sun” there.
+
+These impersonals, interest, it concerns, and refert, it concerns, are
+joined to any genitive cases, except these ablative cases feminine, meâ,
+tuâ, suâ, nostrâ, vestrâ, and cujâ, as
+
+  Interest magistratûs tueri insulsos, animadvertere in acres.
+
+  It concerns the magistrate to defend the flats; to punish the sharps.
+
+These genitive cases also, are added, tanti, of so much, quanti, of how
+much, magni, of much, parvi, of little, quanticunque, of how much
+soever, tantidem, of just so much; as
+
+  Tanti refert honesta agere;
+
+  Of such consequence is it to do honest things.
+
+By this course of conduct, you certainly render yourself worthy of the
+protection of the magistrate; although whether you thereby constitute
+yourself a flat or not, is perhaps a doubtful question. Much may be said
+on both sides. Dishonesty, it is true, may lead to being taken up; but
+then honesty often leads to being taken _in_. Yet honesty is said to be
+the best policy. Policy is a branch of wisdom, and “wisdom” they say “is
+in the _wig_.” Certain _wigs_ are retained at the _head_-- of affairs,
+by a good deal of _policy_; perhaps the _best_ they could adopt-- a fact
+that throws considerable doubt on the truth of the old maxim.
+
+    [Illustration]
+
+Impersonal verbs which are put acquisitively, require a dative case; but
+those which are put transitively an accusative, as--
+
+  A ministris nobis benefit:
+
+  We enjoy blessings from Ministers.
+
+For instance-- No-- We cannot think of any just at present.
+
+  Me juvat per lunam errare, et “Isabellam” cantare:
+
+  I like to wander by moonlight, and sing “Isabelle.”
+
+The connexion between love and moonlight is as interesting as it is
+certain. We shrewdly suspect that the said planet has more to do with
+the tender passion than lovers are aware of.
+
+But the preposition _ad_ is peculiarly _ad_ded to these verbs-- attinet,
+it belongs, pertinet, it pertains, spectat, it concerns, as
+
+  Spectat ad omnes bene vivere:
+
+  It concerns all to live well--
+
+When they can afford it.
+
+An accusative case with a genitive is put after these verbs impersonal--
+pœnitet, it repents, tædet, it wearies, miseret, miserescit, it pities,
+pudet, it shames, piget, it grieves, as--
+
+  “Nihil me pœnitet hujus nasi”-- Trist: Shand:
+
+  “My nose has been the making of me.”
+
+A verb impersonal of the passive voice may be elegantly taken for each
+person of both numbers; that is to say, by virtue of a case added to it.
+
+Thus statur is used for sto, stas, stat, stamus, statis, stant. Statur a
+me; it is stood by me, that is, I stand; statur ab illis: it is stood by
+them, or they stand.
+
+King George the Fourth’s statue at King’s Cross is a _standing joke_.
+
+    [Illustration
+      {King’s Cross / WINKLES’s /
+      _Steel and Copper Plate Manufactory_}]
+
+
+  THE CONSTRUCTION OF PARTICIPLES.
+
+Participles govern the cases of the verbs from which they are derived,
+as--
+
+        Duplices tendens ad sidera palmas,
+  Talia voce refert:
+
+  Stretching forth his hands to heaven, he utters _such_ things.
+
+    [Illustration]
+
+This reminds us of the Italian opera.
+
+A dative case is sometimes added to participles of the passive voice,
+especially when they end in dus, as--
+
+  Sollicito nasus rutilans metuendus amanti est:
+
+  A fiery nose is to be feared by an anxious lover.
+
+Participles, when they become nouns, require a genitive case, as--
+
+  Vectigalis appetens, linguæ profusus:
+
+  Greedy of _rint_, lavish of blarney.
+
+Exosus, hating, perosus, utterly hating, pertæsus, weary of, signifying
+actively, require an accusative case, as--
+
+  Philosophus exosus ad unam mulieres:
+
+  A philosopher hating women in general,
+
+_i.e._ a Malthusian.
+
+Exosus, hated, and perosus, hated to death, signifying passively, are
+read with a dative case, as
+
+  Comœdi sanctis exosi sunt:
+
+  The comedians are hated by the saints.
+
+We mean the spiritual Quixotes, or Knights of the Rueful Countenance. We
+“calculate” that they will be the greatest patrons of rail roads,
+considering their dislike to the _stage_.
+
+Natus, born, prognatus, born, satus, sprung, cretus, descended, creatus,
+produced, ortus, risen, editus, brought forth, require an ablative case,
+and often with a preposition, as--
+
+  Taffius, bonis prognatus parentibus, cerevisiam haud tenuem
+  de sese existimat:
+
+  Taffy, sprung of good parents, thinks no small beer of himself.
+
+  De Britannis Antiquis se jactat editum:
+
+  He boasts of being descended from the Ancient Britons.
+
+_Q._ Why is the eldest son of a King of England like a Leviathan?
+
+_A._ Because he is the Prince of _Wales_.
+
+
+  THE CONSTRUCTION OF ADVERBS.
+
+En and ecce, adverbs of showing, are joined most commonly to a
+nominative case, to an accusative case but seldom, as
+
+  En Romanus: See the Roman (q. rum-un.)
+
+  Ecce Corinthium: Behold the Corinthian.
+
+Modern Corinthians, we fear, know but little Greek, except that of the
+Ægidiac, or St. Giles’s dialect.
+
+En and ecce, adverbs of upbraiding, are joined most commonly to an
+accusative case only, as--
+
+  En togam squamosam!
+
+  Look at his scaly toga!
+
+  Ecce caudam! Twig his tail!
+
+    [Illustration]
+
+    [Plate:
+    DOMESTIC ELOCUTION
+    “MY NAME IS NORVAL ON THE GRAMPIAN HILLS”]
+
+Certain adverbs of time, place, and quantity, admit a genitive case, as
+
+  Ubi gentium est Quadra Russelliana?
+
+  Where in the world is Russell Square?
+
+We must confess that this question is _exquisitely_ absurd.
+
+  Nihil tunc temporis amplius quam flere poteram:
+
+  I could do nothing more at that time than weep.
+
+Talking of weeping-- how odd it is that an affectionate wife should cry
+when her husband is _transported_ for life.
+
+  Satis eloquentiæ, sapientiæ parum:
+
+  Eloquence enough, wisdom little enough.
+
+This quotation applies very forcibly to domestic oratory as practised by
+small boys at the instigation of their mamma, for the _amusement_ of
+visitors. Those on whom “little bird with boothom wed,” “deep _in_ the
+windingths _of_ a whale,” or “my name is Nawval,” and the like
+recitations are inflicted, have “satis eloquentiæ”-- enough of
+eloquence, in all conscience; and we cannot but think that “sapientiæ
+parum,” “wisdom little enough” is displayed by all the other parties
+concerned.
+
+Some adverbs admit the cases of the nouns from which they are derived,
+as
+
+  Juvenis benevolus sibi inutiliter vivit:
+
+  The good-natured young man lives unprofitably to himself--
+
+Especially if he have a large circle of female acquaintance.
+
+These adverbs of diversity, aliter, otherwise, and secus, otherwise; and
+these two, ante, before, and post, after, are often joined to an
+ablative case, as--
+
+  Plure aliter.  More t’other.
+
+  Multo ante.    Much before.
+
+  Paulo post.    Little behind.
+
+    [Illustration]
+
+Those who are much _before_, are guilty of a great _waste_-- of time;
+and those who are little behind should make it up by a _bustle_.
+
+Instar, like or equal to, and ergo, for the sake of, being taken as
+adverbs, have a genitive case after them, as--
+
+  Instar montis equum divina Palladis arte
+  Ædificant:
+
+  By the divine assistance of Pallas they build a horse
+  as big as a mountain.
+
+This may appear incredible; yet the learned Munchausenius relates
+prodigies much more astonishing.
+
+  Mentitur Virgilius leporis ergo:
+
+  Virgil tells lies for fun.
+
+As may be sufficiently seen in the example before the last, and also in
+the sixth book of the Æneid, passim.
+
+
+  THE CONSTRUCTION OF CONJUNCTIONS.
+
+Conjunctions copulative and disjunctive, couple like cases, moods, and
+tenses, as
+
+  Socrates docuit Xenophontem et Platonem geographiam, astronomiam,
+  et rationem globorum:
+
+  Socrates taught Xenophon and Plato geography, astronomy,
+  and the use of the globes.
+
+_Q._ How may a waterman answer the polite interrogation “Who are you?”
+correctly, and designate at the same time, an educational institution.
+
+_A._ By saying A-cad-am-I.
+
+The foregoing rule (not riddle) holds good, unless the reason of a
+different construction requires it should be otherwise, as
+
+  Emi librum centussi et pluris:
+
+  I bought a book for a hundred pence, and more,
+    “100d. are 8s. 4d.” --Walkinghame.
+
+The conjunction, quam, than, is often understood after amplius, more,
+plus, more, and minus, less, as
+
+  Amplius sunt sex menses:
+
+  There are more than six months.
+
+For this interesting piece of information we are indebted to Cicero. The
+author to whom reference has just been made, has somewhere, if we
+mistake not, a similar observation. In thus _ushering_ the _Tutor’s_
+Assistant into notice, we feel that we are citing a work of which it is
+impossible to make too comical mention.
+
+Thank goodness there are not more than six months in a half year!
+
+
+  TO WHAT MOODS OF VERBS CERTAIN ADVERBS
+  AND CONJUNCTIONS DO AGREE.
+
+Ne, an, num, whether put doubtfully or indefinitely, are joined to a
+subjunctive mood, as--
+
+  Nihil refert fecerisne an persuaseris:
+
+  It matters nothing whether you have done it or persuaded to it--
+
+as the school-master said when he got hold of the wrong end of the cane.
+
+Here it may be remarked-- First, that the young gentlemen who play
+tricks with _tallow_ are likely to get more _whacks_ than they like on
+their fingers. Secondly-- That a master whose hand is in _Grease_ cannot
+be expected to be at the same time in _A-merry-key_.
+
+Dum, for dummodo, so that, and quousque, until, requires a subjunctive
+mood, as--
+
+  Dum felix sis, quid refert?
+
+  What’s the odds, so long as you’re happy.
+
+Qui, signifying the cause, requires a subjunctive mood, as
+
+  Stultus es qui Ovidio credas:
+
+  You are a fool for believing Ovid.
+
+Ut, for, postquam, after that, sicut, as, and quomodo, how, is joined to
+an indicative mood; but when it signifies quanquam, although, utpote,
+forasmuch as, or the final cause, to a subjunctive mood, as
+
+  Ut sumus in Ponto ter frigore constitit Ister:
+
+  Since that we are in Pontus the Danube has stood frozen three times.
+
+Were skating and sliding classical accomplishments? Ambition, we know,
+led many of the Romans to tread on _slippery_ ground: many of them
+struck out new paths, but none (that we have heard of) ever struck out a
+slide. Imagine Cato or Seneca “coming the cobbler’s knock.”
+
+  Te oro, domine, ut exeam:
+
+  Please, sir, let me go out.
+
+Lastly, all words put indefinitely, such as are these, quis, who,
+quantus, how great, quotus, how many, require a subjunctive mood, as
+
+  Cave cui incurras, inepte:
+
+  Mind who you run against, stupid.
+
+    [Illustration]
+
+Such may have been the speech of a Roman cabman. A very curious specimen
+of the _tessera_, or badge, worn on the breast by this description of
+persons, has lately been discovered at Herculaneum.
+
+    [Illustration]
+
+
+  THE CONSTRUCTION OF PREPOSITIONS.
+
+A preposition being understood, sometimes causes an ablative case to be
+added, as
+
+  Habeo pigneratorem loco avunculi; _i.e._ in loco:
+
+  I esteem a pawnbroker in the place of an uncle: that is, _in loco_.
+
+A preposition in composition sometimes governs the same case which it
+also governed out of composition, as
+
+  Jupiter Olympo Vulcanum calce exegit:
+
+  Jupiter kicked Vulcan out of Olympus.
+
+This was not only an ungentlemanly, but also an _ungodly_ act on
+Jupiter’s part. Reasoning à posteriori, one would think it must have
+been very unpleasant to Vulcan.
+
+  Præteriit me in Quadrante insalutatum:
+
+  He cut me in the Quadrant.
+
+Verbs compounded with a, ab, de, e, ex, in, sometimes repeat the same
+prepositions with their case out of composition, and that elegantly, as
+
+  Abstinuerunt a vino:
+
+  They abstained from wine.
+
+This properly is an allusion to the Tiber-totallers. It should be
+remembered that tea was unknown in Rome, except as the accusative case
+of a pronoun.
+
+In, for, erga, towards, contra, against, ad, to, and supra, above,
+requires an accusative case, as
+
+                Quietum
+  Accipit in pueros animum mentemque benignam:
+
+  He admits kind thoughts and inclinations towards the boys.
+
+The master does-- when he gives them a half holiday or a blow out. Mr.
+Squeers (vide Nicholas Nick: illustriss. Boz.) was in the habit of
+_making much_ of the young gentlemen intrusted to his care.
+
+Sub, when it relates to time, is commonly joined to an accusative case,
+as
+
+  Sub idem tempus-- Isaaculus trans maria deportatus est:
+
+  About the same time-- Ikey was transported beyond the seas.
+
+We say _beyond the seas_, lest it should be questioned whether Mr. I.
+was _transported_ as a necessary or contingent consequence of cheating.
+
+Super, for, ultra, beyond, is put with an accusative case, for de,
+concerning, with an ablative case, as
+
+      Super et Garamantas et Indos
+  Proferet imperium:
+
+  He will extend the empire both beyond the Africans and the Indians.
+
+A wide _rule_ expressed in poetical _measure_.
+
+  Quid de domesticis Peruviorum rebus censeas?
+
+  What may be your opinion concerning the domestic economy
+  of the Peruvians?
+
+Tenus, as far as, is joined to an ablative case, both in the singular
+and plural number, as
+
+  Cervice, auribusque tenus Marius in luto inveniebatur:
+
+  Marius was found up to his neck and ears in mud.
+
+What a lark! or rather a mud lark. But tenus is joined to a genitive
+only in the plural, and it always follows its case, as
+
+  Crurum tenus:  up to the _legs_.
+
+Which it is very necessary to be at Epsom and Ascot.
+
+
+  THE CONSTRUCTION OF INTERJECTIONS.
+
+Interjections are often put without a case, as
+
+  Spem gregis, ah! silice in nudâ connixa reliquit:
+
+  Having yearned, she left the hope of the flock, alas!
+  upon the bare flint stones.
+
+And exposed to the _steely_-hearted world, which, as an Irishman
+remarked, was a dangerous situation for _tinder_ infancy. It must have
+been, to say the least, a most uncomfortable _berth_.
+
+O! of one exclaiming, is joined to a nominative, accusative, and
+vocative case, as
+
+  O lex! Oh law! O alaudas! Oh larks! Oh meum! Oh my!
+  O care! Oh dear!
+
+We cannot find out what is Latin for oh Crikey!
+
+Heu! and proh! alas! are joined, sometimes to a nominative, sometimes to
+an accusative, and occasionally to a vocative case, as-- Heu bellis!
+Lack-a-_daisy_. Heu diem! Lack-a-_day_. Proh Clamor! Oh _cry_! Proh deos
+pisciculosque! Oh, ye gods and little fishes!
+
+  Heu miserande puer!
+
+  Oh, boy, to be pitied!
+
+What boy is more to be pitied than a junior boy? The _Fagin_ system
+described in Oliver Twist is nothing compared to that adopted in public
+schools. People may say what they will of the beneficial effect which it
+produces on the minds of those who are subjected to it-- we contend that
+to breed a gentleman’s son up like a _tiger_ is the readiest way to make
+a _beast_ of him.
+
+Hei! and væ! alas, are joined to a dative case, as
+
+  Hei mihi quod nullis amor est medicabilis herbis:
+
+  Woe is me that love is curable by no herbs.
+
+    [Plate:
+    HEU! MISERANDE PUER!]
+
+Ovid never would have said that, if he had smoked a cigar or chewed
+tobacco. The ancients believed that love might be excited by certain
+articles taken from the vegetable kingdom. Why then should it be
+considered impossible to allay the same feeling in a similar manner?
+Every bane has its corresponding antidote; if so, there may be physic
+even for a philter. And for the pangs which a _virgin_ has inflicted,
+what remedy could be prescribed more reasonable than the _Virginian_
+weed;-- besides, love generally ends in smoke.
+
+    [Illustration: A CURE FOR THE HEARTACHE.]
+
+  Væ misero capiti, madefacto, sæpe fenestræ
+  Imbribus immundis, Lydia cara, tuæ:
+
+  Woe to my wretched head, often wetted, dear
+  Lydia, by the unclean showers of your window.
+
+This would be a proper place for introducing a few remarks on the
+ancient mode of serenading; which we are prevented from doing by the
+very imperfect state of our present information on this interesting
+point. It is, however, pretty generally admitted that the Romans always
+took care to provide themselves with an umbrella on these occasions,
+and this for a reason which the above distich will have rendered
+sufficiently obvious. It appears to us that so salutary a precaution is
+well worthy of being sometimes adopted in these modern days-- and with
+this hint we conclude the Syntax.
+
+
++PROSODY.+
+
+  All you that bards of note would be,
+  Must study well your Prosody.
+
+As Comparative Anatomy teaches what the sound of a cod-fish is; so
+Prosody teaches what is the sound of syllables.
+
+Sound and quantity mean the same thing; though how that fact is to be
+reconciled with the proverb, “great _cry_ and little _wool_,” we do not
+know.
+
+Prosody is divided into three parts. Tone, Breathing, and Time. As to
+tone-- boys are usually required to repeat it in a loud one, without
+stammering or drawling; and with as little breathing and time, or
+breathing-time, as possible.
+
+We shall leave tone to the consideration of pianoforte and
+fiddle-makers; and breathing to doctors and chemists, who can _analyze_
+it a great deal better than we can. In this place we think proper to
+treat only of Time.
+
+Now of Time a very great deal may be said, taking the word in all the
+senses in which it is capable of being used.
+
+In the first place, Time flies-- but this we have had occasion to
+observe before; as also that Time is a very great eater.
+
+In the second, Time is a very ill-used personage; he is spent, wasted,
+lost, kicked down, and killed-- the last as often as an Irishman is--
+but for all that he never complains.
+
+It is a question whether keeping Time, or losing Time, is the essential
+characteristic of dancing.
+
+Then we might expatiate largely about the value of Time, and of the
+propriety of taking him by the forelock-- but for two reasons.
+
+One of them is, that all this has been said long ago; the other, that it
+is nothing at all to the purpose.
+
+We might also quote extensively from Dr. Culpeper’s Herbal, and from
+Linnæus and Jussieu; but the _time_ we speak of, (although we hope it
+will be _twigged_ by the reader,) is no _plant_; nevertheless it is a
+necessary ingredient in grammatical _stuffing_.
+
+Time in prosody is the measure of the pronouncing of a syllable.
+
+Like whist, it is divided into Long and Short. A long time is marked
+thus, as sūmēns, taking: a short time thus; as pĭlŭlă, a pill.
+
+A foot is the placing together of two or more syllables, according to
+the certain observation of their _time_, the organ of which should be
+well developed for that purpose.
+
+Ordinary feet are long feet, short feet, broad feet, splay feet, club
+feet, and bumble feet, to which may be added cloven feet in the case of
+certain animals, and an “old gentleman.”
+
+There are several kinds of Latin feet; here, however, we shall only
+notice spondees and dactyls.
+
+A spondee is a foot of two syllables, as īnfāns, an infant.
+
+A dactyl is a foot of three syllables, as āngĕlŭs, an angel, pōrcŭlŭs,
+a little pig.
+
+Scanning is measuring a verse as you are measured by your tailor-- by
+the _foot_, according to _rule_. To scanning there belong the figures
+called Synalœpha, Ecthlipsis, Synæresis, Diæresis, and Cæsura.
+
+Synalœpha is the cutting off a vowel at the end of a word, before
+another at the beginning of the next; as
+
+  Ōcclūsīs ēvāsi ŏcŭlīs nāsōquĕ cruēntō:
+
+  I came off with my eyes bunged up and a bloody nose.
+
+We have here _knocked out an i_ in evasi, on the strength of a
+synalœpha.
+
+But heu and o are never cut off-- at least there are no cases on record
+in which this operation has been performed.
+
+Ecthlipsis is as often as the letter m is cut off with its vowel; the
+next word beginning with a vowel, as
+
+  Mōnstrum hōrrēndum īnfōrme īngēns-- spectāvĭmŭs hōrtīs:
+
+  We saw a horrible, ugly, great monster in the gardens.
+
+If every _bear_ and _boar_ were kept in a den-- what a fine world this
+would be.
+
+Synæresis is the contraction of two syllables into one, as in alvearia,
+pronounced alvaria.
+
+  Strāvĭt hŭmī dēmēns cōnfērta ālveārĭă Jūnō:
+
+  Mad Juno threw the crowded beehives on the ground.
+
+Hydrophobia occurring in a queen bee from the bite of a dog would be an
+interesting case to the faculty.
+
+Diæresis is the separation of one syllable into two, as evoluisse for
+evolvisse. Thus Ovid says, alluding probably to the _padding_ system
+adopted by dandies and theatrical artists,
+
+  Dēbŭĕrant fūsōs ēvŏlŭīssĕ sŭōs:
+
+  They ought to have unwound their _spindles_.
+
+Cæsura is when after a perfect foot (though not one like Taglioni’s),
+a short syllable is made long at the end of a word, as
+
+  Pēctŏrĭbūs ĭnhĭāns-- mōllēs, ēn, dēsĕrĭt ālās:
+
+  Intent upon the breasts (of the fowls) lo! he deserts
+  the tender wings.
+
+
+  OF THE KINDS OF VERSES.
+
+Should any one seek here for an account of every kind of verse used by
+the Latin poets, all we can say is-- we wish he may get it. As it
+behoveth no one to be wiser than the law, so it behoveth not us to be
+wiser than the Eton Grammar.
+
+The verses which boys are commonly taught to make are hexameters and
+pentameters.
+
+An hexameter verse consists of six feet. As the ancient heroes were at
+least six feet high, this is probably the reason why it is also called
+an _heroic_ verse.
+
+The fifth foot in this kind of verse should be a dactyl, the sixth a
+spondee; the other feet may be either dactyls or spondees; as
+
+  Ōbstāntī plŭvĭīs vēnīt cūm tēgmĭnĕ Sāmbō:
+
+  Sambo came with his Macintosh.
+
+The fifth foot also is sometimes a spondee, as
+
+  Clāvĭgĕr Ālcīdēs, māgnūm Jŏvĭs īncrēmēntūm.
+
+  Hercules, king of clubs, great offspring of Jupiter.
+
+The last syllable of every verse is a _common_ affair.
+
+An elegiac, lack-a-daisical, or pentameter verse, consists of four feet
+and two long syllables, one of which is placed between the second and
+third foot, and the other at the end of the verse. The two first feet
+may be dactyls, spondees, or both; the two last are always dactyls, as
+
+  Rēs ēst īnfēlīx, plēnăquĕ frāudĭs ămōr:
+
+  Love is an unlucky affair, and full of humbug.
+
+We feel compelled, notwithstanding what has been before said, to make a
+few additions to what is contained in the Eton Grammar with respect to
+verses.
+
+The rhythm of Latin verses may be easily learned by practising (out of
+school), exercises on the principle of the examples following--
+
+  Dūm dĭdlĕ, dī dūm, dūm dūm, dēedlĕdy, dēēdlĕ dĕ, dūm dum;
+    Dūm dĭdlĕ, dūm dum, dē, dēedlĕdy̆, dēedlĕdy̆, dūm.
+
+N.B. The following familiar piece of poetry would not have been admitted
+into the Comic Latin Grammar, but that there being many various readings
+of it, we wished to transmit the right one to posterity.
+
+  Patres conscripti-- took a boat and went to Philippi.
+  Trumpeter unus erat qui coatum scarlet habebat,
+  Stormum surgebat, et boatum overset-ebat,
+  Omnes drownerunt, quia swimaway non potuerunt,
+  Excipe John Periwig tied up to the tail of a dead pig.
+
+Here, also, this poetical curiosity may perhaps be properly introduced.
+
+  Conturbabantur Constantinopolitani,
+    Innumerabilibus sollicitudinibus.
+
+
+  OF THE QUANTITY OF THE FIRST SYLLABLE.
+
+There is a river in Macedon and a river in Monmouth: in like manner
+there are positions in dancing and positions in Prosody.
+
+The following vowels are long by position.
+
+1. A vowel before two consonants, or before a double consonant in the
+same word-- as pīnguis, fat, īngens, great, Ājax, the name of a hero.
+
+2. A vowel coming before one consonant at the end of a word, and another
+at the beginning of the next, as
+
+  Majōr sūm quām cui possīt tua virga nocere:
+
+  I’m a bigger boy than your rod is able to hurt.
+
+The syllables _jor_, _sum_, _quam_, and _sit_, are long by position.
+
+    [Plate:
+    PATRES CONSCRIPTI TOOK A BOAT AND WENT TO PHILIPPI
+    TRUMPETER UNUS ERAT QUI COATUM SCARLET HABEBAT.]
+
+3. Sometimes, but seldom, a short vowel at the end of a word placed
+before two consonants at the beginning of the next; as
+
+  Occultā spolia hi Croceo de Colle ferebant:
+
+  These persons brought the secret spoils from Saffron Hill.
+
+A _short_ vowel before a mute, a liquid following, is rendered common,
+as in the word _patris_.
+
+  Sunt quibus ornatur Jenkins femoralia pātris:
+
+  The breeches that Jenkins is rigged out in are his father’s.
+
+A vowel before another is always short, as tŭa, thy, memorĭa, memory.
+
+Except the genitive cases of pronouns in ius, where the i is a common i,
+although alterĭus has always a short _i_ and alīus a long _i_.
+
+Except, likewise, those genitive and dative cases of the fifth
+declension where the vowel _e_, like Punch’s nose, is made long between
+two _i_’s, as faciēi, of a face.
+
+    [Illustration]
+
+The syllable _fi_ also in fīo is long, except e and r follow together,
+as fĭerem, fĭeri.
+
+  Fīent quæ “Fĭeri Facias” mandata vocantur:
+
+  The writ which is called “Fieri Facias” will be made.
+
+Fi. fa. is a legal instrument that deprives a poor man of his mattress
+that a rich one may lounge on his ottoman. Ca. Sa. is a similar
+benevolent contrivance for punishing misfortune as felony.
+
+Dīus, heavenly, has the first syllable long;-- Diana, common: and so has
+the interjection Ohe!
+
+  Thus there’s a common medium of connexion,
+  Between a goddess and an interjection.
+
+A vowel before another in Greek words is sometimes long, as
+
+  Cærula, Pīerides, sunt vobis tegmina crurum:
+
+  Oh, Muses, your stockings are blue.
+
+Also in Greek possessives, as
+
+  Somniculosa fuit, pinguisque Ænēia nutrix:
+
+  Æneas’s nurse was sleepy and fat.
+
+Æneas has often enough been represented in _arms_.
+
+  In Latin mark, that every dipthong
+  ’S as long as any stage-coach whip-thong;
+  Except before a vowel it goes,
+  When ’tis as short as Elsler’s clothes.
+
+Words derived from others are tarred with the same stick, that is, are
+assigned the same quantity as those which they are derived from, with
+some few exceptions, which we must trouble the student to fish for.
+
+Compounds follow the quantity of their simple words, as from lĕgo lĕgis,
+to read, comes perlĕgo, to read through.
+
+By the way, _reading_ does not always induce _reading through_; though
+we hope it may in the case of the C. L. G.
+
+  If to a preterperfect tense belong
+  Two only syllables, the first is long;
+  As vēni, vīdi, vīci, speech so cool.
+  Which Cæsar made to illustrate our rule;
+  To which we need not cite exceptions small.
+  Look in your Gradus and you’ll find them all.
+
+Consult also the Eton Grammar, and works of the poets, passim, as well
+for exceptions to the above as to the two following rules:
+
+1. Words that double the first syllable of the preterperfect tense have
+the first syllable short-- as cĕcĭdī from cădŏ, &c.
+
+  Fortis Higinbottom cĕcidit terramque mŏmordit:
+
+  Brave Higinbottom fell and bit the ground.
+
+2. A supine of two syllables has the first syllable long--
+
+  As vīsum lātum lōtum mōtum:
+
+  And many more if we could quote ’em.
+
+
+  OF THE QUANTITY OF THE LAST SYLLABLE.
+
+We have had a poetical fit gradually growing upon us for some time--
+’tis of no use to resist-- so here goes--
+
+  Oh! Muse, thine aid afford to me,
+  Inspire my Ideality;
+  Thou who, benign, in days of yore,
+  Didst heavenly inspiration pour
+  On him, who luckily for us
+  Sang Propria Quæ Maribus;
+  Teach me to sound on quiv’ring lyre,
+  Prosodial strains in notes of fire;
+  Words’ ends shall be my theme sublime,
+  Now first descanted on in rhyme.
+    Come, little boys, attention lend,
+  All words are long in a that end:
+  (In proof of which I’ll bet a quart,)
+  Excepting those which must be short--
+  As pută, ită, posteă, quiă,
+  Ejă, and every case in iă;
+  Or _a_, save such as we must class
+  With Grecian vocatives in as,
+  And ablatives of first declension--
+  Besides the aforesaid, we may mention
+  Nouns numeral that end in ginta,
+  Which common, as a bit of flint are.
+    Some terminate in _b_, _d_, _t_;
+  All these are short; but those in _c_
+  Form toes-- I mean, form ends of feet
+  As long-- as long as Oxford Street.
+  Though nĕc and donĕc every bard
+  Hath written short as Hanway yard,
+  Fac, hic, and hoc are common, though
+  Th’ ablative hōc is long you know.
+    Now “_e_ finita” short are reckon’d,
+  Like to a jiffey or a second,
+  Though we must call the _Gradus_ wrong,
+  Or these, of fifth declension, long.
+  As also particles that come
+  In mode derivative therefrom.
+  Long second persons singular
+  Of second conjugation are,
+  And monosyllables in _e_.
+  Take, for example, mē, tē, sē,
+  Then, too, adverbial adjectives
+  Are long as rich old women’s lives--
+  If from the second declination
+  Of adjectives they’ve derivation:
+  Pulchrē and doctē, are the kind
+  Of adverbs that I have in mind.
+  Fermē is long, and ferē also--
+  Benĕ, and malĕ, not at all so.
+  Lastly, each final _eta_ Greek,
+  Is long on all days of the week--
+  To wit-- (for thus we render nempe)
+  Lethē, Anchisē, cetē, Tempē.
+    Those words as long we classify
+  Which end, like _egotists_, in _i_,
+  Rememb’ring mihi, tibi, sibi
+  Are common, so are ubi, ibi;
+  Nisĭ is always short, and quasĭ’s
+  Short also, so are certain cases
+  In i-- Greek vocatives and datives
+  (At least if we may trust the natives;)
+  Making their genitives in os,
+  For instance-- Phyllis, Phyllidos.
+  (A name oft utter’d with a sigh,)
+  Whereof the dative ends in ĭ.
+    Words in _l_ ending short are all,
+  Save nīl for nihil, sāl, and sōl,
+  And some few Hebrew words t’were well
+  To cite; as Michaēl, Raphaēl.
+    Your n’s are long, save forsităn
+  Ĭn, tamĕn, attamĕn, and ăn
+  Veruntamĕn and forsăn, which
+  Are short as any tailor’s stitch;
+  These, therefore, we except, and then
+  Contractions “per apocopen”--
+  As vidĕn’? mĕn’? and audĭn?-- so in
+  Exĭn’ and subĭn’, deĭn’, proĭn’.
+  _An_, from a nominative in _a_
+  Ending a word is short, they say,
+  But every _an_ for long must pass
+  Derived from nominative in as.
+  Nouns, too, in en are short whose finis
+  Doth in the genitive make _inis_.
+  And so are n’s that do delight ĭn
+  An _i_ and _y_-- Alexĭn, Ity̆n.
+    Greek words are short I’d have you know,
+  That end in _on_ with little _o_,
+  Common are terminating o’s,
+  Cases oblique except from those,
+  Adverbial adjectives as falsō
+  Are long,-- take tantō,-- quantō also;
+  Save mutuo, sedulo, and crebro.
+  Common as vestment vending Hebrew.
+  Modŏ and quomodŏ among
+  Short o’s we rank-- nor to be long.
+  Nor citŏ, egŏ, duŏ; no nor
+  Ambŏ and Homŏ ever prone are;
+  But monosyllables in _o_,
+  Are counted long. Example-- stō.
+  And omega, the whole world over,
+  ’S as long as ’tis from here to Dover.
+    If _r_ should chance a word to wind up,
+  ’Tis short in general, make your mind up;
+  But fār, lār, nār, and vīr, and fūr
+  Pār, compār, impār, dispār, cūr,
+  As long must needs be cited here,
+  With words from Greek that end in er;
+  Though ’mong the Latins from this fate are
+  These two exempted-- patĕr, matĕr;
+  Short in the final _er_ we state ’em,
+  Namely, “auctoritate vatum.”
+    Now, s, the Eton Grammar says,
+  Ends words in just as many ways
+  As there are vowels-- five-- as thus
+  In order, _as_, _es_, _is_, _os_, _us_.
+    As, in a general way appears
+  Long unto all but asses’ ears,
+  But some Greek words take care to mark as
+  Short,-- for example-- Pallăs, Arcăs--
+  And nouns increasing plural sport
+  An _as_ accusative that’s short.
+    Es in the main’s a long affair,
+  Anchisēs, such, and patrēs are,
+  Though of the third declension you
+  As short such substantives must view,
+  The genitives of which increase,
+  Derived from nominatives in es,
+  And have an accent short upon
+  The syllable that’s last but one.
+  As milĕs, segĕs, divĕs, (which
+  Means what a Poet is n’t,)-- rich:
+  But pēs is long, with bipēs, tripēs,
+  Like to a hermit munching dry pease.
+  To these add Cerēs, Saturn’s cub,
+  (Name of a goddess, and for grub
+  The figure Metonymy through,)
+  And ariēs, abiēs, pariēs, too.
+  Sum with its compounds forming ĕs,    }
+  Are short, join penĕs, if you please, }
+  Item Cyclopĕs Naiadĕs.                }
+  Greek nominatives and plural neuters,
+  For lists of which consult your tutors.
+    Is, we call short, as Parĭs, tristĭs,
+  Save all such words as mensīs, istīs.
+  Plurals oblique that end in _is_,
+  Adding thereto for quibus quīs.
+  The _is_ in Samnīs long by right is
+  Because its genitive’s Samnītis,
+  Where you observe a lengthened state
+  Of syllable penultimate.
+  The same to all such words applies,
+  And īs contracted, meaning _eis_,
+  Long too,-- and pray remember this
+  Are monosyllables in _is_.
+  Save ĭs the nominative pronoun,
+  And quĭs, and bĭs, which last is no noun.
+    When verbs by _is_ concluded are,
+  In second person singular;
+  But in the plural _itis_ make,
+  The _is_ is long, and no mistake--
+  Provided always that the pe-
+  Nultimate plural long shall be.
+    Os, saving compŏs, impŏs, ŏs
+  Is long-- as honōs dominōs.
+  The Greek omicron ’s short, and that in
+  All conscience must be so in Latin.
+    Words should be short in _us_, unless
+  Authority has laid a stress
+  On the penultimate of any
+  Word that increases in the geni-
+  Tive case when us is long, the same
+  Pronunciation nouns may claim--
+  Declined like gradūs or like manūs
+  Though here exceptions still detain us.
+  The first case and the fifth are those
+  Singular; short as monkey’s nose.
+  Long are mūs, crūs, and thūs and sūs
+  All monosyllables in ūs,
+  And Grecian nouns by diphthong _ous_,
+  Translated _us_ by men of _nous_.
+    Lastly, all words in _u_ are long,
+  And so we end our classic song.
+
+And not our song only, but our work-- the companion of our solitude--
+the object of our cares-- for which alone we live, for which we consumed
+our midnight oil; and not only that, but also burnt a great deal of
+daylight.-- Our work, we say, is ended-- and such as it is we commit it
+to the world. Horace says Carm. Lib. iii, Ode XXX. (an ode which by some
+strange association of ideas, is always connected in our mind with the
+visionary image of a jug of ale,) “Exegi monumentum ære perennius,”
+I have perfected a work more durable than brass. Whether our production
+is characterized by the _durability_ of that metal or not, is a question
+which we leave to the decision of posterity; we cannot, however, help
+thinking that, considering the boldness of our attempt, it possesses
+figuratively at least, something in common with the substance in
+question-- and we would fain hope that that something does not consist
+in _hardness_.
+
+And now farewell to the reader-- farewell, “a word that must be and hath
+been”-- said a great many times when once would have been quite
+sufficient. We need not, therefore, repeat it; nor need we say how much
+we hope that we have amused, instructed him, and so forth; that being as
+much an understood thing to put at the end of a book, as “Love to papa,
+mamma, brothers and sisters,” in a holiday letter.
+
+Nothing, then, remains for us now to do, but to kick up our hat and cry
+
+“ALL OVER.”
+
+
+  FINIS
+
+
+
+
+LIST OF ETCHINGS.
+
+
+1. Vocative case (schoolmaster spatting a boy) _to face page_ 2.
+
+2. Schoolmaster beating a drum, and boys singing in chorus, text
+damaged, 22
+
+3. Ingenuas pugni didicisse fideliter artes (fight)   52
+
+4. Prometheus Vinctus (vagabond in the stocks)   72
+
+5. Smelling a Pig (boys at supper in the bed room)   74
+
+6. Domestic Oratory (small boy spouting in a chair)  135
+
+7. Heu miserande Puer (boy tossed in a blanket)   144
+
+8. Patres conscripti   152
+
+
+Coe, Printer, 27, Old Change, St. Paul’s.
+
+
+       *       *       *       *       *
+           *       *       *       *
+
+
+CHARLES TILT’S
+
+LIST OF NEW AND POPULAR
+
+  +Books,+
+
+For Presents, the Drawing-Room Table, &c.
+
+
+  +ELIZA COOK’S POETICAL WORKS;+
+  Beautifully Illustrated Edition.
+  Post 8vo, bound in cloth, 16s.; morocco elegant, 20s.
+
+“Miss Cook is a writer of great promise. Her book contains a great
+number of lyrical and other poems, many of which are extremely
+beautiful.” --_United Service Gazette_.
+
+
+  +A GIFT FROM FAIRY LAND;+
+  A Series of Fairy Legends.
+
+Profusely embellished with One Hundred fanciful and illustrative
+Etchings. Small 8vo, very neatly bound, price 12s.
+
+
+  Sir Walter Scott’s
+  +LADY OF THE LAKE.+
+  Tilt’s Beautifully Illustrated Edition.
+
+Foolscap 8vo, price 7s. cloth; 10s. 6d. morocco, very elegant.
+
+  Also, same size and price,
+
+  +MARMION;
+  A TALE OF FLODDEN FIELD.+
+  Engravings.
+
+  +LAY
+  OF THE LAST MINSTREL.+
+  Twelve Engravings.
+
+
+  Finden’s
+  +PORTS AND HARBOURS OF GREAT BRITAIN.+
+
+Fifty large Plates, engraved in the first style of art, from Drawings by
+HARDING, BALMER, &c. &c. Morocco elegant, 1l. 11s. 6d.
+
+
+  Finden’s
+  +ILLUSTRATIONS OF THE BIBLE.+
+
+Ninety-six Views of the most interesting Places mentioned in the Old and
+New Testament, with Descriptions by the Rev. T. HARTWELL HORNE.
+
+Three vols, demy 8vo, morocco, 3l. 3s.; or in two vols, super-royal 8vo,
+neatly half-bound in morocco, gilt edges, 3l. 10s.; morocco, 3l. 16s.
+
+
+  Finden’s
+  +ILLUSTRATIONS OF LORD BYRON’S WORKS.+
+
+One Hundred and Twenty-six Plates in the highest style of art.
+
+In two vols, large 8vo, beautifully bound in morocco, 3l. 3s.
+
+
+  +THE AUTHORS OF ENGLAND,+
+  or, Biographical Notices of Modern Literary Characters.
+  By HENRY F. CHORLEY.
+
+Fourteen splendid medallion Portraits. Imperial 4to, 1l. 11s. 6d.
+
+       *       *       *       *       *
+
+  NEW AND INTERESTING WORKS.
+
+
+  +THE POETS OF AMERICA;+
+  Illustrated by One of Her Painters,
+
+With many beautiful Embellishments engraved on Steel, in an entirely new
+style. Post 8vo, cloth, 14s.; morocco elegant, 18s.
+
+
+  +TRAVELS IN SOUTH-EASTERN ASIA;+
+  Including
+  Burmah, Malaya, Siam, China, and Hindustan;
+  With a Full Account of the
+  Manners, Customs, and Commerce of the Burmese, &c. &c.
+  By HOWARD MALCOM.
+
+Two volumes post 8vo, with a Map and many Illustrations, 16s. cloth.
+
+
+  +THE LYRE; THE LAUREL;+
+  A Choice Collection of the Fugitive Poetry of the Nineteenth Century.
+  Neatly printed by Whittingham.
+
+Each 4s. cloth; 6s. 6d. morocco.
+
+
+  +TILT’S CABINET LIBRARY,+
+  Beautifully printed in foolscap 8vo.
+
+  The following are now ready:--
+
+  1. +JOHNSON’S LIVES OF THE POETS.+ Many Portraits.
+  2. +BOSWELL’S LIFE OF JOHNSON.+
+  3. +HERVEY’S MEDITATIONS.+
+  4. +GOLDSMITH’S MISCELLANEOUS WORKS.+
+
+Each volume will contain a complete work of the Author, at an extremely
+moderate price; while care will be taken that the Edition shall be neat,
+correct, and elegant. Price 6s. cloth; 8s. 6d. morocco.
+
+
+  +THE COMIC LATIN GRAMMAR;+
+  A New and Facetious Introduction to the
+  Latin Tongue.
+
+With numerous Illustrations. Crown 8vo, 8s. cloth.
+
+       *       *       *       *       *
+
+  +Illustrated Works,+
+
+  With Plates,
+  ELABORATELY COLOURED,
+  After the Original Paintings.
+
+
+1. +FINDEN’S TABLEAUX;+ or PROSE, POETRY, and ART for 1840. Embellished
+in a new and unique style, 3l. 3s.; or plain, 2l. 2s.
+
+2. +HEATH’S SHAKSPEARE GALLERY;+ consisting of Forty-five Portraits of
+the Female Characters of Shakspeare’s Plays, from Drawings by A. E.
+CHALON, R. A. STEPHANOFF, BOSTOCK, MEADOWS, &c. 3l. 13s.. 6d.; or plain,
+2l. 2s.
+
+3. +THE AGES OF FEMALE BEAUTY:+ PICTORIAL ILLUSTRATIONS OF WOMAN’S LIFE,
+from Drawings by the most eminent Artists. With Prose and Poetical
+Illustrations, by BARRY CORNWALL, Mrs. NORTON, Miss JANE PORTER, &c.
+31s. 6d.; or plain, 21s.
+
+4. +LE BYRON DES DAMES;+ or, Portraits of the principal Female
+Characters in Lord Byron’s Poems. Containing Thirty-nine highly-finished
+Plates, each illustrated by Critical Remarks and Poetical Extracts. 3l.,
+or plain, 1l. 11s. 6d.
+
+5. +FLORA’S GEMS;+ or, THE TREASURES OF THE PARTERRE. In Twelve splendid
+Groups of Flowers drawn and coloured by JAMES ANDREWS. The Plates of
+this work are all coloured in the most finished style, so as to equal
+first-rate Drawings, and are accompanied with Poetical Illustrations. By
+LOUISA TWAMLEY. 2l. 2s.
+
+6. +THE GALLERY OF THE GRACES.+ Thirty-six Beautiful Female Heads,
+illustrating celebrated Passages in Modern British Poets, with
+accompanying Extracts. 3l.; or plain, 31s. 6d.
+
+7. +THE ROMANCE OF NATURE:+ or, The Flower Seasons Illustrated. By L. A.
+TWAMLEY. 3d edition, 8vo, 31s. 6d.
+
+“This is a book of singular beauty and taste. Twenty-seven exquisite
+coloured drawings of favourite flowers are accompanied by graceful
+quotations from the various authors who have felt their ‘sweetest
+inspiration,’ and some charming original poems. Whether for tasteful
+decoration, originality, or grace, we have seen no superior to this most
+beautiful volume.” --Literary Gazette.
+
+8. +PEARLS OF THE EAST;+ or Beauties from “LALLA ROOKH.” Twelve
+large-sized Portraits of the Principal Female Characters in this
+celebrated Poem. Designed by FANNY CORBAUX. 2l. 12s. 6d.; or printed
+with tint, 31s. 6d.
+
+9. +HARDING’S PORTFOLIO.+-- Twenty-four highly-finished Views, coloured
+under Mr. Harding’s directions. Imp. 4to, 31s. 6d.; or printed with
+tint, 21s.
+
+10. +OUR WILD FLOWERS:+ a Popular and Descriptive Account of the Wild
+Flowers of England. By L. A. TWAMLEY, Author of “The Romance of Nature.”
+Many Coloured Plates, 21s.
+
+⁂ All the above works are _very handsomely bound and ornamented_ at
+the prices mentioned, and have been expressly prepared for Presents,
+Souvenirs, the Drawing-Room Table, &c.
+
+       *       *       *       *       *
+
+  POPULAR JUVENILE WORKS,
+  Just Published.
+
+
+  +THE LITTLE FORGET-ME-NOT;+
+  A Love-Token for Children.
+
+Prettily illustrated with Twelve interesting Engravings. Handsomely
+bound, 2s. 6d.; or _with Coloured Plates_, 4s.
+
+
+  Third Edition. Price 4s. neatly bound,
+  +BINGLEY’S STORIES ABOUT DOGS;+
+  Illustrative of Their Instinct, Sagacity, and Fidelity.
+  With Plates by LANDSEER.
+
+
+  Also, same Size and Price,
+
+  Bingley’s
+  STORIES ABOUT HORSES
+
+  Bingley’s
+  STORIES ABOUT INSTINCT
+
+  Bingley’s
+  TALES ABOUT BIRDS
+
+  Bingley’s
+  TALES OF SHIPWRECKS
+
+
+  +TILT’S HAND-BOOKS FOR CHILDREN;+
+
+Each containing 48 pretty Plates, price 1s. 6d. neatly bound.
+
+
+  Mrs. Child’s
+  +LITTLE PICTURE BIBLE.+
+
+  Mrs. Child’s
+  +LITTLE PICTURE TESTAMENT.+
+
+  Williams’
+  +ZOOLOGICAL GARDENS,+
+  Regent’s Park.
+
+  May’s Little
+  +BOOK OF BRITISH BIRDS.+
+
+  May’s Little
+  +BOOK OF QUADRUPEDS.+
+
+  Williams’ Surrey
+  +ZOOLOGICAL GARDENS.+
+
+  Others in Preparation.
+
+
+  +BIBLE QUADRUPEDS;+
+  The Natural History of the Animals Mentioned in Scripture.
+  With Sixteen Engravings, price 5s. neatly bound.
+
+
+  +TALES OF ENTERPRISE,+
+  For the Amusement of Youth.
+  Four Steel Plates, 2s. 6d.
+
+Price 1s. 6d. each, neatly bound,
+
+  +BOB THE TERRIER;+
+  or, Memoirs of a Dog of Knowledge.
+
+  +DICK THE PONY;+
+  Supposed to be Written by Himself.
+
+       *       *       *       *       *
+
+NEW AND POPULAR WORKS.
+
+
+  +PICTORIAL FRENCH DICTIONARY,+
+
+Illustrated with Seven Hundred and Sixty Characteristic Engravings on
+Wood. A large 8vo volume, 12s. cloth.
+
+
+  Cheap Edition.
+  +THE PILGRIMS OF THE RHINE.+
+  By Sir E. LYTTON BULWER,
+
+Author of “PELHAM,” “EUGENE ARAM,” &c. With Twenty-seven Engravings,
+from Drawings by McClise, Roberts, &c. &c.
+
+In medium 8vo, uniform with Campbell, Rogers, &c. _Nearly ready._
+
+
+  +MEANS AND ENDS;+
+
+Or SELF-TRAINING, by MISS SEDGWICK, author of “HOPE LESLIE,” &c. 18mo,
+3s. 6d. cloth.
+
+
+  +LACONICS;+
+  or the Best Words of the Best Authors.
+
+  Three volumes, embellished with Thirty small Portraits,
+  _New and very cheap Edition, price 8s., cloth._
+
+“There is a world of wit and wisdom in these three little volumes.”
+--_Lit. Gaz._
+
+
+  +ILLUSTRATIONS OF THE BIBLE.+
+  From the Monuments of Egypt, by W. C. Taylor, LL.D.,
+
+Ninety-Three Engravings, price 6s. 6d., cloth.
+
+
+  +THE REDEEMER,+
+  A Poem,
+  By WILLIAM HOWORTH, author of the “CRY OF THE POOR.”
+  Octavo, 8s., cloth.
+
+“We may venture to predict that this Poem is not doomed to sink
+unnoticed, but will be hailed with a very wide share of popularity, as
+soon as its quality is known by a religious public.” --_Court Magazine_.
+
+       *       *       *       *       *
+
+  TILT’S MINIATURE CLASSICS.
+  A Choice Collection of the Works of the Best Authors, Complete,
+  +IN HANDSOME SATIN-WOOD BOOK-CASE,+
+  _With Glass Door, and Lock and Key._
+
+Each volume of this admirable series of Standard Works is printed on the
+finest paper, and is illustrated with an elegant Frontispiece. The
+binding is executed in a superior manner, very tastefully ornamented.
+
+  The series, bound in embossed cloth         £5 10s.
+  Ditto       ditto in silk                    8  0
+  Ditto             in morocco, very elegant  11  0
+
+  +THE BOOK-CASE ALONE, 24s.+
+
+Any work may be purchased separately. The prices per volume are:--
+
+  Ornamented cloth, gilt edges  1s. 6d.
+  Prettily bound in silk        2     0
+  Very handsome in Morocco      3     0
+
+_Those to which a star is prefixed, being much thicker than the others,
+are Sixpence per Volume extra._
+
+    BACON’S ESSAYS, Moral and Economical.
+    BEATTIE’S MINSTREL, a Poem.
+    CHANNING’S ESSAYS. 2 vols.
+    CHAPONE’S LETTERS ON THE MIND.
+    COLERIDGE’S ANCIENT MARINER, &c.
+    COTTIN’S ELIZABETH, OR THE EXILES OF SIBERIA.
+  * COWPER’S POEMS. 2 vols.
+    FALCONER’S SHIPWRECK.
+    FENELON’S REFLECTIONS AND THOUGHTS.
+  * GEMS OF ANECDOTE. Original and Selected.
+  * GEMS OF WIT AND HUMOUR.
+  * GEMS FROM AMERICAN POETS.
+  * GEMS OF AMERICAN WIT AND ANECDOTE.
+  * GEMS OF BRITISH POETS--Chaucer to Goldsmith.
+  * ---------------------- Falconer to Campbell.
+  * ---------------------- Living Authors.
+  * ---------------------- Sacred.
+    GILES’S GUIDE TO DOMESTIC HAPPINESS.
+  * GOLDSMITH’S VICAR OF WAKEFIELD.
+    GOLDSMITH’S ESSAYS.
+    GOLDSMITH’S POETICAL WORKS.
+    GRAY’S POETICAL WORKS.
+    GREGORY’S LEGACY TO HIS DAUGHTERS.
+  * HAMILTON’S COTTAGERS OF GLENBURNIE.
+  * HAMILTON’S LETTERS ON EDUCATION. 2 vols.
+    LAMB’S TALES FROM SHAKSPEARE. 2 vols.
+    ------ ROSAMUND GRAY, a Tale.
+  * IRVING’S ESSAYS AND SKETCHES.
+    JOHNSON’S RASSELAS, Prince of Abyssinia.
+    LEWIS’S TALES OF WONDER.
+    MASON’S TREATISE ON SELF KNOWLEDGE.
+    MILTON’S PARADISE LOST. 2 vols.
+  * MORE’S CŒLEBS IN SEARCH OF A WIFE. 2 vols.
+    MORE’S PRACTICAL PIETY. 2 vols.
+    PURE GOLD FROM THE RIVERS OF WISDOM.
+  * SACRED HARP.-- A Collection of Sacred Poetry.
+    ST. PIERRE’S PAUL AND VIRGINIA.
+    SCOTT’S BALLADS AND LYRICAL PIECES.
+  * SCOTT’S LADY OF THE LAKE, a Poem.
+    SCOTT’S LAY OF THE LAST MINSTREL.
+  * SCOTT’S MARMION, a Tale of Flodden Field.
+  * SHAKSPEARE’S WORKS. 8 vols., 53 Plates.
+  * GEMS FROM SHAKSPEARE.
+    THOMSON’S SEASONS.
+    TALBOT’S REFLECTIONS AND ESSAYS.
+    TOKEN OF AFFECTION.
+    ---- OF FRIENDSHIP.
+    ---- OF REMEMBRANCE.
+    WALTON’S COMPLETE ANGLER. 2 vols.
+    WARWICK’S SPARE MINUTES.
+    YOUNG’S NIGHT THOUGHTS. 2 vols.
+
+_Morocco Case, with Glass Door, holding Ten or Twelve Volumes, neatly
+ornamented, Price 6s._
+
+  As there are several imitations of this beautiful series,
+  it is necessary to specify
+
+  “TILT’S EDITION.”
+
+
+  Also, Uniform In Size,
+  +SCOTT’S POETICAL WORKS,+
+  Comprising
+
+LADY OF THE LAKE, MARMION, LAY OF THE LAST MINSTREL, EVE OF ST. JOHN,
+GLENFINLAS, and other romantic Ballads; very tastefully bound in Three
+miniature Volumes,
+
+  With Illuminated Title-Pages.
+  Cloth, 7s. 6d.; silk, 9s.; morocco, 12s.
+
+       *       *       *       *       *
+
+  GEORGE CRUIKSHANK’S WORKS.
+
+
+  +THE COMIC ALMANACK+
+
+For Six Years. Neatly bound, in Two vols, 17s. Containing Seventy-two
+large Plates on steel and many hundred Woodcuts.
+
+⁂ Any year separately may be had, price 2s. 6d.
+
+
+  +THE LOVING BALLAD OF LORD BATEMAN,+
+  With Twelve Humorous Plates, neatly bound in cloth, Price 2s.
+
+
+  +MY SKETCH BOOK;+
+  Containing Two Hundred Groups. Cloth, 15s. plain; 21s. coloured.
+
+⁂ The Work may also be had in Numbers, each containing Four Sheets
+of Plates, 2s. 6d. plain; 3s. 6d. coloured. --Nine Numbers have
+appeared.
+
+
+  +MORE HINTS ON ETIQUETTE,+
+  With Humorous Cuts. 2s. 6d.
+
+
+  +THE COMIC ALPHABET:+
+  24 Plates. Done up on a novel and ingenious plan.
+  2s. 6d. plain; 4s. coloured.
+
+
+  +SCRAPS AND SKETCHES:+
+  In Four Parts.
+
+  +ILLUSTRATIONS OF PHRENOLOGY.+
+  +ILLUSTRATIONS OF TIME.+
+  8s. each, plain; 12s. coloured.
+
+
+  +DEMONOLOGY AND WITCHCRAFT;+
+  In Twelve Plates. 2s. sewed.
+
+
+  +ILLUSTRATIONS OF THE ENGLISH NOVELISTS;+
+  Containing Humorous Scenes from Humphrey Clinker,
+  Roderick Random, Peregrine Pickle, Tom Jones,
+  Joseph Andrews, Vicar of Wakefield, &c. &c.
+  Forty-one Plates, with Descriptive Extracts. 7s. cloth.
+
+
+  +THE BEE AND THE WASP;+
+  A Comic Tale. Four Plates, 1s.
+
+
+  +HOOD’S EPPING HUNT.+
+  Six Engravings, by G. CRUIKSHANK. New and Cheap Edition, price 1s. 6d.
+
+
+  +COWPER’S JOHN GILPIN;+
+  With Six Engravings. Price 1s.
+
+       *       *       *       *       *
+
+USEFUL WORKS.
+
+
+  In a handsome volume, foolscap 8vo, price 5s.,
+  +THE YEAR-BOOK OF FACTS, 1840.+
+
+Exhibiting the most important Discoveries and Improvements in Science
+and Art of the present Year, in
+
+  Mechanics.
+  Natural Philosophy.
+  Electricity.
+  Chemistry.
+  Zoology.
+  Botany.
+  Geology.
+  Mineralogy.
+  Astronomy.
+  Meteorology.
+  Geography.
+  etc. etc.
+
+  By the Editor of “The Arcana of Science.”
+
+“To bring _Facts_ together, so as to enable us to grasp with new and
+greater generalisations.” --_Professor Sedgwick_.
+
+  (_Will appear early in January._)
+
+
+  +GLOSSARY OF ARCHITECTURE;+
+
+Containing Explanations of the Terms used in Grecian, Roman, Italian,
+and Gothic Architecture. Exemplified by many hundred Woodcuts. Third
+edition, greatly enlarged.
+
+
+  Stuart’s Athens.
+  +THE ANTIQUITIES OF ATHENS,+
+  and Other Monuments of Greece;
+
+Abridged from the great work of STUART and REVETT, with accurately
+reduced copies of Seventy of the Plates, forming a valuable Introduction
+to Grecian Architecture, price 10s. 6d. bound in cloth.
+
+
+  +ETIQUETTE FOR THE LADIES;+
+
+Eighty Maxims on Dress, Manners, and Accomplishments. Seventeenth
+Edition. Price 1s. cloth, lettered in gold.
+
+
+  +ETIQUETTE FOR GENTLEMEN;+
+
+With Hints on the Art of Conversation. Tenth Edition. Price 1s. cloth,
+lettered.
+
+
+  +THE HAND-BOOK OF PHRENOLOGY;+
+
+Familiarly explaining its Principles, with a Map of the Organs, and
+Instructions on the best mode of Study. Price 1s. cloth.
+
+
+  +700 DOMESTIC HINTS+
+  in Every Branch of Family Management.
+
+By A LADY. Foolscap 8vo, 2s. 6d. cloth.
+
+
+  +A TREATISE ON DIET AND REGIMEN;+
+
+Intended as a Text Book for the Invalid and Dyspeptic. By W. H.
+ROBERTSON, M.D. New edition, much enlarged and improved, 4s. 6d. cloth.
+
+“As a family book. Dr. Robertson’s ‘Treatise’ is unequalled in the
+language.”
+
+       *       *       *       *       *
+
+  Valuable Books,
+  AT GREATLY REDUCED PRICES.
+
+
+  +WINKLES’S BRITISH CATHEDRALS.+
+  Architectural & Picturesque Illustrations
+  of the Cathedral Churches of England and Wales,
+
+From Drawings by ROBERT GARLAND, Architect, with descriptions by THOMAS
+MOULE; containing One Hundred and Twenty Plates, beautifully engraved by
+B. WINKLES. In two handsome volumes, imperial 8vo, very neatly bound in
+cloth.
+
+  Originally published at 2l. 2s.; reduced to 24s.
+  Royal 4to, India Proofs (very few left), published at 4l. 4s.;
+  reduced to 48s.
+
+
+  +WINKLES’S FRENCH CATHEDRALS.+
+  Illustrations of the Principal Cathedrals of France,
+
+From Drawings by R. GARLAND, with Historical and Descriptive accounts,
+containing Fifty large 4to Plates, engraved by WINKLES and others. In a
+handsome volume, bound in cloth.
+
+  Originally published at 1l. 10s.; reduced to 21s.
+  Royal 4to India Proofs, published at 3l.; reduced to 42s.
+
+
+  +MUSEUM OF PAINTING AND SCULPTURE;+
+
+A collection of the principal Pictures, Statues, and Bas Reliefs in the
+Public and Private Galleries of Europe, drawn and engraved by REVEIL,
+with Critical and Historical Notices. This splendid work, which contains
+engravings of all the chief works in the Italian, German, Dutch, French,
+and English Schools, includes TWELVE HUNDRED PLATES, and is an
+indispensable _vade mecum_ to the Artist or Collector. In seventeen
+handsome volumes small 8vo, neatly bound, with gilt tops.
+
+  Originally published at 17l. 17s.; reduced to 6l. 6s.
+
+
+  +THE ENGLISH SCHOOL;+
+
+A series of Engravings of the most admired works in Painting and
+Sculpture, executed by British Artists from the days of HOGARTH; with
+descriptive and explanatory Notices, by G. HAMILTON. In four vols, small
+8vo, containing nearly THREE HUNDRED PLATES, neatly bound, with gilt
+tops.
+
+  Originally published at 3l. 12s.; reduced to 1l. 16s.
+
+
+  +WATER-COLOUR GALLERY;+
+
+Containing large and highly-finished Engravings of the most
+distinguished Painters in Water-colours; including PROUT, STEPHANOFF,
+COX, DEWINT, HARDING, CATTERMOLE, FIELDING, &c. &c. Eighteen Plates,
+imperial 4to, cloth.
+
+  Originally published at 3l. 3s.; reduced to 21s.
+
+
+  +ILLUSTRATIONS OF SCOTT’S WORKS.+
+
+  1.--+Landscape Illustrations of the Waverley Novels.+
+
+Eighty fine Views of real Scenes described in these popular Tales,
+engraved by FINDEN, &c., from Drawings by ROBERTS, HARDING, STANFIELD,
+&c. &c. Two handsome volumes super-royal 8vo, originally published at
+4l. 4s.; or India Proofs, royal 4to, 7l. 7s.
+
+  Now reduced to 28s. in 8vo, and 3l. 3s. in 4to.
+
+  2.--+Portrait Illustrations of the Same.+
+
+Forty Plates from Drawings by PARRIS, INSKIPP, LANDSEER, &c. Super-royal
+8vo, published at 1l. 13s.; India Proofs, royal 4to, 3l.
+
+  Now reduced to 14s. in 8vo, and 31s. 6d. in 4to.
+
+  3.--+Landscape Illustrations of the Poems.+
+
+Forty Plates from Drawings by TURNER, CALCOTT, FIELDING, &c; with ample
+descriptive Polices. In a handsome volume super-royal 8vo, published at
+30s.; India Proofs royal 4to, 2l. 8s.
+
+  Now reduced to 14s. in 8vo, and 31s. 6d. in 4to.
+
+⁂ The complete Series of these valuable Illustrations are kept,
+_very handsomely and appropriately bound in morocco, price only Four
+Guineas_; forming one of the cheapest and most elegant books ever
+offered.
+
+
+  +LIBRARY OF ANECDOTE;+
+
+Containing Remarkable Sayings, Efforts of Wit and Humour, Eccentricities
+of Conduct, Private Reminiscences of Celebrated Persons, &c. &c. With
+five Engravings, small 8vo, cloth.
+
+  Published at 5s.; reduced to 2s. 6d.
+
+
+  +MARTIN’S ILLUSTRATIONS OF THE BIBLE.+
+
+Consisting of Twenty large and magnificent Plates, designed and engraved
+by JOHN MARTIN, author of “Belshazzar’s Feast,” &c. In a large folio
+volume, cloth.
+
+  Originally published at 10l. 10s.; reduced to 3l. 3s.
+  Proof impressions (very few left), published at 21s.;
+  reduced to 4s. 4d.
+
+
+  +MILTON’S PARADISE LOST;+
+  Illustrated by John Martin.
+
+Imperial 8vo. Twenty large mezzotinto Plates, published at Six Guineas,
+reduced to 2l. 2s. cloth; 2l. 15s. very neat, in morocco.
+
+
+  +SINGER’S EDITION OF SHAKSPEARE,+
+
+Beautifully printed by Whittingham, with a Life of the Poet, and
+illustrative Notes. Embellished with many Engravings by STOTHARD,
+HARVEY, &c. In ten vols. small 8vo, neatly bound in cloth, gilt.
+
+  Originally published at 4l. 4s.; reduced to 2l.
+
+
+  +WILD’S ENGLISH CATHEDRALS;+
+
+Twelve select Examples of the Ecclesiastical Architecture of the Middle
+Ages, beautifully coloured after the Original Drawings by Charles Wild,
+Esq. Each Plate is mounted on Tinted Card-board, in imitation of the
+original.
+
+  Originally published at 12l. 12s.; reduced to 5l. 5s.
+
+
+  +LEKEUX’S
+  ILLUSTRATIONS OF NATURAL HISTORY;+
+
+Containing One Hundred and Fourteen Engravings, with descriptive
+accounts of the most popular and interesting Genera and Species of the
+Animal World, drawn by LANDSEER, LEKEUX, &c. &c. Large 8vo, bound in
+cloth.
+
+  Originally published at 1l. 1s.; reduced to 9s. 6d.
+
+
+  +PUCKLE’S CLUB;
+  OR, A GREY CAP FOR A GREEN HEAD.+
+
+  Many first-rate Wood Engravings, cloth.
+  Published at 7s. 6d.; reduced to 3s. 6d.
+
+⁂ This very curious book is illustrated with numerous and
+characteristic designs by the celebrated Thurston. It was published
+originally in 4to, at One Guinea. --_See Jackson on Wood Engraving._
+
+
+  +ADDISON’S ESSAYS;+
+  from The Spectator.
+
+  Two neat volumes, cloth. Published at 8s.; reduced to 4s. 6d.
+
+
+  +CARICATURE SCRAP-BOOK,+
+  by H. Heath.
+
+Containing many Hundred laughable and amusing Groups, illustrative of
+Life and Character, on Fifty sheets imperial 4to, neatly and strongly
+bound; forming a never-failing source of amusement for Visitors.
+
+  Published at 28s.; reduced to 18s.
+
+
+  CHARLES TILT, 86, FLEET STREET.
+
+  Bradbury & Evans,]  [Printers, Whitefriars
+
+
+       *       *       *       *       *
+           *       *       *       *
+       *       *       *       *       *
+
+
+Errors and Inconsistencies (noted by transcriber):
+
+_General Notes and Non-Errors:_
+
+The _Eton Grammar_ began in the first half of the 16th century as the
+_Brevissima Institutio_, later _Rudimenta Grammatices_, by William Lily,
+Lilly or Lilye (d. 1522). A 1758 revision acquired the name _Eton Latin
+Grammar_. The headers _Propria quae maribus_ and _As in Præsenti_ are
+from this book, as is the line “Cum multis aliis quæ nunc perscribere
+longum est”.
+
+  If than _is_, _er_, and _or_, it hath many more enders
+    [_i.e. “many more than...”_]
+  qui, who or what, and cujas, of what country.
+    [_uncommon word: not a misprint for “cujus”_]
+  always recals this beautiful line of Ovid’s  [_archaic spelling_]
+  some well-disposed sailor in a melodrame  [_archaic spelling_]
+  Malo a cive spoliari quam ab hoste venire.
+    [_that is, “vēnire” with long “e”_]
+  Having yeaned, she left the hope of the flock  [_archaic word_]
+  OF THE QUANTITY OF THE FIRST SYLLABLE.  [_“first” = non-final_]
+
+  īngens, great, Ājax, the name of a hero
+    [_Both syllables in “Ajax” are long. Here, the “j” is to be
+    pronounced as a “double letter” (technically an affricate) as in
+    English._]
+  alterĭus has always a short _i_ and alīus a long _i_
+    [_The “i” in “alterius” is conventionally shortened in poetry to
+    accommodate the metre._]
+
+
+_Introduction_
+
+  it shall be candid.  [is shall]
+  writing in conformity with  [comformity]
+  And more especially is praise due  [epecially]
+
+_Grammar_
+
+  ... venenum, poison; are examples of substantives  [posion]
+  The butcher lays thee low,  [the]
+  Thus the Comic Latin Grammar is lepidissimus, funniest  [lipidissimus]
+  it has not _different persons_, as tædet, it irketh  [tædat]
+  the magging or talkative mood
+    [_probably error for “nagging”_]
+  Amavissem, I should have loved  [Amivissem]
+  Amandum, to love, if you ’re doom’d, have a care.  [you ’r]
+  Ab, ad, ante, &c. prepositions.
+    [_printed as shown: missing “are”?_]
+  From neco, necui, and mico, word
+    [_printed as shown: missing “a” (“a word”)?_]
+  And (which perhaps is the most pursuasive argument of all)
+    [_spelling unchanged_]
+  illum librum quæ Latina Grammatices et Comica dicitur
+    [_printed as shown: superfluous “et”?_]
+  THE CONSTRUCTION OF NOUNS ADJECTIVE.  [ADJECTVE]
+  it was suggested by the well-known quality  [well-know]
+  the discoveries of their countryman Franklin  [countrymen]
+  Arbor gummifera, alta mille et quingentis passibus  [gumnifera]
+  Adjectives and substantives govern an ablative case  [subsantives]
+  Oft in slumber’s deep recesses,  [slumbers]
+  By so much the ugliest, by how much the wisest  [must]
+  whereas an imposition is a task  [as imposition]
+  each other’s charms and accomplishments  [others]
+  the pledges were placed  [where]
+  Instar montis equum divina Palladis arte  [Paladis]
+  they build a horse as big as a mountain.  [house]
+
+  nāsōquĕ cruēntō  [nāsōqŭe]
+  Clāvĭgĕr Ālcīdēs, māgnūm Jŏvĭs īncrēmēntūm.  [Clāvigĕr]
+  Rēs ēst īnfēlīx, plēnăquĕ frāudĭs ămōr  [īnfelīx]
+  In Latin mark, that every dipthong
+    [_normally spelled “diphthong”, but may be intentional
+    for rhyme with “whip-thong”_]
+  And so are n’s that do delight ĭn  [dĕlight in]
+  Short in the final _er_ we state ’em,  [state em,]
+  Long unto all but asses’ ears,  [asses ears,]
+  And quĭs, and bĭs, which last is no noun  [qŭis]
+
+_List of Etchings_
+
+Here and in the Advertising section, a facing pair of pages was damaged.
+Missing text was supplied from elsewhere in the book. The missing parts
+are shown in {braces}.
+
+  2. Schoolmaster beating a drum, and boys singing in ch{orus  22}
+  3. Ingenuas pugni didicisse fideliter artes (fight)  {52}
+
+  Coe, Printer, 27, Old Change, St. {Paul’s.}
+
+_Advertising_
+
+  {MAR}MION;
+  {A TALE OF FL}ODDEN FIELD.
+  {En}gravings.
+
+  ... FUGITIVE POETRY OF THE NINETEENTH CENTURY.
+    [NINETEETH]
+  By Sir E. LYTTON BULWER [_text unchanged_]
+  to grasp with new and gr{eater} generalisations
+    [_damaged text reconstructed_]
+
+_Minor Errors: Punctuation, Mechanics_
+
+  the laughter-loving spirit of his age.  [age,]
+  the question, whose, or whereof; as, Whose breeches?  [as Whose]
+  --Third, is. Vulpes, a fox.  [is, Vulpes]
+  or tarnation ’cute  [tarnation’ cute]
+  Docillimus, most docile.-- Man Friday.  [docile. Man]
+  magis, _more_, and maximè, _most_.  [_most_,]
+  Amabo, I shall or will love. Inebriabor  [will love Inebriabor]
+  ... Thou dancest,  [Thou dancest.]
+  ... Patricii, gentlemen,  [gentlemen.]
+  ... Doctrinam, learning,  [learning.]
+  Moneo, mones, monet,  [monet.]
+  _Plu._ Regimus, regitis, re_gunt_
+    [_italicized as shown: error for reg_unt_?_]
+  Heu! Lack-a-day!-- Hem! Brute, Hollo! Brutus.
+    [Lack-a-day! Hem!]
+  “Sir,” said the great Dr. Johnson  [_invisible . after “Dr”_]
+  October an instance supplies  [_e in “supplies” invisible_]
+  +SYNTAXIS,+ _or the Construction of Grammar._  [+SYNTAXIS.+]
+  quod, or ut, being left out, as  [out as,]
+  the natural history of school-boys  [_anomalous hyphen unchanged_]
+  suus, his own (Cocknicè his’n),  [_close parenthesis missing_]
+  trium, of three, &c.,  [&c.]
+  Of these juvo, lædo, delecto, and some others  [lædo delecto]
+  Puellæ, aliæ aliis prælucere student  [_comma in original_]
+  the verb est being added.  [added,]
+  “wisdom” they say “is in the _wig_.”  [_final ” missing_]
+  “deep _in_ the windingths _of_ a whale,”  [_open quote missing_]
+  guilty of a great _waste_-- of time;  [of time;”]
+  Ut, for, postquam, after that    [postquam after that]
+  quanquam, although, utpote, forasmuch as  [although utpote]
+  Isaaculus trans maria deportatus est:  [_final : missing_]
+  O alaudas! Oh larks!  [O alaudas, Oh larks!]
+  in a similar manner?  [manner.]
+  Synalœpha, Ecthlipsis, Synæresis, Diæresis  [Ecthlipsis Synæresis]
+  dandies and theatrical artists,  [artists.]
+  īngens, great, Ājax, the name of a hero  [great Ājax]
+  Ĭn, tamĕn, attamĕn, and ăn  [In̆, tamĕn attamĕn]
+  Exĭn’ and subĭn’, deĭn’, proĭn’  [proĭ’n]
+  Because its genitive’s Samnītis,  [Samnītis.]
+
+
+
+
+
+End of Project Gutenberg's The Comic Latin Grammar, by Percival Leigh
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE COMIC LATIN GRAMMAR ***
+
+***** This file should be named 29456-0.txt or 29456-0.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/9/4/5/29456/
+
+Produced by Louise Hope
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/29456-0.zip b/29456-0.zip
new file mode 100644
index 0000000..c8c59ec
--- /dev/null
+++ b/29456-0.zip
diff --git a/29456-8.txt b/29456-8.txt
new file mode 100644
index 0000000..cabd9e6
--- /dev/null
+++ b/29456-8.txt
@@ -0,0 +1,5744 @@
+The Project Gutenberg EBook of The Comic Latin Grammar, by Percival Leigh
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Comic Latin Grammar
+       A new and facetious introduction to the Latin tongue
+
+Author: Percival Leigh
+
+Illustrator: John Leech
+
+Release Date: July 19, 2009 [EBook #29456]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE COMIC LATIN GRAMMAR ***
+
+
+
+
+Produced by Louise Hope
+
+
+
+
+[Transcriber's Note:
+
+This text is intended for users whose text readers cannot use the "real"
+(Unicode/UTF-8) version. In the Latin text, the "oe" diphthong is shown
+as [oe] to distinguish it from the two-vowel sequence "oe" ("coeuntia").
+The asterism used in the advertising section is shown as ***.
+
+The Prosody section uses letters with macrons and breves ("long" and
+"short" marks). In _this section only_, vowels with macron are shown
+as CAPITALS, while vowels with breve are shown in {braces}. Long vowels
+that are already capitalized (very rare) are shown in [brackets].
+
+This book was written in 1840. It includes material that may be
+offensive to some readers. Students should be cautioned that the book
+predates "New Style" (classical) pronunciation. Note in particular
+the pronunciation of "j" ("Never jam today") and of all vowels ("Yes,
+you Can-u-leia").
+
+In the main text, boldface type is shown in +marks+. In the advertising
+section at the end, the same +marks+ represent sans-serif type.
+
+Typographical errors are listed at the end of the text, along with some
+general notes.]
+
+
+
+
+    [Frontispiece:
+    "Painted and Engraved by John Leech, R.C.A."]
+
+
+
+
+                   THE COMIC
+
+                 LATIN GRAMMAR;
+
+        A new and facetious Introduction
+
+                     to the
+
+                  LATIN TONGUE.
+
+          With Numerous Illustrations.
+
+
+              The Second Edition.
+
+
+                    London:
+          CHARLES TILT, FLEET STREET.
+                    MDCCCXL.
+
+
+
+
+  Coe, Printer, 27, Old Change, St. Paul's.
+
+
+
+
+  ADVERTISEMENT
+
+  TO THE SECOND EDITION.
+
+
+The Author of this little work cannot allow a second edition of it to go
+forth to the world, unaccompanied by a few words of apology, he being
+desirous of imitating, in every respect, the example of distinguished
+writers.
+
+He begs that so much as the consciousness of being answerable for a
+great deal of nonsense, usually prompts a man to say, in the hope of
+disarming criticism, may be considered to have been said already. But he
+particularly requests that the want of additions to his book may be
+excused; and pleads, in arrest of judgment, his numerous and absorbing
+avocations.
+
+Wishing to atone as much as possible for this deficiency, and prevailed
+upon by the importunity of his friends, he has allowed a portrait of
+himself, by that eminent artist, Mr. John Leech, to whom he is indebted
+for the embellishments, and very probably for the sale of the book, to
+be presented, facing the title-page, to the public.
+
+Here again he has been influenced by the wish to comply with the
+requisitions of custom, and the disinclination to appear odd, whimsical,
+or peculiar.
+
+On the admirable sketch itself, bare justice requires that he should
+speak somewhat in detail. The likeness he is told, he fears by too
+partial admirers, is excellent. The principle on which it has been
+executed, that of investing with an ideal magnitude, the proportions of
+nature, is plainly, from what we observe in heroic poetry, painting, and
+sculpture, the soul itself of the superhuman and sublime. Of the
+justness of the metaphorical compliment implied in the delineation of
+the head, it is not for the author to speak; of its exquisiteness and
+delicacy, his sense is too strong for expression. The habitual
+pensiveness of the elevated eyebrows, mingled with the momentary gaiety
+of the rest of the countenance, is one of the most successful points in
+the picture, and is as true to nature as it is indicative of art.
+
+The Author's tailor, though there are certain reasons why his name
+should not appear in print, desires to express his obligation to the
+talented artist for the very favourable impression which, without
+prejudice to truth, has been given to the public of his skill. The ease
+so conspicuous in the management of the surtout, and the thought so
+remarkable in the treatment of the trousers, fully warrant his
+admiration and gratitude.
+
+Too great praise cannot be bestowed on the boots, considered with
+reference to art, though in this respect the Author is quite sensible
+that both himself and the maker of their originals have been greatly
+flattered. He is also perfectly aware that there is a degree of
+neatness, elegance, and spirit in the tie of the cravat, to which he has
+in reality never yet been able to attain.
+
+In conclusion, he is much gratified by the taste displayed in furnishing
+him with so handsome a walking stick; and he assures all whom it may
+concern, that the hint thus bestowed will not be lost upon him; for he
+intends immediately to relinquish the large oaken cudgel which he has
+hitherto been accustomed to carry, and to appear, in every respect, to
+the present generation, such as he will descend to posterity.
+
+
+
+
+  PREFACE.
+
+
+A great book, says an old proverb, is a great evil; and a great preface,
+says a new one, is a great bore. It is not, therefore, our intention to
+expatiate largely on the present occasion; especially since a long
+discourse prefixed to a small volume, is like a forty-eight pounder at
+the door of a pig-stye. We should as soon think of erecting the Nelson
+Memorial in front of Buckingham Palace. Indeed, were it not necessary to
+show some kind of respect to fashion, we should hasten at once into the
+midst of things, instead of trespassing on the patience of our readers,
+and possibly, trifling with their time. We should not like to be kept
+waiting at a Lord Mayor's feast by a long description of the bill of
+fare. Our preface, however, shall at least have the merit of novelty;
+it shall be candid.
+
+This book, like the razors in Dr. Wolcot's story, is made to _sell_.
+This last word has a rather equivocal meaning-- but we scorn to blot,
+otherwise we should say to be sold. An article offered for sale may,
+nevertheless, be worth buying; and it is hoped that the resemblance
+between the aforesaid razors, and this our production, does not extend
+to the respective _sharpness_ of the commodities. The razors proved
+scarcely worth a farthing to the clown who bought them for
+eighteen-pence, and were fit to shave nothing but the beard of an
+oyster. We trust that the "Comic Latin Grammar" will be found to _cut_,
+now and then, rather better, at least, than that comes to; and that it
+will reward the purchaser, at any rate, with his pennyworth for his
+penny, by its genuine bon� fide contents. There are many works, the
+pages of which contain a good deal of useful matter-- sometimes in the
+shape of an ounce of tea or a pound of butter: we venture to indulge the
+expectation, that these latter additions to the value of our own, will
+be considered unnecessary.
+
+Perhaps we should have adopted the title of "Latin in sport made
+learning in earnest"-- which would give a tolerable idea of the nature
+of our undertaking. The doctrine, it is true, may bear the same relation
+to the lighter matter, that the bread in Falstaff's private account did
+to the liquor; though if we have given our reader "a�deal of sack," we
+wish it may not be altogether "intolerable." Latin, however, is a great
+deal less like bread, to most boys, than it is like physic; especially
+_antimony_, _ipecacuanha_, and similar medicines. It ought, therefore,
+to be given in something palatable, and capable of causing it to be
+retained by the-- mind-- in what physicians call a pleasant vehicle.
+This we have endeavoured to invent-- and if we have disguised the
+flavour of the drugs without destroying their virtues, we shall have
+entirely accomplished our design. There are a few particularly nasty
+pills, draughts, and boluses, which we could find no means of
+sweetening; and with which, on that account, we have not attempted to
+meddle. For these omissions we must request some little indulgence. Our
+performance is confessedly imperfect, but be it remembered, that
+
+  "Men rather do their broken weapons use,
+  Than their bare hands."
+
+The "Comic Latin Grammar" can, certainly, never be called an
+_imposition_, as another Latin Grammar frequently is. We remember having
+had the whole of it to learn at school, besides being-- no matter what--
+for pinning a cracker to the master's coat-tail. The above hint is
+worthy the attention of boys; nor will the following, probably, be
+thrown away upon school-masters, particularly such as reside in the
+north of England. "Laugh and grow fat," is an ancient and a true maxim.
+Now, will not the "Comic Latin Grammar," (like Scotch marmalade and
+Yarmouth bloaters) form a "desirable addition" to the breakfast of the
+young gentlemen entrusted to their care? We dare not say much of its
+superseding the use of the cane, as we hold all old established customs
+in the utmost reverence and respect; and, besides, have no wish to
+deprive any one of innocent amusement. We would only suggest, that
+flagellation is now _sometimes_ necessary, and that whatever tends to
+render it _optional_ may, now and then, save trouble.
+
+One word in conclusion. The march of intellect is not confined to the
+male sex; the fairer part of the creation are now augmenting by their
+numbers, and adorning by their countenance, the scientific and literary
+train. But the path of learning is sometimes too rugged for their tender
+feet. We pretend not to strew it for them with roses; we are not
+poetically given-- nay, we cannot even promise them a Brussels carpet;--
+but if a plain Kidderminster will serve their turn, we here display one
+for their accommodation, that thus smoothly and pleasantly they may make
+their safe ascent to the temple of Minerva and the Muses.
+
+
+
+
+  INTRODUCTION.
+
+
+Very little introductory matter would probably be sufficient to place
+the rising generation on terms of the most perfect familiarity with a
+"Comic Latin Grammar." To the elder and middle-aged portion of the
+community, however, the very notion of such a work may seem in the
+highest degree preposterous; if not indicative of a degree of
+presumptuous irreverence on the part of the author little short of
+literary high treason, if not commensurate, in point of moral
+delinquency, with the same crime as defined by the common law of
+England. It is out of consideration for the praiseworthy, though perhaps
+erroneous, feelings of such respectable personages, that we proceed to
+make the following preliminary remarks; wherein it will be our object,
+by demonstrating the necessity which exists for such a publication as
+the present, to exonerate ourselves from all blame on the score of its
+production.
+
+When we consider the progress of civilization and refinement, we find
+that all ages have in turn been characterized by some one distinctive
+peculiarity or other. To say nothing of the Golden Age, the Silver Age,
+the Iron Age, and so forth, which, with all possible respect for the
+poets, can scarcely be said to be worth much in a grave argument; it is
+quite clear that the Augustan Age, the Middle Ages, the Elizabethan Age,
+and the Age of Queen Anne, were all of them very different, one from the
+other, in regard to the peculiar tone of feeling which distinguished the
+public mind in each of them. In like manner, the present (which will
+hereafter probably be called the Victorian Age) is very unlike all that
+have preceded it. It may be termed the Age of Comicality. Not but that
+some traces of comic feeling, inherent as it is in the very nature of
+man, have not at all times been more or less observable; but it is only
+of late years that the ludicrous capabilities of the human mind have
+expanded in their fullest vigour. Comicality has heretofore been evinced
+only, as it were, in isolated sparks and flashes, instead of that full
+blaze of meridian splendour which now pervades the entire mechanism of
+society, and illuminates all the transactions of life. Thus in the
+Golden Age, there was something very comical in human creatures eating
+acorns, like pigs. The Augustan Age was comical enough, if we may trust
+some of Horace's satires. Much comicality was displayed in the Middle
+Ages, in the proceedings of the knights errant, the doings in Palestine,
+and the mode adopted by the priests of inculcating religion on the minds
+of the people. In the Elizabethan Age several comic incidents occurred
+at court; particularly when any of the courtiers were guilty of personal
+impertinence to their virgin queen. It must have been very comical to
+see Shakspere holding stirrups like an ostler, or performing the part of
+the Ghost, in his own play of Hamlet. The dress worn in Queen Anne's
+time, and that of the first Georges, was very comical indeed-- but
+enough of this. Our concern is with the present time-- the funniest
+epoch, beyond all comparison, in the history of the world. Some few
+years back, the minds of nations, convulsed with the great political
+revolutions then taking place, were in a mood by no means apt to be
+gratified by whimsicality and merriment. Furthermore, certain poets of
+the lack-a-daisical school, such as Byron, Shelley, Goethe, and others,
+writing in conformity with the prevailing taste of the day, threw a wet
+blanket on the spirits of men, which all but extinguished the feeble
+embers of mirth, upon which 'shocking events' had exercised so
+pernicious an influence already: or, to change a vulgar for a scientific
+metaphor, they placed such a pressure of sentimental atmosphere on the
+common stock of laughing gas, as to convert it into a mere fluid, and
+almost to solidify it altogether. It is now exhibiting the amazing
+amount of expansive force, which under favourable circumstances it is
+capable of exerting. Many causes have combined to bring about the happy
+state of things under which we now live. Amongst these, the exertions of
+individuals hold the first rank; of whom the veteran Liston, the late
+lamented Mr. John Reeve, the facetious Keeley, and the inimitable
+Buckstone, are deserving of our highest commendation. And more
+especially is praise due to the talented author of the Pickwick Papers,
+whose genius has convulsed the sides of thousands, has revolutionized
+the republic of letters (making, no doubt, a�great many _sovereigns_)
+and has become, as it were, a�mirror, which will reflect to all
+posterity the laughter-loving spirit of his age.
+
+But it is not (as we have before remarked) in literature alone, that the
+tendency to the ludicrous is shewn. In many recent scientific
+speculations it is strikingly and abundantly obvious-- some of those on
+geology may be quoted as examples. The offspring of the sciences-- those
+pledges of affection which they present to art, almost all of them, come
+into the world with a caricature-like smirk upon their faces.
+Air-balloons and rail-roads have something funny about them; and
+photogenic drawings are, to say the least, very curious. The learned
+professions are all tinged with drollery. The law is confessedly
+ridiculous from beginning to end, and what is very strange, is that no
+one should attempt to make it otherwise. Medicine is comical-- or rather
+tragi-comical-- the disparity of opinion among its professors, the
+chaotic state of its principles, and the conduct of its students being
+considered. No one can deny that the distribution of church property is
+somewhat _odd_, or can assert that the doings-- at least of those who
+are destined for the clerical office, are now and then of rather a
+strange character. Political meetings are very laughable things, when we
+reflect upon the strong asseverations of patriotism there made and
+believed. The wisdom of the legislature is by no means of the gravest
+class, particularly when it offers municipal reforms as a substitute for
+bread. The debates in a certain House must be of a very humourous
+character, if we may judge from the frequent "hear hear, and a laugh,"
+by which the proceedings there are interrupted. Our risible faculties
+are continually called into action at public lectures of all kinds; and
+indeed, no lecturer, however learned he may be, has much chance
+now-a-days of instructing, unless he can also amuse his audience. Nor
+can the various public and even private buildings, which are daily
+springing up around us, like so many mushrooms, be contemplated without
+considerable emotions of mirthfulness. The new style of ecclesiastical
+architecture, entitled the Cockney-Gothic, affords a good illustration
+of this remark; but the comic Temple of the Fine Arts, in Trafalgar
+Square, is what Lord Bacon would have called a "glaring instance" of its
+correctness. The occurrences of the day bear all of them the stamp of
+facetiousness. The vote of approbation, lately passed on a certain
+course of policy, is a capital joke; the tricks that are constantly
+played off upon John Bull by the Russians, French, Yankees, and others,
+though somewhat impertinent to the aforesaid John, must seem very
+diverting to lookers on. The state of the Drama may also be brought
+forward in proof of our position. Tragedies are at a discount; farces
+are at a premium; lions, nay goats and monkeys, are pressed into the
+service of Momus. Even the various institutions for the advancement of
+morals have not escaped the influence of the prevailing taste. To
+mention that respectable body of men, the Teetotallers, is sufficient of
+itself to excite a smile. In short, look wherever you will, you will
+find it a matter of the greatest difficulty to keep your countenance.
+
+The truth is, that people are tired of crying, and find it much more
+agreeable to laugh. The sublime is out of fashion; the ridiculous is in
+vogue. A�turn-up nose is now a more interesting object than a turn-down
+collar; and if it should be urged that the flowing locks of our young
+men are indicative of sentimentality by their _length_, let it be
+remembered that they are in general quite unaccompanied by a
+corresponding quality of face. It has been said that the schoolmaster is
+abroad:-- true; but he is walking arm and arm with the Merry-Andrew; and
+the members, presidents, and secretaries of mechanics' institutions, and
+associations for the advancement of everything, follow in his train.
+Nothing can be taught that is not palatable, and nothing is now
+palatable but what is funny. That boys should be instructed in the Latin
+language will be denied by few (although by some eccentric persons this
+has been done); that they can be expected to learn what they cannot
+laugh at will, to all reflecting minds, especially on perusing the
+foregoing considerations, appear in the highest degree unreasonable. To
+conclude:-- let all such as are disposed to stare at the title of our
+work, ponder attentively on what we have said above; let them, in the
+language of the farce, "put this and that together," and they will at
+once perceive the beneficial effect, which holding up the Latin Grammar
+to ridicule is likely to produce in the minds of youth. So much for the
+satisfaction of our senior readers. And now, no longer to detain our
+juvenile friends, let us proceed to business, or pleasure, or both:-- we
+will not stand upon ceremony with respect to terms.
+
+    [Illustration: THE SCHOOLMASTER ABROAD.]
+
+
+
+
+  THE
+
+  COMIC LATIN GRAMMAR.
+
+
+Of Latin there are three kinds: Latin Proper, or good Latin; Dog Latin;
+and Thieves' Latin, Latin Proper, or good Latin, is the language which
+was spoken by the ancient Romans. Dog Latin is the Latin in which boys
+compose their first verses and themes, and which is occasionally
+employed at the Universities of Oxford and Cambridge, but much more
+frequently at Edinburgh, Aberdeen, and Glasgow. It includes Medical
+Latin, and Law Latin; though these, to the unlearned, generally appear
+Greek. Mens tuus ego-- mind your eye; Illic vadis cum oculo tuo ex--
+there you go with your eye out; Quomodo est mater tua?-- how's your
+mother? Fiat haustus ter die capiendus-- let a draught be made, to be
+taken three times a day; Bona et catalla-- goods and chattels-- are
+examples.
+
+Thieves' Latin, more commonly known by the name of slang, is much in use
+among a certain class of _conveyancers_, who disregard the distinctions
+of meum and tuum. Furthermore, it constitutes a great part of the
+familiar discourse of most young men in modern times, particularly
+lawyers' clerks and medical students. It bears a very close affinity to
+Law Latin, with which, indeed, it is sometimes confounded. Examples:--
+to prig a wipe-- to steal a handkerchief. A�rum start-- a�curious
+occurrence. A�plant-- an imposition. Flummoxed-- undone. Sold--
+deceived. A�heavy swell-- a�great dandy. Quibus, tin, dibs, mopuses,
+stumpy-- money. Grub, prog, tuck-- victuals. A�stiff-'un-- a�dead body--
+properly, a�subject. To be scragged-- to suffer the last penalty of the
+law,�&c.
+
+    [Illustration: A HEAVY SWELL.]
+
+All these kinds of Latin are to be taught in the Comic Latin Grammar.
+
+
+    [Illustration: TOBY, THE LEARNED PIG.]
+
+If Toby, the learned pig, had been desired to say his alphabet in Latin,
+he would have done it by taking away the W from the English alphabet.
+Indeed, this is what he is said to have actually done. The Latin
+letters, therefore, remind us of the greatest age that a fashionable
+lady ever confesses she has attained to,-- being between twenty and
+thirty.
+
+Six of these letters are called what Dutchmen, speaking English, call
+fowls-- vowels; namely, a, e, i, o, u, y.
+
+A vowel is like an �olian harp; it makes a full and perfect sound of
+itself. A�consonant cannot sound without a vowel, any more than a horn
+(except such an one as Baron Munchausen's) can play a tune without a
+performer.
+
+Consonants are divided into mutes, liquids and double letters; although
+they have nothing in particular to do with funerals, hydrostatics, or
+the General post office. The liquids are, l, m, n, r; the double
+letters, j, x, z; the other letters are mutes.
+
+  "Hye dum, dye dum, fiddle _dumb_--c." --STERNE.
+
+A syllable is a distinct sound of one or more letters pronounced in a
+breath, or, as we say in the classics, in a jiffey.
+
+A diphthong is the sound of two vowels in one syllable. Taken
+collectively they resemble a closed fist-- i.e. a�bunch of _fives_. The
+diphthongs are au, eu, ei, �, and [oe]. Of the two first of these, au and
+eu, the sound is _intermediate_ between that of the two vowels of which
+each is formed. This fact may perhaps be impressed upon the mind, on the
+principles of artificial memory, by a reference to a familiar beverage,
+known by the name of half-and-half. In like manner, ei, which is
+generally pronounced i, and � and [oe], sounded like e, may be said to
+exhibit something like an analogy to a married couple. The human
+diphthong, Smith female + Brown male, is called Brown only.
+
+    [Illustration: A HUMAN DIPHTHONG.]
+
+The reason, says the fool in King Lear, why the seven stars are no more
+than seven-- is a pretty reason-- because they are not eight. This is a
+fool's reason; but we (like many other commentators) cannot give a
+better one, why the Parts of Speech are no more than eight-- because
+they are not nine. They are as follow:
+
+1. Noun, Pronoun, Verb, Participle-- declined.
+
+2. Adverb, Preposition, Conjunction, Interjection-- undeclined. Most
+schoolboys would like to decline them altogether.
+
+
++OF A NOUN.+
+
+A noun is a name,-- whether it be a Christian name, or a sur-name-- the
+name of a prince, a�pig, a pancake, or a post. Whatever is-- is a noun.
+
+Nouns are divided into substantives and adjectives.
+
+A noun substantive is its own trumpeter, and speaks for itself without
+assistance from any other word-- brassica, a�cabbage; sartor, a�tailor;
+medicus, a physician; vetula, an old woman; venenum, poison; are
+examples of substantives.
+
+An adjective is like an infant in leading strings-- it cannot go alone.
+It always requires to be joined to a substantive, of which it shows the
+nature or quality-- as lectio longa, a�long lesson; magnus aper, a�great
+_boar_; pinguis puer, a�fat boy; macer puer, a�lean boy. In making love
+(as you will find one of these days) or in abusing a cab-man, your
+success will depend in no small degree in your choice of adjectives.
+
+    [Illustration: MACER PUER.]
+
+    [Illustration: PINGUIS PUER.]
+
+
++NUMBERS OF NOUNS.+
+
+Be not alarmed, boys, at the above heading. There are numbers of nouns,
+it is true, that is to say, lots; or, as we say in the schools,
+"a�precious sight" of nouns in the dictionary; but we are not now going
+to enumerate, and make you learn them. The numbers of nouns here spoken
+of are two only; the singular and the plural.
+
+The singular speaks but of one-- as later, a�brick; faba, a�bean; tuba,
+a�trump (or trumpet); flamma, a�blaze; �thiops, a�nigger (or negro);
+cornix, a crow.
+
+The plural speaks of more than one-- as lateres, bricks; fab�, beans;
+tub�, trumps; flamm�, blazes; �thiopes, niggers; cornices, crows.
+
+Here it may be remarked that the cynic philosophers were very _singular_
+fellows.
+
+Also that prize-poems are sometimes composed in very _singular numbers_.
+
+
++CASES OF NOUNS.+
+
+Nouns have six cases in each number, (that is, six of one and half a
+dozen of the other) but can only be put in one of them at a time. They
+are thus ticketed-- nominative, genitive, dative, accusative, vocative,
+and ablative.
+
+The nominative case comes before the verb, as the horse does before the
+cart, the "lieutenant before the ancient," and the superintendant of
+police before the inspector. It answers to the question, who or what;
+as, Who jaws? magister jurgatur, the master jaws.
+
+The genitive case is known by the sign of, and answers to the question,
+whose, or whereof; as, Whose breeches? Femoralia magistri-- the breeches
+of the master, or the master's breeches.
+
+The dative case is known by the signs to or for, and answers to the
+question, to whom, or to or for what; as, To whom do I hold out my
+hands? Protendo manus magistro-- I�hold out my hands to the master.
+
+In this place we are called upon to consider, whether it be more
+agreeable to have Latin or the ferula at our _fingers' ends_.
+
+Observe that _dative_ means _giving_. Schoolmasters are very often in
+the dative case-- but their generosity is chiefly exercised in bestowing
+what is termed monkey's allowance; that is, if not more kicks, more
+boxes on the ear, more spats, more canings, birchings, and impositions,
+than halfpence.
+
+    [Plate:
+    A DATIVE AND A VOCATIVE CASE.]
+
+The accusative case follows the verb, as a bailiff follows a debtor,
+a�bull-dog a butcher, or a round of applause a supernatural squall at
+the Italian Opera. It answers to the question Whom? or What? as, Whom do
+you laugh at? (behind his back) Derideo magistrum-- I�laugh at the
+master.
+
+The vocative case is known by calling, or speaking to; as, O�magister--
+O�master; an exclamation which is frequently the consequence of shirking
+out, making false concords or quantities, obstreperous conduct in
+school,�&c.
+
+The ablative case is known by certain prepositions, expressed or
+understood; as Deprensus magistro-- caught out by the master. Coram
+_rostro_-- before the _beak_. The prepositions, in, with, from, by, and
+the word, than, after the comparative degree, are signs of the ablative
+case. In angusti�-- in a fix. Cum indigen�-- with a native. Ab arbore--
+from a tree. A�rictu-- by a grin. Adipe lubricior-- slicker than grease.
+
+
++GENDERS AND ARTICLES.+
+
+The genders of nouns, which are three, the masculine, the feminine, and
+the neuter, are denoted in Latin by articles. We have articles, also, in
+English, which distinguish the masculine from the feminine, but they are
+articles of dress; such as petticoats and breeches, mantillas and
+mackintoshes. But as there are many things in Latin, called masculine
+and feminine, which are nevertheless not male and female, the articles
+attached to them are not parts of dress, but parts of speech.
+
+    [Illustration: MASC. FEM.]
+
+We will now, with our readers' permission, initiate them into a new mode
+of declining the article hic, h�c, hoc. And we take this opportunity of
+protesting against the old and short-sighted system of teaching a boy
+only one thing at a time, which originated, no doubt, from the general
+ignorance of everything but the dead languages which prevailed in the
+monkish ages. We propose to make declensions, conjugations, &c.,
+a�vehicle for imparting something more than the mere dry facts of the
+immediate subject. And if we can occasionally inculcate an original
+remark, a�scientific principle, or a moral aphorism, we shall, of
+course, think ourselves sufficiently rewarded by the consciousness-- et
+c�tera, et c�tera, et c�tera.
+
+  Masc. hic.  Fem. h�c.  Neut. hoc, &c.
+
+  The nominative singular's hic, h�c, and hoc,--
+  Which to learn, has cost school boys full many a knock;
+  The genitive�'s hujus, the dative makes huic,
+  (A fact Mr. Squeers never mentioned to Smike);
+  Then hunc, hanc, and hoc, the accusative makes,
+  The vocative-- caret-- no very great shakes;
+  The ablative case maketh h�c, hac, and h�c,
+  A cock is a fowl-- but a fowl�'s not a cock.
+  The nominative plural is hi, h�, and h�c,
+  The Roman young ladies were dressed � la Grecque;
+  The genitive case horum, harum, and horum,
+  Silenus and Bacchus were fond of a jorum;
+  The dative in all the three genders is his,
+  At Actium his tip did Mark Antony miss:
+  The accusative�'s hos, has, and h�c in all grammars,
+  Herodotus told some American crammers;
+  The vocative here also-- caret--�'s no go,
+  As Milo found rending an oak-tree, you know;
+  And his, like the dative the ablative case is,
+  The Furies had most disagreeable faces.
+
+Nouns declined with two articles, are called common. This word common
+requires explanation-- it is not used in the same sense as that in which
+we say, that quackery is common in medicine, knavery in the law, and
+humbug everywhere-- pigeons at Crockford's, lame ducks at the Stock
+Exchange, Jews at the ditto, and Royal ditto, and foreigners in
+Leicester Square-- No; a�common noun is one that is both masculine and
+feminine; in one sense of the word therefore it is _uncommon_. Parens,
+a�parent, which may be declined both with hic, and h�c, is, for obvious
+reasons, a�noun of this class; and so is fur, a�thief; likewise miles,
+a�soldier, which will appear strange to those of our readers, who do not
+call to mind the existence of the ancient amazons; the dashing white
+sergeant being the only female soldier known in modern times. Nor have
+we more than one authenticated instance of a female sailor, if we except
+the heroine commemorated in the somewhat apocryphal narrative-- Billy
+Taylor.
+
+Nouns are called doubtful when declined with the article hic or h�c--
+whichever you please, as the showman said of the Duke of Wellington and
+Napoleon Bonaparte. Anguis, a�snake, is a doubtful noun. At all events
+he is a doubtful customer.
+
+    [Illustration]
+
+Epicene nouns are those which, though declined with one article only,
+represent both sexes, as hic passer, a�sparrow, h�c aquila, an eagle,--
+cock and hen. A�sparrow, however, to say nothing of an eagle, must
+appear a doubtful noun with regard to gender, to a cockney sportsman.
+
+After all, there is no rule in the Latin language about gender so
+comprehensive as that observed in Hampshire, where they call every thing
+_he_ but a tom-cat, and that _she_.
+
+
++DECLENSION OF NOUNS SUBSTANTIVE.+
+
+There are five declensions of substantives. As a pig is known by his
+tail, so are declensions of substantives distinguished by the ending of
+the genitive case. Our fear of outraging the comic feelings of humanity,
+prevents us from saying quite so much about them as our love of learning
+would otherwise induce us to do. We therefore refer the student to that
+clever little book, the Eton Latin Grammar, strongly recommending him to
+decline the following substantives, by way of an exercise, after the
+manner of the examples there set down. First declension, Genitivo �.
+Virga, a rod. --Second, i. Puer, a�boy. Stultus, a�fool. Tergum, a�back.
+--Third, is. Vulpes, a�fox. Procurator, an attorney. Cliens, a�client.
+--Fourth, �s-- here you may have, Risus, a�laugh at. --Fifth, ei.
+Effigies, an effigy, image, or Guy.
+
+The substantive face, facies, _makes faces_, facies, in the plural.
+
+Although we are precluded from going through the whole of the
+declensions, we cannot refrain from proposing "for the use of schools,"
+a�model upon which all substantives may be declined in a mode somewhat
+more agreeable, if not more instructive, than that heretofore adopted.
+
+  _Exempli Grati�._
+
+    Musa mus_�_,
+  The Gods were at tea,
+    Mus� mus_am_.
+  Eating raspberry jam,
+    Musa mus_�_,
+  Made by Cupid's mamma,
+    Mus� mus_arum_,
+  Thou "Diva Dearum."
+    Musis mus_as_,
+  Said Jove to his lass,
+    Mus� mus_is_.
+  Can ambrosia beat this?
+
+
++DECLENSIONS OF NOUNS ADJECTIVE.+
+
+Some nouns adjective are declined with three terminations-- as a pacha
+of three tails would be, if he were to make a proposal to an English
+heiress-- as bonus, _good_-- tener, _tender_. Sweet epithets! how
+forcibly they remind us of young Love and a leg of mutton.
+
+  Bonus, bona, bonum,
+  Thou little lambkin dumb,
+  Boni, bon�, boni,
+  For those sweet chops I sigh,
+  Bono, bon�, bono,
+  Have pity on my woe,
+  Bonum, bonam, bonum,
+  Thou speak'st though thou art mum,
+  Bone, bona, bonum,
+  "O come and eat me, come,"
+  Bono, bon�, bono,
+  The butcher lays thee low,
+  Boni, bon�, bona,
+  Those chops are a picture,-- ah!
+  Bonorum, bonarum, bonorum,
+  To put lots of Tomata sauce o'er 'em
+  Bonis-- Don't, miss,
+  Bonos, bonas, bona,
+  Thou art sweeter than thy mamma,
+  Boni, bon�, bona,
+  And fatter than thy papa.
+  Bonis,-- What bliss!
+
+In like manner decline tener, tenera, tenerum.
+
+Unus, one; solus, alone; totus, the whole; nullus, none; alter, the
+other; uter, whether of the two-- make the genitive case singular in
+_ius_ and the dative in i.
+
+RIDDLES.
+
+_Q._ In what case will a grain of barley joined to an adjective stand
+for the name of an animal?
+
+_A._ In the dative case of unus-- uni-corn.
+
+  _Uni_ nimirum tibi rect� semper erunt res.
+
+    _Hor. Sat. lib. ii._ 2. 106.
+
+_Q._ Why is the above verse like all nature?
+
+_A._ Because it is an _uni_-verse.
+
+The word alius, another, is declined like the above-named adjectives,
+except that it makes ali_ud_, not ali_um_, in the neuter singular.
+
+The difference of unus from alius, say the London commentators, like
+that of a humming-top from a peg-top, consists of the _'um_.
+
+N.B. Tu es unus alius, is not good Latin for "You're another," a�phrase
+more elegantly expressed by "Tu quoque."
+
+    [Illustration: TU QUOQUE.]
+
+There are some adjectives that remind us of lawyer's clerks, and, by
+courtesy, of linen-drapers' apprentices. These may be termed _articled_
+adjectives; being declined with the articles hic, h�c, hoc, after the
+third declension of substantives-- as tristis, sad, melior, better,
+felix, happy.
+
+It is not very easy to conceive any thing in which sadness and
+comicality are united, except Tristis Amator, a�sad lover.
+
+    [Illustration: TRISTIS AMATOR.]
+
+Melior is not _better_ for comic purposes. Felix affords no room for a
+_happy_ joke.
+
+Decline these three adjectives, and others of the same class, according
+to the following rules:
+
+  If the nominative endeth in _is_ or _er_, why, sir,
+  The ablative singular endeth in _i_, sir;
+  The first, fourth, and fifth case, their neuter make _e_,
+  But the same in the plural in _ia_ must be.
+  _E_, or _i_, are the ablative's ends,-- mark my song,
+  While _or_ to the nominative case doth belong;
+  For the neuter aforesaid we settle it thus:
+  The plural is _ora_; the singular _us_.
+  If than _is_, _er_, and _or_, it hath many more enders,
+  The nominative serves to express the three genders;
+  But the plural for _ia_ hath _icia_ and _itia_,
+  As Felix, felicia-- Dives, divitia.
+
+
++COMPARISONS OF ADJECTIVES.+
+
+Comparisons are odious--
+
+Adjectives have three degrees of comparison. This is perhaps the reason
+why they are so disagreeable to learn.
+
+The first degree of comparison is the positive, which denotes the
+quality of a thing absolutely. Thus, the Eton Latin Grammar is lepidus,
+funny.
+
+The second is the comparative, which increases or lessens the quality,
+formed by adding _or_ to the first case of the positive ending in _i_.
+Thus the Charter House Grammar, is lepidor-- funnier, or more funny.
+--The third is the superlative, which increases or diminishes the
+signification to the greatest degree, formed from the same case by
+adding thereto, _ssimus_. Thus the Comic Latin Grammar is lepidissimus,
+funniest, or most funny. A�Londoner is acutus, sharp, or 'cute,--
+a�Yorkshireman acutior, sharper, or more sharp, 'cuter or more 'cute--
+but a Yankee is acutissimus-- sharpest, or most sharp, 'cutest or most
+'cute, or tarnation 'cute.
+
+Enumerate, in the manner following, with substantives, the exceptions to
+this rule, mentioned in the Eton Grammar.
+
+  Bonus, good.
+  A plain pudding.
+
+    Melior, better.
+    A suet pudding.
+
+      Optimus, best.
+      A plum pudding.
+
+  Malus, bad.
+  A caning.
+
+    Pejor, worse.
+    A spatting.
+
+      Pessimus, worst.
+      A flogging.
+                    &c. &c.
+
+Adjectives ending in _er_, form the superlative in _errimus_. The taste
+of vinegar is acer, sour; that of verjuice acrior, more sour; the visage
+of a tee-totaller, acerrimus, sourest, or most sour.
+
+Agilis, docilis, gracilis, facilis, humilis, similis, change _is_ into
+_llimus_, in the superlative degree.
+
+  Agilis, nimble.-- Madlle. Taglioni.
+  Agilior, more nimble.-- Jim Crow.
+  Agillimus, most nimble.-- Mr. Wieland.
+
+  Docilis, docile.-- Learned Pig.
+  Docilior, more docile.-- Ourang-outang.
+  Docillimus, most docile.-- Man Friday.
+
+  Gracilis, slender.-- A whipping post.
+  Gracilior, more slender.-- A fashionable waist.
+  Gracillimus, most slender.-- A dustman's leg.
+      &c. &c.
+
+If a vowel comes before _us_ in the nominative case of an adjective, the
+comparison is made by magis, _more_, and maxim�, _most_.
+
+  Pius, pious.-- Dr. Cantwell.
+  Magis pius, more pious.-- Mr. Maw-worm.
+  Maxim� pius, most pious.-- Mr. Stiggins.
+
+Sancho Panza called Don Quixote, Quixottissimus. This was not good
+Latin, but it evinced a knowledge on Sancho's part, of the nature of the
+superlative degree.
+
+
++OF A PRONOUN.+
+
+A pronoun is a substitute, or (as we once heard a lady of the Malaprop
+family say), a�_subterfuge_ for a noun.
+
+There are fifteen Pronouns.
+
+  Ego, tu, ille,
+  I, thou, and Billy,
+  Is, sui, ipse,
+  Got very tipsy.
+  Iste, hic, meus,
+  The governor did not see us.
+  Tuus, suus, noster,
+  We knock'd down a coster-
+  Vester, noster, vestras.
+  monger for daring to pester us.
+
+To these may be added, egomet, I myself; tute, thou thyself, idem the
+same, qui, who or what, and cujas, of what country.
+
+
++DECLENSION OF PRONOUNS.+
+
+Pronouns concern _ourselves_ so much, that we cannot altogether pass
+over them; though a hint or two with regard to the mode of learning
+their declension is all that we can here afford to give. We are
+constrained now and then to leave out a good deal of valuable matter,
+for the reason that induced the Dublin manager to omit the part of
+Hamlet in the play of that name-- the length of the performance.
+
+Pronouns may be thus agreeably declined:
+
+  Ego, mei, mihi,
+  Hoist the frog up sky-high.
+  Tu, tui, tibi,
+  In Chancery they fib ye.
+  Ille, illa, illud,
+  Cows chew the cud.
+  Is, ea, id,
+  Always do as you're bid.
+  Qui, qu�, quod,
+  Or else you'll taste the rod.
+
+Every donkey can decline is, ea, id. We heard one the other day on
+Hampstead Heath, repeat distinctly
+
+  E--o! e--a! e--o!
+
+    [Illustration: THE FIRST LESSON IN LATIN.]
+
+When you decline quis qu� _quid_, beware of any temptation to indulge in
+dirty habits. _Es_chew pig-tail instead of chewing it. Never have any
+_quid_ in your mouth, but a quid pro quo.
+
+
++OF A VERB.+
+
+A verb is the chief word in every _sentence_, as _Suspendatur_ per
+collum, let him be hanged by the neck.
+
+It expresses the action or being of a thing. Ego _sum_ sapiens, I�am a
+wise man. Tu _es_ stultus, thou art a fool. Non hic amice, _pernoctas_,
+you don't lodge here, Mr. Ferguson.
+
+Verbs have two voices, like the gentleman who was singing, a�short time
+since, at the St. James's Theatre.
+
+The active ending in _o_-- as amo, I�love.
+
+The passive ending in _or_-- as amor, I�am loved.
+
+In these two words is contained the terrestrial summum bonum-- In short,
+love beats everything-- cock-fighting not excepted. Amo! amor! How happy
+every human being, from the peer to the pot-boy, from the duchess to the
+dairy-maid, would be to be able to say so.
+
+They would _conjugate_ immediately. Except, however, certain modern
+political economists of the Malthusian school, who, albeit they are
+great advocates for the diffusion of learning, are violently opposed to
+unlimited conjugations.
+
+Of verbs ending in _o_ some are actives transitive. A verb is called
+transitive when the action passes on to the following noun, as Seco
+baculum meum, I cut my stick.
+
+Numerous examples of this kind of cutting, which may be called a _comic
+section_, are recorded in history, both ancient and modern. Even Hector
+cut his stick (with Achilles after him) at the siege of Troy. The
+Persians cut their stick at Marathon. Pompey cut his stick at Pharsalia,
+and so did Antony at Actium. Napoleon Bonaparte cut his stick at
+Waterloo.
+
+Other verbs ending in _o_ are named neuters and intransitives. A�verb is
+called intransitive, or neuter, when the action does not pass on, or
+require a following noun, as curro, I�run. Pistol cucurrit, Pistol ran.
+But to say, "Falstaff voluit _currere eum per_," "Falstaff wished _to
+run him through_," would be making a neuter verb, a�verb active, and
+would therefore be Latin of the canine species, or Dog-Latin; so would
+Meus homo Gulielmus _cucurrit caput suum_ plenum sed contra te homo dic
+pax, My man William _ran his head_ full but against the mantel-piece.
+This, it is obvious, will not do after Cicero.
+
+Verbs transitive ending in _o_ become passive by changing _o_ into _or_,
+as Secor, I�am cut. C�sar was cut by his friend Brutus in the capitol.
+"This," as Antony very judiciously observed on the hustings, "was the
+most unkindest _cut_ of all,"-- much worse, indeed, than any of the
+similar operations which are daily performed in Regent Street.
+
+    [Illustration: BRUTUS AND C�SAR.]
+
+Verbs neuter and intransitive are never made passive. We may say, Crepo,
+I�crack, but we cannot say, Crepor, I�am cracked.
+
+The ancient heroes appear, from what Homer says, to have got into a way
+of _cracking_ away most tremendously when they were going to engage in
+single combat.
+
+Orestes was certainly _cracked_.
+
+Some verbs ending in _or_ have an active signification-- as Loquor,
+I�speak.
+
+_Q._ Why are such verbs like witnesses on oath?
+
+_A._ Because they are called "Deponents."
+
+Of these some few are neuters, as Glorior, I�boast.
+
+C�sar boasted that he came, saw, and overcame. Bald-headed people (like
+C�sar) do not, in general, make _conquests_ so easily.
+
+Neuter Verbs ending in _or_, and verbs deponent, are declined like verbs
+passive; but with gerunds and supines like verbs active; thus presenting
+a curious combination of _activity_ and _supineness_.
+
+There are some verbs which are called verbs personal. A�verb personal
+resembles a mixed group of old maids and young maids, because it has
+_different persons_, as Ego irrideo, I�quiz. Tu irrides, thou quizzest.
+
+A verb impersonal is like a collection of tombstone angels, or small
+children; it has not _different persons_, as t�det, it irketh, oportet,
+it behoveth.
+
+It irketh to learn Greek and Latin, nevertheless it behoveth to do so.
+
+
++OF MOODS.+
+
+Moods in verbs are like moods in man, they have each of them a peculiar
+_expression_. Here, however, the resemblance stops. Man has many moods,
+verbs have but five. For instance, we observe in men the merry mood, the
+doleful mood, (or dumps), the shy, timid, or sheepish mood, the bold, or
+_bumptious_ mood, the placid mood, the angry mood, whereto may be added
+the vindictive mood, and the sulky mood; the sober mood, as
+contradistinguished from both the serious and the drunken mood; or as
+blended with the latter, in which case it may be called the sober-drunk
+mood-- the contented mood, the grumbling mood; the sympathetic mood, the
+sarcastic mood, the idle mood, the working mood, the communicative mood,
+the secretive mood, and the moods of all the phrenological organs;
+besides the monitory or mentorial mood, and the mendacious, or lying
+mood, with the imaginative, poetical, or romantic mood, the
+compassionate, or melting mood, and many other moods too tedious to
+mention.
+
+We must not however omit the flirting mood, the teazing or tantalizing
+mood, the giggling mood, the magging or talkative mood, and the
+scandalizing mood, which are peculiarly observable in the fair sex.
+
+The moods of verbs are the following:
+
+1. The indicative mood, which either affirms a fact or asks a question,
+as Ego amo, I�_do_ love. Amas tu? _Dost_ thou love?
+
+The long and short of all courtships are contained in these two
+examples.
+
+    [Illustration: A LONG COURTSHIP.]
+
+2. The imperative mood, which commandeth, or entreateth. This two-fold
+character of the imperative mood is often exemplified in schools, the
+command being on the part of the master, and the entreaty on that of the
+boy-- as thus, Veni huc! Come hither! Parce mihi! Spare me! The
+imperative mood is also known by the sign _let_-- as in the well-known
+verse in the song Dulce Domum--
+
+  "Eja! nunc eamus."
+
+"Hurrah! now let us be off"-- meaning for the vacation. N.B. This mood
+is one much in the mouth of beadles, boatswains, bashaws, majors,
+magistrates, slave drivers, superintendents, serjeants, and
+jacks-in-office of all descriptions-- monitors, especially, and pr�fects
+of public schools, are very fond of using it on all occasions.
+
+    [Illustration: THE IMPERATIVE MOOD.]
+
+3. The potential mood signifies power or duty. The signs by which it is
+known are, may, can, might, would, could, should, or ought-- as, Amem,
+I�may love (when I leave school). Amavissem, I�should have loved (if I
+had not known better,) and the like.
+
+4. The subjunctive differs from the potential only in being always
+governed by some conjunction or indefinite word, and in being subjoined
+to some other verb going before it in the same sentence-- as Cochleare
+eram cum amarem, I�was a _spoon_ when I loved-- Nescio qualis sim hoc
+ipso tempore, I�don't know what sort of a person I am at this very time.
+
+The propriety of the above expression "cochleare," will be explained in
+a Comic System of Rhetoric, which perhaps may appear hereafter.
+
+5. The infinitive mood is like a gentleman's cab, because it has no
+number.
+
+We have not made up our minds exactly, whether to compare it to the
+"picture of nobody" mentioned in the Tempest, or to the "picture of
+ugliness," which young ladies generally call their successful rivals. It
+may be like one, or the other, or both, because it has no _person_.
+
+Neither has it a nominative case before it; nor, indeed, has it any more
+business with one than a toad has with a side pocket.
+
+It is commonly known by the sign _to_. As, for example-- Amare, to love;
+Desipere, to be a fool; Nubere, to marry; P[oe]nitere, to repent.
+
+
++OF GERUNDS AND SUPINES.+
+
+Ever anxious to encourage the expansion of youthful minds, by as general
+a cultivation as possible of the various faculties, we beg to invite
+attention to the following combination of Grammar, Poetry, and Music.
+
+  _Air._-- Believe me if all those endearing young charms. --_Moore._
+
+  The gerunds of verbs end in di, do, and dum,
+    But the supines of verbs are but two;
+  For instance, the active, which endeth in _um_,
+    And the passive which endeth in _u_.
+
+  Amandi, of loving, kind reader, beware;
+    Amando, in loving, be brief;
+  Amandum, to love, if you�'re doom'd, have a care,
+    In the goblet to drown all your grief.
+
+  Amatum, Amatu, to love and be loved,
+    Should it be your felicitous (?) lot,
+  May the fuel so needful be never removed
+    Which serves to keep boiling the pot.
+
+
++OF TENSES.+
+
+In verbs there are five tenses, or times, expressing an action, or
+affirmation.
+
+1. The present tense, or time. There is no time (or tense) like the
+present. It expresses an action now taking place. Examples-- _Act._ I
+love, or am loving. Amo, I�am loving. --_Pass._ I am made drunk, or am
+drunk. Inebrior, I�am drunk.
+
+2. The preterimperfect tense denotes something, or a state of things,
+partly, but not entirely past. --Examp. I�did love or was loving.
+Amabam, I was loving. I�was made drunk an hour ago. Inebriabar, I�was
+made drunk.
+
+3. The preterperfect tense expresses a thing lately done, but now ended.
+--Examp. I�have loved, or I loved. Amavi, I�loved. I�have been made
+drunk, or have been drunk. Inebriatus sum, I�have been drunk.
+
+4. The preterpluperfect tense refers to a thing done at some time past,
+but now ended. --Examp. Amaveram, I�had loved. Inebriatus eram, I�had
+been drunk.
+
+5. The future tense relates to a thing to be done hereafter, as, Amabo,
+I�shall or will love. Inebriabor, I shall get drunk-- say to-morrow.
+
+
++OF NUMBERS AND PERSONS.+
+
+Verbs have two numbers. No. 1, Singular, No.�2, Plural.
+
+In most matters it is usual to pay exclusive attention to number one. In
+learning the verbs, however, it is necessary to regard equally number
+two.-- The _persons_ of verbs are generally considered very
+disagreeable. Verbs have three persons in each number. Thus, for
+instance, at a dancing academy--
+
+  Sing.
+  Ego salto,     I dance,
+  Tu saltas,     Thou dancest,
+  Ille saltat,   He danceth.
+
+  Plur.
+  Nos saltamus,  We dance,
+  Vos saltatis,  Ye dance,
+  Illi saltant,  They dance.
+
+At an academy on _Free-knowledge-ical_ principles-- or a Comic Academy.
+
+  Ego rideo,    I laugh,
+  Tu rides,     Thou laughest,
+  Ille ridet,   He laugheth.
+
+  Nos ridemus,  We laugh,
+  Vos ridetis.  Ye laugh,
+  Illi rident,  They laugh.
+
+Laughter, too, is very common at other academies, but generally occurs
+on the wrong side of the mouth. The right sort of laughter (which may be
+presumed to be on the _right_ side of the mouth), is most frequent about
+the time of the holidays. What does the song say?
+
+  "Ridet annus, prata rident
+    Nosque rideamus."
+
+  "The year laughs, the meadows laugh,--
+  suppose we have a laugh as well."
+
+_Note_-- That all nouns are of the third person except Ego, Nos, Tu, and
+Vos. Hence we see how absurdly the man who drew a couple of donkeys
+acted in endeavouring to prevail upon _us_ to call the picture "_We_
+Three"-- _Ille_, _he_,-- may, perhaps, have been qualified to make a
+_third person_ in the group, and have "written himself down an ass" with
+some correctness. _Ego_, _I_, and _Nos_, _we_, have certainly nothing in
+common with that animal, and it is to be hoped that neither Tu, thou,
+nor Vos, ye, can be said to partake of his nature.
+
+_Note_ also. That all nouns of the vocative case are of the second
+person. So that if we should say, O�asine, O�thou donkey; or O asini,
+O�ye donkeys, we should have grammar at least on our side.
+
+Be it your care to prevent us from having justice also.
+
+
+  OF THE VERB ESSE, TO BE.
+
+Before other verbs are declined, it is necessary to learn the verb Esse,
+to be. And before we teach the verb Esse, to be, it is necessary to make
+a few remarks on verbs in general.
+
+In the first place we have to observe, that they are rather difficult;
+and in the next, that if any one expects that we are going to consider
+them in detail, he is very much mistaken.
+
+But our skipping a very considerable portion of the verbs, is no reason
+why boys should do the same. Were we all to follow the examples of our
+teachers, instead of attending to their precepts, where would be the
+world by this time?
+
+Whirling away, no doubt, far from the respectable society of the
+neighbouring planets, and blundering about right and left, pell-mell,
+helter-skelter among the fixed stars-- itself, "and all which it
+inherit" in that glorious state of confusion so admirably described by
+the poet Ovid--
+
+  "Quem dixere Chaos,"
+
+which men have called Shaos. It would indeed be little better than a
+broken down _Shay_-horse.
+
+But "revenons � nos moutons," that is, let us get back to our verbs. We
+recommend the most attentive and diligent study of all of them as set
+forth in the Eton Grammar, assisted by that kind of association of
+ideas, of which we shall now proceed to give a few specimens.
+
+
+Sum, es, fui, esse, futurus, to be,-- or not to be-- that is the
+question.
+
+_Rule_ 1. To each person of a verb, singular and plural, join a noun,
+according to your taste or comic talent. Should you be deficient in the
+inventive faculty, apply for assistance to one of the senior boys,
+which, in consideration of your fagging for him, he will readily give
+you. If yourself a senior boy, apply to the master.
+
+  _Examples._
+
+  INDICATIVE MOOD.
+
+  Present Tense.  Am.
+
+  _Sing._
+  Sum,  I am,      Vir,      a man,
+  Es,   Thou art,  Stultus,  a fool,
+  Est,  He is,     Latro,    a thief.
+
+  _Plu._
+  Sumus,  We are,    Patricii,  gentlemen,
+  Estis,  Ye are,    Plebeii,   snobs,
+  Sunt,   They are,  Errones,   vagabonds.
+
+We would proceed in this way with Sum, but that we are afraid of being
+tire-_sum_.
+
+  VERBS REGULAR.
+
+  First Conjugation.  Amo.
+
+  _Sing._
+  Amo,   I love,       Puellam,          a lass,
+  Amas,  Thou lovest,  Fartum,           a pudding,
+  Amat,  He loveth,    Carnem porcinam,  pork.
+
+  _Plu._
+  Amamus,  We love,    Doctrinam,  learning,
+  Amatis,  Ye love,    Leporem,    comicality,
+  Amant,   They love,  Poesin,     poetry.
+
+The consideration of which three things leads us to
+
+_Rule_ 2. In repeating the different tenses of verbs, be careful to be
+provided with a short English verse, contrived so as to rhyme with the
+third person singular, and another to rhyme with the third person
+plural. In this way your powers of composition as well as of memory will
+be profitably exercised.
+
+  _Example._
+
+  Second Conjugation.  Moneo.
+
+  _Sing._  Moneo, mones, monet,
+    Reid & Co.'s _heavy wet_.
+
+  _Plu._ Monemus, monetis, monent,
+    Beats that from the firmament.
+
+  Third Conjugation.  Rego.
+
+  _Sing._ Rego, regis, regit,
+    A statesman for office unfit.
+
+  _Plu._ Regimus, regitis, re_gunt_,
+    Is much like a bear in a punt.
+
+_Rule_ 3. Should you be desired to give the English of each person in
+the tense which you are repeating, you may (we mean a class of you),
+follow a plan adopted with great success and striking effect in that
+kind of dramatic representation entitled "A�Grand Opera," that of
+_singing_ what you have to _say_. Hold up your head, turn out your toes,
+clear your voices, and begin. A-hem!
+
+    [Plate:
+    GOING THROUGH THE VERBS.
+    AUDIO--I HEAR.]
+
+  Fourth Conjugation.  Audio.
+
+  _Trio._
+
+  _Sing._ Audio, I hear the Tartar drum!
+    Audis, Thou hearest the Tartar drum!
+    Audit, He hears the Tartar drum!--
+      the Tartar drum! the Tartar drum!
+
+  _Chorus._ He hears!
+    He hears!
+
+  He h - - e - - - a - - rs the Tar - tar drum!
+  _Plu._ Audimus, We hear the Tartar drum,�&c.
+
+
+  VERBS IRREGULAR--
+
+Are _regular_ bores. The above Rules are equally applicable to them, and
+also to the
+
+
+  DEFECTIVE VERBS;
+
+Concerning which it may be asserted, that though almost all of them have
+tenses more or less imperfect, there are some which have not a single
+_Imperfect Tense_.
+
+
+  IMPERSONAL VERBS.
+
+Such as delectat, it delighteth; decet, it becometh, &c., answer to such
+English verbs as take the word _it_ before them. When we consider that
+_it_ is a term of endearment used in speaking to babies, as "it's a
+pretty dear," we cannot help thinking that Verbs Impersonal ought to be
+_pet_ verbs. Such however, is not, as far as we know, the fact.
+
+    [Illustration: PRETTY DEAR.]
+
+
++OF A PARTICIPLE.+
+
+A participle is a hybrid part of speech; a�kind of mongrel-cross,
+between a noun and a verb. It is two parts verbs, and four parts noun;
+wherefore its composition may be likened unto the milk sold in and about
+London, which is usually watered in the proportion of four to two. The
+properties of the noun belonging to it, are, number, gender, case, and
+declension; those of the verb, tense, and signification.
+
+As a horse hath four legs, so hath a verb four participles.
+
+  _Air._-- Bonnets of Blue.
+
+  There�'s one of the present,-- and then,
+    There�'s one of the future in _rus_;
+  Of the tense preterperfect a third,-- and again,
+    A fourth of the future in _dus_.
+
+Participles are declined like nouns adjective, as-- but no! how can we
+ask our fair (blue) readers to decline _a-man's_ (amans) loving.
+
+Now here we feel called upon to say a few words on the difference
+between a man's loving and a woman's loving. It has often been a
+question, whether do men or women love most _dearly_? To us the matter
+does not appear to admit of a doubt. We defy any of our male readers to
+be in love (when they are old and silly enough) for six months without
+finding themselves most grievously out of pocket. We have a friend who
+was in that unfortunate condition for about a month, and it cost him at
+least seven and sixpence a week in fees to the maid servant, and that
+without once being enabled to exchange a word with the object of his
+affections. At last he began to think that he was paying rather too dear
+for his whistle; so he gave it up. What girl would have held on so long,
+and laid out so much money without a return-- not of soft affection, but
+of hard cash? Women, indeed, instead of loving dearly, love, according
+to our own experience, particularly cheaply. Think of what they save, by
+taking their admirers "shopping" with them, in ribands, bracelets, and
+the like, to say nothing of coach-hire, pastry-cooks, and the price of
+admission, when they go with them to the play. And we should like to
+hear of the young lady who in these days would dispose of her hand at
+any thing less than a good round sum if she could help it-- no, no. To
+love _dearly_ is the precious prerogative of the lords of the creation
+alone.
+
+But we are forgetting our participles.
+
+The participle of the present tense ends in _ans_, or _ens_; as
+Flagellans, whipping; L�dens, hurting.
+
+That of the future in _rus_, signifies a likelihood, or design of doing
+something, as Flagellaturus, about to whip; L�surus, about to hurt.
+
+That of the preterperfect tense has generally a passive signification,
+and ends in _us_, as Flagellatus, whipped; L�sus, hurt.
+
+That of the future in _dus_ has also a passive signification, as
+Flagellandus, to be whipped; L�dendus, to be hurt.
+
+_Note_ 1. All participles are declined like nouns adjective. We
+recommend the above participles to be declined like _winking_.
+
+2. There are three things that are not hurt by whipping-- a�top,
+a�syllabub, and a cream.
+
+
++OF AN ADVERB.+
+
+Convex and concave spectacles are contrivances used to increase or
+diminish the magnitude of objects.
+
+Adverbs are parts of speech used to increase or diminish the
+signification of words.
+
+Spectacles are joined to the bridge of the nose.
+
+Adverbs are joined to nouns adjective, and verbs. Ben�, well; mult�m,
+much; mal�, ill, &c. are adverbs.
+
+  C�sar _mult�m_ conturbavit indigenas:
+
+  C�sar much astonished the natives.
+
+    [Illustration: C�SAR ASTONISHING THE NATIVES.]
+
+
++OF A CONJUNCTION.+
+
+A conjunction is a part of speech that joineth together; wherefore it
+may be likened unto many things; for instance--
+
+To glue, to paste, to gum arabic, to mortar, (for it joins words and
+sentences together _like bricks_), to Roman cement, (_Latin_
+conjunctions more especially), to white of egg, to isinglass, to putty,
+to adhesive plaster, to matrimony.
+
+Conjunctions are thus used.
+
+Ova _et_ lardum, eggs and bacon. Dimidium dimidium_que_, half-and-half.
+Amor _et_ dementia, love and madness.
+
+    [Illustration: HALF-AND-HALF.]
+
+
++OF A PREPOSITION.+
+
+A Preposition is a part of speech commonly _set before_ another word.
+Words, however, do not eat each other, though men have been known to eat
+words. Ab, ad, ante, &c. prepositions.
+
+Sometimes a preposition is joined in composition with another word, as
+_pro_stratus, knocked down-- floored.
+
+  Tullius ab aquario _pro_stratus est:
+
+  Tully was knocked down by a waterman.
+
+
++OF AN INTERJECTION.+
+
+An interjection is a word expressing a sudden emotion or feeling, as
+Hei! Oh dear!-- Heu! Lack-a-day!-- Hem! Brute, Hollo! Brutus.-- Euge!
+Tite, Bravo! Titus.
+
+We here find ourselves approaching the delightful subject of the three
+Concords, with which we shall make short work, first, for fear of
+further _Accidence_, and, secondly, because we are no fonder than boys
+are of _repetitions_, which, were we to follow the Eton Grammar in the
+Concords, we should be obliged to make in the Syntax.
+
+However, there are just one or two points to be mentioned.
+
+_Rule._ (Text-hand copy-books.) "Ask no questions."
+
+_Exception._ When you want to find where the concord should be, ask the
+following--
+
+Who? or what?-- to find the nominative case to the verb.
+
+Whom? or what? with the verb, for the accusative after it.
+
+Who? or what? with the adjective, for the substantive to the adjective.
+
+Who? or what? with the verb, for the antecedent to the relative.
+
+But remember, that the use of the interrogatives who? and what? however
+justifiable in grammar, is very impertinent in conversation. What, for
+example, can be more ill-bred than to say, Who are you? Indeed, most
+questions are ill mannered. We do not speak of such expressions as, Has
+your mother sold her mangle? and the like, used only by persons who have
+never asked themselves where they expect to go to? but of all
+unnecessary demands whatever. "Sir," said the great Dr. Johnson, "it is
+uncivil to be continually asking, Why is a dog's tail short, or why is a
+cow's tail long."
+
+
++OF THE GENDERS OF NOUNS,+
+
+  Commonly known by the name of
+
+  _"Propria Qu� Maribus."_
+
+As the "Propria Qu� Maribus" is no joke, and the "As in Pr�senti" is too
+much of a joke, we must do with them as we did with the verbs. Singing a
+song is always esteemed a valid substitute for telling a story; and the
+indulgence which we would have extended to us in this respect, is that
+universally granted to civilized society.
+
+Let the "Propria Qu� Maribus" be turned into a series of exercises,
+thus, or in like manner--
+
+  _Air._-- "Here�'s to the maiden of bashful fifteen."
+
+  All names of the male kind you masculine call,
+    Ut sunt (for example), Divorum,
+  Mars, Bacchus, Apollo, the deities all,
+    And Cato, Virgilius, virorum.
+      Latin�'s a bore, and bothers me sore,
+      Oh how I wish that my lesson was o'er.
+
+  Fluviorum, ut Tibris, Orontes likewise,
+    Fine rivers in ocean that lost are,
+  And Mensium-- October an instance supplies;
+    Ventorum, ut Libs, Notus, Auster.
+      Latin�'s a bore, &c.
+
+We do not pretend that the mode of study here recommended, is perfectly
+original. The genuine Propria Qu� Maribus, and As in Pr�senti, like the
+writings of the most remote antiquity, consist of certain useful truths
+recorded in harmonious numbers. It has been a question among
+commentators, whether these interesting compositions were originally
+intended to be said or sung. Analogy (we mean that derived from the
+works of Homer and Virgil) would incline us to the latter opinion, which
+however does not appear to have been generally entertained in the
+schools. We shall give one more specimen in the above style; and we beg
+it may be remembered, that in so doing, we have no wish to detract in
+any way from the merit of the illustrious poet in the Eton Grammar; all
+we think is, that he might have introduced a little more _comicality_
+into his work, while he was about it.
+
+
++OF THE PRETERPERFECT TENSE, &c. OF VERBS.+
+
+  _Otherwise the "As in Pr�senti."_
+
+  As in Pr�senti-- Preterperfect-- avi,
+  Oh! send me well done, lean, and lots of gravy,
+  Save lavo, lavi, nexo, nexui.
+  Ah! me-- how sweet is cream with apple-pie,
+  Juvi from juvo, secui from seco,
+  Could n't I lie and tipple, more Gr�co!
+  From neco, necui, and mico, word
+  Which micui makes, Oh! roast goose, lovely bird!
+  Plico which plicui gives. Delightful grub!
+  And frico, fricas, fricui, to rub--
+  So domo, tono, domui, tonui make.
+  And sono, sonui.-- Lead me to the stake,
+  I mean the beef-_stake_-- crepo, crepui too,
+  Which means to _crack_ (as roasted chestnuts do,)
+  Then veto, vetui makes-- _forbidding_ sound,
+  Cubo, to lie along (these verbs confound
+  Ye gods) makes cubui, do gives rightly dedi;
+  What viler object than a coat that�'s seedy?--
+  Sto to form steti has a predilection;
+  Well-- let it if it likes, I've no objection.
+    &c. &c. &c.
+
+
++SYNTAXIS,+
+
+  _or the Construction of Grammar._
+
+_Q._ What part of the grammar resembles the indulgences sold in the
+middle ages?
+
+_A._ _Sin_-tax.
+
+
+  THE FIRST CONCORD;
+  THE NOMINATIVE CASE AND THE VERB.
+
+Where there is much _personality_, there is generally little concord.
+
+However, a verb personal agrees with its nominative case in number and
+person, as Sera nunquam est ad bonos mores via, The way to good manners
+is never too late. Mind that, brother Jonathan.
+
+    [Illustration: AMERICAN GENTLEMEN.]
+
+_Note_-- The above maxim is especially worthy of the attention of
+neophytes in law and medicine; of the gods in the gallery, and of
+Members of the _House_.
+
+The nominative case of pronouns is rarely expressed, except for the sake
+of distinction or emphasis, as--
+
+  _Tu_ es exquisitus, _tu_ es,
+
+  _You_ 're a nice man, _you_ are.
+
+    [Illustration]
+
+Sometimes a sentence is the nominative case to the verb, as
+
+  Ingenuas pugni didicisse fideliter artes,
+    Mollitos mores non sinit esse viri.
+
+  The faithful study of the fistic art
+  From mawkish softness guards a Briton's heart.
+
+    [Plate:
+    INGENUAS PUGNI DIDICISSE FIDELITER ARTES
+    MOLLITOS MORES NON SINIT ESSE VIRI.]
+
+Who can doubt it? But, besides, we have much to say in praise of boxing.
+In the first place, it is a _classical_ accomplishment. To say nothing
+of the Olympic and Isthmian Games, which are of themselves sufficient
+proof of the elegant and _fanciful_ tastes of the ancients; we need only
+allude to the fact, that the _Corinthians_ are universally celebrated
+for their proficiency in this science. Then, of its eminently _social_
+tendency, there can be no doubt. What can be more conducive to good
+fellowship, and conviviality than the frequent _tapping of claret_,
+attendant both on its study and practice? Nor can its beneficial
+influence on the fine arts be called in question, seeing that its
+immediate object is to teach us the _use of our hands_. And (which
+perhaps is the most pursuasive argument of all), it is particularly
+pleasing to the fair sex, who besides their well known admiration of
+_bravery_, are, to a woman, devotedly attached to the _ring_.
+
+Sometimes an adverb with a genitive case stands in the place of the
+nominative, as--
+
+  Partim astutorum mordebantur,
+
+  Part of the knowing ones were bit.
+
+We must contend that the above is a _racy_ observation.
+
+
+  EXCEPTIONS TO THE RULE.
+
+Verbs of the infinitive mood-- but hold. Remember that there is scarcely
+any rule without an exception; and this axiom particularly applies to
+the Syntax. We used to wish it did not; because then we should not have
+had so much to learn-- to resume however--
+
+Verbs of the infinitive mood often have set before them an accusative
+case instead of a nominative; the conjunction quod, or ut, being left
+out, as
+
+  Annam reginam aiunt occubuisse:
+
+  They say that Queen Anne's dead.
+
+A verb placed between two nominative cases of different numbers, is not
+like a donkey between two stacks of hay, it makes choice of one or the
+other, and agrees with it, as
+
+  Amygdal� amar� venenum _est_,
+
+  Bitter almonds _is_ poison.
+
+We have written the English beneath the Latin. Perhaps it may be
+imagined that we think good English _beneath_ us.
+
+A singular noun of multitude is sometimes joined to a plural verb; as
+
+  Pars puerorum philosophum secuti sunt,
+
+  Part of the boys followed the philosopher.
+
+    [Illustration]
+
+And so they would now, particularly if they saw one in costume.
+
+Verbs impersonal have no nominative case before them, as
+
+  T�det me Grammatices, I am weary of Grammar.
+
+  Pert�sum est Syntaxeos, I am quite sick of Syntax.
+
+  Mirificum visum est Socratem in gyrum saltantem videre,
+
+  It seemed wonderful to behold Socrates jumping Jim Crow.
+
+    [Illustration]
+
+
+  SECOND CONCORD.
+  THE SUBSTANTIVE AND THE ADJECTIVE.
+
+Adjectives, participles, and pronouns agree with the substantive in
+gender, number, and case, as
+
+  Vir exiguo conventui, sobrioque idoneus:
+
+  A nice man for a small tea-party.
+
+    [Illustration: A TEA SPOON.]
+
+The Spartans, probably, were men of this kind; their aversion to
+drunkenness being well known.
+
+Observe how close the concord is between substantive and adjective. The
+ties of wedlock are nothing to it; for, besides that in that happy state
+there is very often not a little discord, it is quite impossible that
+man and wife should ever agree in _gender_.
+
+Sometimes a sentence supplies the place of a substantive; the adjective
+being placed in the neuter gender, as
+
+  Audito reginam leones c[oe]nantes visisse:
+
+  It being heard that Her Majesty had gone to see the lions at supper.
+
+
+  THIRD CONCORD.
+  THE RELATIVE AND THE ANTECEDENT.
+
+The relative and antecedent hit it off very well together; they agree
+one with the other in gender, number, and person, as
+
+  Qui plenos haurit cyathos, madidusque quiescit,
+  Ille bonam degit vitam, moriturque facetus.
+
+  "He who drinks plenty, and goes to bed mellow,
+  Lives as he ought to do, and dies a jolly fellow."
+
+    [Illustration]
+
+Horace was the fellow for this kind of thing. Cato must have been a
+regular wet blanket.
+
+Sometimes a sentence is placed for an antecedent, as
+
+  Heliogabalus, spiritu contento, viginti quatuor ostrearum
+  demersit in alvum, quod Dandoni etiam long� antecellit.
+
+  Heliogabalus, at one breath, swallowed two dozen of oysters,
+  which beats even Dando out and out.
+
+    [Illustration: HELIOGABALUS.]
+
+Many of the ancients could swallow a good deal.
+
+A relative placed between two substantives of different genders and
+numbers, sometimes agrees with the latter, as
+
+  Pueri tuentur illum librum qu� Latina Grammatices et Comica dicitur.
+
+  Boys regard that book which is called the Comic Latin Grammar.
+
+Sometimes a relative agrees with the primitive, which is understood in
+the possessive, as
+
+  Mirabantur impudentiam suam qui ad reginam literas misit.
+
+  They wondered at his impudence, who wrote a letter to the queen.
+
+If a nominative case be interposed between the relative and the verb,
+the relative is governed by the verb, or by some other word which is
+placed in the sentence with the verb, as
+
+  Luciferi quos Prometheus surripuit, ad Jovem cujus numen contempsit,
+  pertinebant.
+
+  The Lucifers which Prometheus shirked, belonged to Jupiter,
+  whose authority he despised.
+
+In fact, Prometheus _made light_ of Jupiter's _lightning_.
+
+We now take leave of the Concords, observing only how pleasant it is to
+see _relatives agree_.
+
+    [Illustration: IT�'S PLEASANT TO SEE RELATIVES AGREE.]
+
+    [Plate:
+    PROMETHEUS VINCTUS.]
+
+Our next subject is the
+
+
+  CONSTRUCTION OF NOUNS SUBSTANTIVE.
+
+Which is not quite so amusing as the construction of small boats, paper
+kites, pinwheels, crackers, or any other mode of displaying the faculty
+of "constructiveness"-- though in one sense the construction of nouns
+substantive, is not unlike the construction of _puzzles_.
+
+When two substantives of a different signification meet together, the
+latter is put in the genitive case, as
+
+  Ulysses lumen Cyclopis extinxit:
+
+  Ulysses doused the glim of the Cyclops.
+
+This genitive case is sometimes changed into a dative, as
+
+  Urbi pater est, urbique maritus. --Gram. Eton.
+
+  He is the father of the city, and the husband of the city.
+
+He must have been a pretty fellow, whoever he was.
+
+An adjective of the neuter gender, put without a substantive, sometimes
+requires a genitive case, as
+
+  Paulul�m honestatis sartori sufficit:
+
+  A very little honesty is enough for a tailor.
+
+A genitive case is sometimes placed alone; the preceding substantive
+being understood by the figure ellipsis, as
+
+  Ubi ad magistri veneris, cave verbum de porco:
+
+  When you are come to the master's (house), not a word about the pig.
+
+The word pig is a very general term, and is used to signify not only the
+animal so called, and such of the human race as resemble him in habits,
+appearance, or feelings; but also to denote a variety of little things,
+which it is sometimes necessary to keep secret. A�pedagogue now and then
+discovers a _pig-tail_ appended to his coat collar-- this, or rather the
+way in which it got there, is one of the little _pigs_ in question.
+Robbing the larder or the garden is another; so is insinuating
+horse-hairs into the cane, or putting cobbler's wax on the seat of
+learning -- we mean the master's stool. A�sort of _pig_ (or rather a
+_rat_) is sometimes _smelt_ by the master on taking his nightly walk
+though the dormitories, when roast fowl, mince pies, bread and cheese,
+shrub, punch, &c. have been slyly smuggled into those places of repose.
+Shirking down town is always a _pig_, and the consequences thereof, in
+case of discovery, a great _bore_.
+
+Considering that a secret is a _pig_, it is singular that betraying one
+should be called letting the _cat_ out of the bag.
+
+    [Plate:
+    SMELLING A PIG.]
+
+Two substantives respecting the same thing are put in the same case, as
+
+  Telemachum, juvenem bon� indolis, Calypso existimavit.
+
+  Calypso thought Telemachus a nice young man.
+
+By the way, what a nice young man Virgil makes out Marcellus to have
+been!
+
+Praise, dispraise, or the quality of a thing is placed in the ablative,
+and also in the genitive case-- as
+
+  Vir paucorum verborum et magni appetit�s:
+
+  A man of few words and large appetite.
+
+  Paterfamilias. Vir multis miseriis:
+
+  A father of a family. A man of many woes.
+
+    [Illustration]
+
+The man of most _woes_, however, is a hackney-coachman.
+
+Opus, need, and usus, need, require an ablative case, as
+
+  Didoni marito opus erat;
+
+  Dido had need of a husband.
+
+  �ne� c[oe]n� usus erat;
+
+  �neas had need of a dinner.
+
+But opus appears to be sometimes placed like an adjective for
+necessarius, necessary, as
+
+  Regi Anthropophagorum coquus opus est:
+
+  The King of the Cannibal Islands wants a cook.
+
+Which would serve his purpose best-- a valet-de-chambre who _dresses_
+men, or a wit, who _roasts_ them?
+
+
+  THE CONSTRUCTION OF NOUNS ADJECTIVE.
+
+  THE GENITIVE CASE AFTER THE ADJECTIVE.
+
+Adjectives which signify desire, knowledge, memory, fear, and the
+contrary to these, require a genitive case, as
+
+  Est natura vetularum obtrectationis avida:
+
+  The nature of old women is fond of scandal.
+
+This particularly applies to old maids. As those delightful creatures
+now-a-days, not content with being _grey_ aspire to be actually _blue_;
+we cannot help recommending to them a kind of study, for which their
+propensity to _cutting up_ renders them peculiarly adapted; we mean
+_Anatomy_. And since it is on the foulest and most odious points of
+character that they chiefly delight to dwell, we more especially suggest
+to them the pursuit of _Morbid Anatomy_, as one which is likely to be
+attended both with gratification and success.
+
+  Mens tempestatum pr�scia:
+
+  A mind foreknowing the weather.
+
+A piece of _sea-weed_ has often, heretofore, been used as a barometer;
+but it is only of late that this purpose has been answered by a
+_murphy_.
+
+  Immemor beneficii:
+
+  Unmindful of a kindness.
+
+The sort of kindness one is least likely to forget is that which our
+master used to say he conferred upon us, when he was inculcating
+learning by means of the rod. We cannot help thinking, however, that he
+began _at the wrong end_.
+
+  Imperitus rerum:
+
+  Unacquainted with the world, i.e. Not 'up to snuff'.
+
+Much controversy has been wasted in attempts to determine the origin of
+the phrase "up to snuff". Some have contended that it was suggested by
+the well-known quality possessed by snuff, of _clearing the head_; but
+this idea is far fetched, not to say absurd. Others will have that the
+expression was derived from Snofe, or Snoffe, the name of a cunning
+rogue who flourished about the time of the first crusade; so that "up to
+Snoffe" signified as clever, or knowing, as Snoffe; and was in process
+of time converted into "up to snuff." This opinion is deserving of
+notice; though the only argument in its favour is, that the phrase in
+question was in vogue long before the discovery of tobacco. Probably the
+soundest view is that which connects it with the proper name Znoufe,
+which in ancient High-Dutch is equivalent to Mercury, whose reputation
+for astuteness among the ancients was exceedingly great. Conf.
+Hookey-Walk, ii.�13. Hok. Pok. Wonk-Fum. viii.�24. Cheek. Marin. passim,
+with a host of commentators, ancient and modern.
+
+  Roscius timidus Deorum fuit:
+
+  _Roscius_ was afraid of the _Gods_.
+
+Adjectives ending in _ax_, derived from verbs, also require a genitive
+case, as
+
+  Tempus edax rerum:
+
+  Time is the consumer of all things.
+
+Hence Time is sometimes figured as an alderman.
+
+Nouns partitive, nouns of number, nouns comparative and superlative, and
+certain adjectives put partitively, require a genitive case, from which
+also they take their gender; as
+
+  Utrum horum mavis accipe:
+
+  Take which of those two things you had rather.
+
+So Queen Eleanor gave Fair Rosamond her choice between the dagger and
+the bowl of poison. This, to our mind, would have been like choosing a
+tree to be hanged on.
+
+  Primus fidicinum fuit Orpheus:
+
+  Orpheus was the first of fiddlers.
+
+He is said to have charmed the hearts of broomsticks.
+
+  Momus lepidissimus erat Deorum:
+
+  Momus was the funniest of the Gods.
+
+Other deities may have made Jupiter shake his head. Momus used to make
+him shake his sides.
+
+  Sequimur te, sancte deorum:
+
+  We follow thee, O sacred deity.
+
+Namely, the aforesaid Momus. He is the only heathen god that we should
+have had much reverence for, and certainly the only one that we should
+ever have sacrificed to at all. The offering most commonly made to the
+god of laughter was, probably, _a�sacrifice of propriety_.
+
+But the above nouns are also used with these prepositions, a, ab, de, e,
+ex, inter, ante; as,
+
+  Primus inter philosophos Democritus est:
+
+  Democritus is the first amongst philosophers.
+
+And why? Because he alone was wise enough to find out that laughing is
+better than crying. He it was who first proved to the world that
+philosophy and comicality are, in fact, one science; and that the more
+we learn the more we laugh. We forget whether it was he or Aristotle who
+made the remark, that man is the only laughing animal except the hy�na.
+
+_Secundus_ sometimes requires a dative case, as
+
+  Haud ulli veterum virtute secundus:
+
+  Inferior to none of the ancients in valour.
+
+    [Illustration]
+
+Surely Virgil in saying this, had an eye to a hero, whose fame has been
+perpetuated in the verses of a later poet.
+
+  "Some talk of Alexander, and some of Pericles,
+    Of Conon and Lysander, and Alcibiades;
+  But of all the gallant heroes, there�'s none for to compare,
+    With my ri-fol-de-riddle-iddle-lol to the British grenadier!"
+
+An interrogative, and the word which answers to it, shall be of the same
+case and tense, except words of a different construction be made use of;
+as
+
+  Quarum rerum nulla est satietas? Pomorum.
+
+  Of what things is there no fulness? Of fruit.
+
+Dr. Johnson used to say that he never got as much wall fruit as he could
+eat.
+
+    [Illustration]
+
+
+  THE DATIVE CASE AFTER THE ADJECTIVE.
+
+Adjectives by which advantage, disadvantage, likeness, unlikeness,
+pleasure, submission, or relation to any thing is signified, require a
+dative case; as
+
+  Astaci incocti patri� idonei sunt in pace; cocti autem in bello.
+
+  Raw lobsters are serviceable to their country in peace; but boiled
+  ones in war.
+
+Lobster's _claws_ are nasty things to get into.
+
+The Corporation of London seemed very much afraid of the _Police
+clause_.
+
+One of the reasons why a soldier is sometimes called a lobster, probably
+is, that the latter is a _marine_ animal.
+
+  Bal�n� persimile:
+
+  Very like a whale.
+
+  Qui color albus erat nunc est contrarius albo:
+
+  The colour which was white is now contrary to white.
+
+Some people will swear white is black to gain their ends; and a man who
+will do this, though he may not always be--
+
+  Jucundus amicis:
+
+  Pleasant to his friends;
+
+is nevertheless frequently so to his _constituents_.
+
+Hither are referred nouns compounded of the preposition _con_, as
+contubernalis, a�comrade; commilito, a fellow soldier, &c. You must
+_con_ all such words attentively before you can _con_strue well, or the
+_con_sequence will be, that you will be _con_siderably blown up, if not
+_con_foundedly flogged.
+
+Some of these which signify similitude, are also joined to a genitive
+case, as
+
+  Par uncti fulminis:
+
+  Like greased lightning.
+
+The familiarity of our transatlantic friends with the nature of the
+electric fluid, is no doubt owing to the discoveries of their countryman
+Franklin. _Q._�Was the lightning which that philosopher drew down from
+the clouds, of the kind mentioned in the example?
+
+Communis, common; alienus, strange; immunis, free, are joined to a
+genitive, dative, and also to an ablative case, with a preposition, as
+
+  Aures long� communes asinorum sunt:
+
+  Long ears are common to asses.
+
+Though _musical_ ears are not. We even doubt whether they would have the
+slightest admiration for _Bray_-ham.
+
+  Non sunt communes caud� hominibus:
+
+  Tails are not common to men.
+
+Except coat-tails, shirt-tails, pig-tails, and rats'-tails-- to which
+en-_tails_ may perhaps also be added, though these last are often cut
+off.
+
+  Non alienus a poculo cerevisi�:
+
+  Not averse to a pot of beer.
+
+We should think we were not; and should as soon think of engaging in an
+unnatural quarrel with our bread and butter.
+
+Natus, born; commodus, convenient; incommodus, inconvenient; utilis,
+useful; inutilis, useless; vehemens, earnest; aptus, fit, are sometimes
+also joined to an accusative case with a preposition, as
+
+  Natus ad laqueum:
+
+  Born to a halter.
+
+    [Illustration]
+
+Those who are reserved for this exalted destiny, are said to enjoy a
+peculiar immunity from drowning. Is this the reason why _watermen_ are
+such a set of rogues?
+
+To prevent mistakes, it should be mentioned, that the _watermen_ here
+meant are those who, by their own account, are so called from their
+office being _to shut the doors of hackney coaches_.
+
+Verbal adjectives ending in _bilis_, taken passively, and participles
+made adjectives ending in _dus_, require a dative case; as
+
+  Nulli penetrabilis astro;
+
+  Penetrable by no _star_--
+
+not fond of _acting_?
+
+  O venerande mihi Liston! te luget Olympus:
+
+  O Liston, to be venerated by me the _Olympic_ bewails thee.
+
+
+  THE ACCUSATIVE CASE AFTER THE ADJECTIVE.
+
+The measure of quantity is put after adjectives, in the accusative, the
+ablative, and the genitive case, as
+
+  Anguis centum pedes longus:
+
+  A snake a hundred feet long.
+
+  Arbor gummifera, alta mille et quingentis passibus.
+
+  A gum-tree a mile and a half high.
+
+  Aranea, lata pedum denum:
+
+  A spider ten feet broad.
+
+An accusative case is sometimes put after adjectives and participles,
+where the preposition secundum, appears to be understood, as
+
+  Os humerosque asello similis:
+
+  Like to a cod-fish as to his head and shoulders.
+
+Some men _are_ exceedingly like a cod-fish, as to their head and
+shoulders, and they often endeavour to increase this natural resemblance
+as much as possible, by wearing _gills_.
+
+
+  THE ABLATIVE CASE AFTER THE ADJECTIVE.
+
+Adjectives which relate to plenty or want, sometimes require an
+ablative, sometimes a genitive case, as
+
+  Amor et melle et felle est f[oe]cundissimus:
+
+  Love is very full both of honey and gall.
+
+The _honey_ of love is-- we do not know exactly what. Honey, however, is
+Latin for love, as the Irishman said.
+
+The gall of love consists in
+
+First. Tight boots, in which it is often necessary to do penance before
+_our Lady's_ window. This is at all events very _galling_.
+
+    [Illustration: A TIGHT BOOT.]
+
+Secondly. In lover's sighs, to which it communicates their peculiar
+_bitterness_.
+
+Thirdly. Another very _galling_ thing in love is being cut out.
+
+Fourthly. Love is one of the passions treated of by _Gall_ and
+Spurzheim.
+
+Adjectives and substantives govern an ablative case, signifying the
+cause and the form, or the manner of a thing, as
+
+  Demosthenes vociferatione raucus erat:
+
+  Demosthenes was hoarse with bawling.
+
+  Nomine grammaticus, re barbarus:
+
+  A grammarian in name; in reality a barbarian.
+
+Like many of the old masters-- we do not mean painters-- though we
+certainly allude to _brothers of the brush_-- perhaps it would be better
+to call them _brothers of the angle_, on account of their partiality to
+the _rod_. Does the reader _twig_? If so, it is unnecessary to _branch_
+out into a discussion with regard to the nature of the barbarity hinted
+at-- a�kind of barbarity which, though it may proclaim its perpetrators
+to be by no means allied to the _feline_ race, connects them most
+decidedly with the _canine_ species.
+
+Dignus, worthy; indignus, unworthy; pr�ditus, endued; captus, disabled;
+contentus, content; extorris, banished; fretus, relying upon; liber,
+free; with adjectives signifying price, require an ablative case, as
+
+  Leander dignus erat meliore fato:
+
+  Leander was worthy of a better fate.
+
+Poor fellow! first to be head over ears in love, and then over head and
+ears in the sea! Shocking! What an _hero_ic young man he must have
+been.-- What _a duck_, too, the fair Hero must have thought him as she
+watched him from her lonely tower, nearing her every moment, as he cleft
+with lusty arm the foaming herring-pond. We mean the Hellespont-- but no
+matter. What a _goose_ he must have been considered by any one else who
+happened to know of his nightly exploits! How miserably he was _gulled_
+at last! Never mind. If Leander went to the _fishes_ for love, many a
+better man than he, has, before and since, gone, from the same cause, to
+the _dogs_.
+
+  Conscientia procuratoris solidis sex, denariis octo, venale est;
+
+  A lawyer's conscience is to be sold for six and eightpence.
+
+Some of these, sometimes admit a genitive case, as
+
+  Carmina digna de�:
+
+  Verses worthy of a goddess.
+
+Whether the following verses are worthy of a goddess or not, we shall
+not attempt to decide; they were addressed to one at all events-- at
+least to a being who, if _idolizing_ constitutes a goddess, may,
+perhaps, be termed one. We met with them in turning over the pages of an
+album.
+
+  LINES BY A FOND LOVER.
+
+  Lovely maid, with rapture swelling,
+    Should these pages meet thine eye,
+  Clouds of absence soft dispelling;
+    Vacant memory heaves a sigh.
+
+  As the rose, with fragrance weeping,
+    Trembles to the tuneful wave,
+  So my heart shall twine unsleeping,
+    Till it canopies the grave!
+
+  Though another's smiles requited,
+    Envious fate my doom should be:
+  Joy for ever disunited,
+    Think, ah! think, at times on me!
+
+  Oft amid the spicy gloaming,
+    Where the brakes their songs instil,
+  Fond affection silent roaming,
+    Loves to linger by the rill--
+
+  There when echo's voice consoling,
+    Hears the nightingale complain,
+  Gentle sighs my lips controlling,
+    Bind my soul in beauty's chain.
+
+  Oft in slumber's deep recesses,
+    I thy mirror'd image see;
+  Fancy mocks the vain caresses
+    I would lavish like a bee!
+
+  But how vain is glittering sadness!
+    Hark, I hear distraction's knell!
+  Torture gilds my heart with madness!
+    Now for ever fare thee well!
+
+    [Illustration: AN ALBUM AUTHOR.]
+
+It would be interesting as well as instructive to settle the difference
+between love verses and nonsense verses, if this were the proper place
+for doing so. But we are not yet come to the Prosody; nor shall we
+arrive there very soon unless we get on with the Syntax.
+
+Comparatives, when they may be explained by the word quam, than, require
+an ablative case, as
+
+  Achilles Agamemnone velocior erat:
+
+  Achilles was a faster man than Agamemnon.
+
+_Fast men_ in modern times are very apt to _outrun the constable_.
+
+Tanto, by so much, quanto, by how much, hoc, by this, eo, by this, and
+quo, by which; with some other words which signify the measure of
+exceeding; likewise �tate, by age, and natu, by birth, are often joined
+to comparatives and superlatives, as
+
+  Tanto deformissimus, quanto sapientissimus philosophorum.
+
+  By so much the ugliest, by how much the wisest of philosophers.
+
+Such an one was Socrates. It is all very well to have a contemplative
+disposition; but it need not be accompanied by a _contemplative nose_.
+
+  Quo plus habent, eo plus cupiunt:
+
+  The more they have the more they want.
+
+This is a curious fact in the natural history of school-boys, considered
+in relation to roast beef and plum pudding.
+
+  Maximum �tate virum in tot� Kentucki� contudi:
+
+  I whopped the oldest man in all Kentucky.
+
+
+  THE CONSTRUCTION OF PRONOUNS.
+
+All those who would understand the construction of pronouns, should take
+care to be well versed in the distinction between _meum_ and _tuum_,
+ignorance of which often gives rise to the disagreeable necessity of
+becoming too intimately acquainted with _quod_.
+
+Mei, of me, tui, of thee, sui, of himself, nostri, of us, vestri, of
+you, (the genitive cases of their primitives ego, tu, &c.) are used when
+a person is signified, as
+
+  Languet desiderio tui:
+
+  He languishes for want of you.
+
+You cannot give a more acceptable piece of information than the above,
+to any young lady. The fairer and more amiable sex always like to have
+something-- if not to love, at least to pity.
+
+  Parsque tui lateat corpore clausa meo. --_Eton Gram._
+
+  And a part of you may lie shut up in my body.
+
+Or rather _may_ it so lie! How forcibly a sucking pig hanging up outside
+a pork-butcher's shop always recals this beautiful line of Ovid's to the
+mind!
+
+Meus, mine, tuus, thine, suus, his own (Cocknic� his'n), noster, ours,
+vester, yours, are used when action, or the possession of a thing is
+signified; as
+
+  Qui bona qu� non sunt sua furtim subripit, ille
+    Tempore quo capitur, carcere clausus erit:
+
+  Him as prigs wot isn�'t his'n,
+  Ven he's cotch'd 'll go to pris'n.
+
+    [Illustration]
+
+These possessive pronouns, meus, tuus, suus, noster, and vester, take
+after them these genitive cases,-- ipsius, of himself, solius, of him
+alone, unius, of one, duorum, of two, trium, of three,�&c., omnium, of
+all, plurium, of more, paucorum, of few, cujusque, of every one, and
+also the genitive cases of participles, which are referred to the
+primitive word understood; as
+
+  Meis unius impensis pocula sex exhausi:
+
+  I drank six pots to my own cheek.
+
+We wonder that any one should have the _face_ to say so.
+
+Sui and suus are reciprocal pronouns, that is, they have always relation
+to that which went before, and was most to be noted in the sentence,
+as--
+
+  Jonathanus nimium admiratur se:
+
+  Jonathan admires himself too much.
+
+  Parcit erroribus suis, He spares his own errors.
+
+  Magnoper� Jonathanus rogat ne se derideas, Jonathan earnestly begs
+  that you would not laugh at him.
+
+If you _do_, take care that he does not _blow you up_ one of these fine
+days.
+
+These demonstrative pronouns, hic, iste, and ille are thus
+distinguished: hic points out the nearest to me; iste him who is by you;
+ille him who is at a distance from both of us.
+
+In making _game_ of the Syntax, we regard them as _pointers_.
+
+When hic and ille are referred to two things or persons going before,
+hic generally relates to the latter, ille to the former, as
+
+  Richardus Thomasque suum de more bibebant,
+    Ebrius hic vappis, ebrius ille mero:
+
+  Both Dick and Tom caroused away like swine,
+  Tom drunk with swipes, and Dicky drunk with wine.
+
+
+  THE CONSTRUCTION OF VERBS.
+
+  THE NOMINATIVE CASE AFTER THE VERB.
+
+Verbs substantive, as sum, I am, forem, I�might be, fio, I�am made,
+existo, I�am; verbs passive of calling, as nominor, I�am named,
+appellor, I�am called, dicor, I�am said, vocor, I�am called, nuncupor, I
+am named, and the like to them, as videor, I am seen, habeor, I�am
+accounted, existimor, I�am thought, have the same cases before and after
+them, as
+
+  Adeps viridis est summum bonum:
+
+  Green fat is the chief good.
+
+Even among the ancients, _turtles_ were the emblems of love; which, next
+to eating and drinking, has always been the first object of human
+pursuit. This fact proves, very satisfactorily, two things, first, their
+proficiency in the science of gastronomy; and, secondly, their extreme
+susceptibility of the tender passion.
+
+  Pileus vocatur tegula:
+
+  A hat is called a tile.
+
+    [Illustration: TILED IN.]
+
+Likewise all verbs in a manner admit after them an adjective, which
+agrees with the nominative case of the verb, in case, gender, and
+number, as
+
+  Pii orant taciti. --_Eton Gram._
+
+  The pious pray silently.
+
+Is this a sly rap at the Quakers?
+
+
+  THE GENITIVE CASE AFTER THE VERB.
+
+Sum requires a genitive case as often as it signifies possession, duty,
+sign, or that which relates to any thing; as
+
+  Quod rapidam trahit �tatem pecus est Melib[oe]i,
+
+  The cattle _wot_ drags the _Age_, fast coach, is Melib[oe]us's.
+
+Alas! that such an Age should be banished by the Age of rail-roads!--
+let us hear the
+
+  COACHMAN'S LAMENT.
+
+  _Air._-- "Oh give me but my Arab steed."
+
+  Farewell my ribbons, and, alack!
+      Farewell my tidy drag;
+  Mail-coach-men now have got the _sack_,
+      And engineers the _bag_.
+
+  My heart and whip alike are broke--
+      I've lost my varmint team
+  That used to cut away like _smoke_,
+      But could n't go like _steam_.
+
+  It is, indeed, a bitter _cup_,
+      Thus to be sent to _pot_;
+  My bosom boils at boiling up
+      A gallop or a trot.
+
+  My very brain with _fury_�'s rack'd,
+      That railways are the _rage_;
+  I'm sure you'll never find them _act_,
+      Like our old English _stage_.
+
+  A man whose _passion_�'s crost, is sore,
+      Then pray excuse my _pet_;
+  I ne'er was _overturn'd_ before,
+      But now am quite _upset_.
+
+    [Illustration]
+
+These nominative cases are excepted from the above rule, meum, mine,
+tuum, thine, suum, his, noster, our, vester, your, humanum, human,
+belluinum brutal, and the like, as
+
+  Non est tuum aviam instruere:
+
+  Don't teach your grandmother-- to suck eggs.
+
+  Humanum est inebriari.
+
+  It is a human frailty-- or an amiable weakness-- to get drunk.
+
+Lord Byron proves it to be a _human_ frailty.
+
+  "_Man_ being _reasonable_, _must_ get drunk."
+
+    [Illustration: A REASONABLE CREATURE.]
+
+Another poet (anon.) proves it to be an _amiable_ one, by establishing
+the analogy which exists between it and an intoxication of another
+kind--
+
+  "Love is like a dizziness,
+  Never lets a poor man go about his business."
+
+Verbs of accusing, condemning, advising, acquitting, and the like,
+require a genitive case which signifies the charge; as
+
+  Qui alterum accusat probri, eum ipsum se intueri oportet.
+
+  It is fit that he who accuses another of dishonesty
+  should look into himself.
+
+If this maxim were acted up to, what attorney could we ever get to frame
+an indictment?
+
+  Furti damnatus, "tres menses" adeptus est:
+
+  Being condemned of theft, he had "three months."
+
+We do not see much _fun_ in that. We cannot help thinking, however,
+that "Three Months at Brixton," would form a taking (at least a
+_thief_-taking) title for a novel.
+
+  Admoneto magistrum squalidarum vestium:
+
+  Put the master in mind of his seedy clothes.
+
+That is if you want a _good dressing_.
+
+This genitive case is sometimes changed into an ablative, either with or
+without a preposition, as
+
+  Putavi de calendis Aprilibus te esse admonendum:
+
+  I thought that you ought to be reminded of the first of April.
+
+Young reader! were you ever, on the above anniversary, sent to the
+cobbler's for pigeons' milk, and dismissed with _strap-oil_ for your
+_pains_? Were your domestic and alimentive affections ever sported with
+by the false intelligence that a letter from home and a large cake were
+waiting for you below! Or worse, did some waggish, but inconsiderate
+friend ever send you a fool's-cap and a hamper of stones?
+
+Reader, of a more advanced age, were you ever?-- but we cannot go on--
+Oh! Matilda-- we might have been your _slave_-- but it was cruel of you
+to _sell_ us in such a manner.
+
+Uterque, both, nullus, none, alter, the other, neuter, neither of the
+two, alius, another, ambo, both, and the superlative degree, are joined
+to verbs of that kind only in the ablative case, as
+
+  Fratris, an asini, trucidationis accusas me? Utroque,
+  sed sceleris unius:
+
+  Do you accuse me of killing my brother or my donkey?
+  Of both; but of one crime.
+
+Satago, to be busy about a thing, misereor and miseresco, to pity,
+require a genitive case, as
+
+  Qui ducit uxorem rerum satagit:
+
+  He who marries a wife has his hands full of business.
+
+We hear frequently of lovers being _distracted_. Husbands are much more
+so.
+
+  O! tergi miserere mei non digna ferentis:
+
+  Oh! have pity on my back, suffering things undeserved.
+
+Reminiscor, to remember, obliviscor, to forget, memini, to remember,
+recorder, to call to mind, admit a genitive or accusative case, as
+
+  Reminiscere nonarum Novembrium:
+
+  Remember the fifth of November.
+
+No wonder that so many _squibs_ are let off on that day; considering the
+political feeling connected with it.
+
+  Hoc te spectantem me meminisse precor:
+
+  When this you see remember me.
+
+How particularly anxious all young men and women who are lovers, and all
+waiters and chambermaids, whether they are lovers or no, besides
+coachmen and porters of all kinds, seem to be _remembered_. A coachman
+in one respect especially resembles a lover; he always wishes to be
+remembered by his _fare_.
+
+Potior, to gain, is joined either to a genitive or to an ablative case,
+as
+
+  Xantippe, marito subacto, femoralium potita fuit.
+
+  Xantippe, her husband being overcome, gained the breeches.
+
+  Terentius Thrace potitus est:
+
+  Terence got a Tartar.
+
+At least he said he did, when he took the prisoner who would n't let him
+come.
+
+
+  THE DATIVE CASE AFTER THE VERB.
+
+All verbs govern a dative case of that thing to or for which any thing
+is gotten or taken away, as
+
+  Diminuam tibi caput:
+
+  I will break your head.
+
+  Eheu! mihi circulum ademit!
+
+  Oh dear, he has taken away my hoop!
+
+What a thing it is to be a junior boy!
+
+Verbs of various kinds belong to the above rule. In the first place
+verbs signifying advantage or disadvantage govern a dative case, as
+
+  Jud�i ad commodandum nobis vivunt:
+
+  The Jews live to accommodate us.
+
+Or accommodate us to live-- which?
+
+Of these juvo, l�do, delecto, and some others, require an accusative
+case, as
+
+  Maritum quies plurimum juvat:
+
+  Rest very much delighteth a married man-- when he can get it.
+
+    [Illustration]
+
+Verbs of comparing govern a dative case, as
+
+  Ajacem "Surdo" componere s�pe solebam:
+
+  I was often accustomed to compare Ajax to the "Deaf un,"--
+  not because he was hard of hearing, but hard in hitting.
+
+Sometimes, however, they require an ablative case with the preposition
+cum; sometimes an accusative case with the prepositions ad and inter, as
+
+  Comparo _Pompeium_ cum _globo nivali_:
+
+  I compare _Pompey_ with a _snow-ball_.
+
+Pompey is called in the schools a proper name. Whether it is a _proper
+name_ for a nigger or not, may be questioned. It may also be doubted
+whether a negro can ever rightly be called "snow-ball," except he be _an
+ice_ man; in which case even though he should be the knave of _clubs_,
+it is obvious that he ought never to be _black balled_.
+
+  Si ad pensum verberatio comparetur nihil est:
+
+  If a flogging be compared to an imposition, it is nothing.
+
+A flogging is a fly-blow, or at least a _flea_-blow to the boy, and a
+task only to the master; whereas an imposition is a task to the boy, and
+very often a _verse_ task.
+
+Verbs of giving and of restoring govern a dative case, as
+
+  Learius unicuique filiarum dimidium coron� dedit:
+
+  Lear gave his daughters half-a-crown a-piece.
+
+Hence we are enabled to gain some notion of the great value of money in
+the time of the Ancient Britons.
+
+Verbs of promising and of paying govern a dative case; as
+
+  Menelaus Paridi fustuarium promisit:
+
+  Menelaus promised Paris a drubbing.
+
+    [Illustration]
+
+  "Gubernatoris" est pendere sartoribus pecuniam:
+
+  It is the place of "the governor" to pay tailors.
+
+Hence young men may learn how desirable it is to be "in statu
+pupillari." True, in that state of felicity, they are somewhat under
+control, but the above example, and many others of a like nature,
+sufficiently prove, that such restriction, compared to the
+responsibilities of manhood, is but a _minor_ inconvenience.
+
+Verbs of commanding and telling govern a dative case, as
+
+  Alexander, vinosus, animis imperare non potuit:
+
+  Alexander, when drunk, could not command his temper.
+
+Thus, in a state of beer, he committed manslaughter at least, by killing
+and slaying his friend Clitus. We could not resist the temptation to
+mention this fact, since, as we have so often laughed at its narration
+in those interesting compositions called themes, we thought there must
+needs be something very funny about it. Alexander the Great, be it
+remarked, for the special behoof of schoolboys, furnishes an example of
+any virtue or vice descanted on in any prose task or poem under the sun.
+
+  Antonio dixit Augustus Lepidum veteratorem fuisse.
+
+  Augustus told Antony that Lepidus was a humbug.
+
+We don't know exactly where this historical fact is mentioned. _Lepidus_
+is a _funny_ name.
+
+Except, from the foregoing rule, rego, to rule, guberno, to govern,
+which have an accusative case; tempero and moderor, to rule, which have
+sometimes a dative, sometimes an accusative case; as
+
+  Luna regit ministros:
+
+  The moon rules the ministers.
+
+That is to say, when it is at the full, and resembles a great�O.
+
+  Pr�co pauperes gubernat:
+
+  The beadle governs the paupers.
+
+  Non semper temperat ipse sibi:
+
+  He does not always govern himself.
+
+  Non animos mollit proprios, nec temperat iras:
+
+  He neither softens his own mind, nor tempers his anger.
+
+  Ecce, Ducrow moderatur equos:
+
+  Lo, Ducrow manages the horses.
+
+_Q._ Why is a general officer like a writing-master?
+
+_A._ Because he is a _ruler of lines_.
+
+Verbs of trusting govern a dative case, as
+
+  Credite, f[oe]mine�, juvenes, committere menti,
+  Nil nisi lene decet.
+
+  Believe me, young men, it is fit to entrust nothing to a female mind
+  but what is _soft_.
+
+In fact, _soft nothings_ are fittest for the ear of a lady.
+
+  Pomarius poet� non credit:
+
+  The costermonger trusts not the poet.
+
+How wrong, therefore, it is to call him a _green_ grocer.
+
+Verbs of complying with and of opposing govern a dative case, as
+
+  Nunquam obtemperat tiro hodiernus magistro:
+
+  A modern apprentice never obeys his master.
+
+Verbs of threatening and of being angry govern a dative case, as
+
+  Utrique latronum mortem est minitatus:
+
+  He threatened death to both of the robbers,--
+
+By presenting a pistol right and left at each of them. This when done by
+some well-disposed sailor in a melodrame, constitutes a situation of
+thrilling interest.
+
+    [Illustration]
+
+Sum with its compounds, except possum, governs a dative case, as
+
+  Oculi nigri non semper sunt faciei ornamentum:
+
+  Black eyes are not always an ornament to the face.
+
+    [Illustration]
+
+Verbs compounded with these adverbs, bene, well, satis, enough, male,
+ill, and with these prepositions, pr�, ad, con, sub, ante, post, ob, in,
+inter, for the most part govern a dative case, as
+
+  Saginatio multis hominibus benefacit:
+
+  Cramming does good to many men.
+
+For instance, it does good to aldermen, especially in these days of
+reform, _by enlarging the Corporation_. Cramming, or rather the effect
+of it, benefits medical men, who again do good to their patients by
+_cramming_ them in another way. There is also a species of cramming
+which is found very serviceable at the Universities, by enabling certain
+students to _pass in a crowd._
+
+    [Illustration: OH! HERE�'S A COMPLIMENT.]
+
+In this respect however it differs essentially from aldermanic cramming,
+which enhances the difficulty of such a feat in a very remarkable
+manner.
+
+  Puell�, ali� aliis pr�lucere student:
+
+  Girls endeavour to outshine one another.
+
+And yet they _make light_, as much as they can, of each other's charms
+and accomplishments.
+
+  Intempestive parum longe prospicienti Doctori adlusit.
+
+  He joked unseasonably on the short-sighted Doctor.
+
+Johnson was not so short-sighted as to be blind to a joke.
+
+Not a few of the verbs mentioned in the last rule, sometimes change the
+dative into another case; as
+
+  Pr�stat ingenio alius alium:
+
+  One exceeds another in ability.
+
+    [Illustration]
+
+Thus one boy learns Latin and Greek better than the rest; another learns
+slang. One is a good hand at construing, another at climbing. Some boys
+are peculiarly skilled at casting accounts, others in casting stones.
+Here we have a boy of a small appetite and many words, there one of a
+large appetite and few words. Sometimes precocious talent is evinced for
+playing the fiddle, sometimes for playing a _stick_; sometimes, again,
+a�strong propensity is discovered for playing the fool. This boy makes
+verses, as it were, by inspiration; that boy shows an equal capacity in
+making mouths. The most peculiar talent, however, and the one most
+exclusive of all others, is that of riding. Those who are destined to
+attain great proficiency in this science, can seldom do any thing else;
+and usually begin their career by being _horsed_ at school.
+
+Est, for habeo to have, governs a dative case, as
+
+  Est mihi qui vestes custodit avunculus omnes:
+
+  I have an uncle who takes care of all my clothes.
+
+Suppetit, it sufficeth, is like to this, as
+
+  Pauper enim non est cui rerum suppetit usus:
+
+  For he is not poor, to whom the use of things suffices.
+
+The two last examples must suggest a rather alarming idea to those who
+are accustomed to propitiate the relation to whom we have just alluded,
+by relinquishing _their habits_. Is it possible that he can ever _use_
+one's _things_? We recommend this query to the serious consideration of
+theatrical persons, and all others who are addicted to _spouting_.
+
+_Sum_ with many _others_ admits a double dative case, as
+
+  Exitio est avidis alvus pueris:
+
+  The belly is the destruction of greedy boys.
+
+Particularly those of _Eton_ College.
+
+Sometimes this dative case tibi, or sibi, or also mihi, is added for the
+sake of elegance in expression, as
+
+  Cato suam sibi uxorem Hortensio vendidit:
+
+  Cato sold his own wife to Hortensius.
+
+    [Illustration]
+
+Some say he only lent her. The fact most probably is, that the lady,
+being tired of her husband, wished to be a-_loan_.
+
+
+  THE ACCUSATIVE CASE AFTER THE VERB.
+
+Verbs transitive, of what kind soever, whether active, deponent, or
+common, require an accusative case, as
+
+  Procuratorem fugito, nam subdolus idem est:
+
+  Avoid an attorney, for the same is a cunning rogue.
+
+Yet the legal profession are always boasting of their _deeds_.
+
+Verbs neuter have an accusative case of a like signification to
+themselves, as
+
+  Pomarii asinus duram servit servitutem:
+
+  A coster-monger's donkey serves a hard servitude.
+
+Poor animal! A _Sterne_ heart was once melted by thy sufferings-- how
+then must they affect that of the _gentle_ reader?
+
+There are some verbs which have an accusative case by a figure, as
+
+  Nec vox hominem sonat;
+
+  Nor does your voice sound like a human creature's.
+
+This may be said of boys of various kinds-- as pot-boys, butcher's boys,
+baker's boys, and other boys who are in the habit of bawling down areas;
+also of several descriptions of men, as cab-men, coach-men, watch-men,
+and dust-men. The same may likewise be asserted of some women, such as
+apple-women, oyster-women, fish-women, and match-women. Here also the
+singing of charity children of both sexes, and the voices of
+parish-clerks, may be specified, and, lastly, of many foreigners whose
+names terminate in ini.
+
+    [Illustration]
+
+Verbs of asking, of teaching, of clothing, and of concealing, commonly
+govern two accusative cases, as
+
+  Ego docebo te, adolescentule, lectiones tuas:
+
+  _I'll_ teach you your lessons, young man.
+
+This speech is usually the prelude to something which elicits that
+exemplification of the vocative case which has been given in the first
+part of the Grammar.
+
+Some verbs of this kind have an accusative case even in the passive
+voice, as
+
+  Bis denos posceris versus de scoparum manubrio:
+
+  You are required to make twenty verses on a broomstick.
+
+Why should not a broomstick form the subject of a poetical effusion,
+when the material of the broom itself is so often used in schools to
+stimulate inventive genius?
+
+Nouns appellative are commonly added with a preposition to verbs which
+denote motion, as
+
+  Interea ad templum non �qu� Palladis ibant
+  Crinibus Iliades passis.  _Virgil._
+
+  In the mean time the Trojan woman went to the temple of
+  unfriendly Pallas with their hair about their ears.
+
+How odd they must have looked. Here we take occasion to remind
+schoolboys never to lose an opportunity of giving a comic rendering to
+any word or phrase susceptible thereof, which they may meet with in the
+course of their reading. To say "crinibus passis",-- "with dishevelled
+hair" would be to give a very feeble and spiritless translation. Vir is
+literally construed _man_; some school-masters will have it called
+_hero_,-- we propose to translate it _cove_. So dapes may be rendered
+_grub_, or perhaps _prog_; aspera Juno, _crusty Juno_; animam efflare,
+to _kick the bucket_; capere fugam, to _cut one's stick_, or _lucky_;
+confectus, _knocked up_; fraudatus, _choused_; contundere, _to whop_,
+&c.�&c.
+
+
+  THE ABLATIVE CASE AFTER THE VERB.
+
+Every verb admits an ablative case, signifying the instrument, or the
+cause, or the manner of an action, as
+
+  Pulvere nitrato Catilina senatum subruere voluit:
+
+  Catiline wished to blow up the Parliament. Catiline was a regular Guy.
+
+A noun of price is put after some words in the ablative case, as
+
+  Ovidius solidis duobus fibulas siphonem ascendere fecit:
+
+  Ovid pawned his buckles for two shillings.
+
+The _sipho_ was a tube, pipe, or spout, projecting from the shops of
+pawnbrokers, of whom there is every reason to believe that there were a
+great many in ancient Rome. Into this _sipho_ the pledges were placed in
+order to be conveyed to the _adytum_ or secret recess of the dwelling.
+_Vide_ Casaubon de Avunc: Roman.
+
+Vili, at a low rate, paulo, for little, minimo, for very little, magno,
+for much, nimio, for too much, plurimo, for very much, dimidio, for
+half, duplo, for twice as much, are often put by themselves, the word,
+pretio, price, being understood, as
+
+  Vili venit cibus caninus:
+
+  Dog's meat is sold at a low rate.
+
+These genitive cases put without substantives are excepted, tanti, for
+so much, quanti, for how much, pluris, for more, minoris, for less,
+quantivis, for as much as you please, tantidem, for just so much,
+quantilibet, for what you will, quanticunque for how much soever, as
+
+  Non es tanti: You're no great shakes.
+
+Flocci, of a lock of wool, nauci, of a nut-shell, nihili, of nothing,
+assis, of a penny, pili, of a hair, hujus, of this, teruncii, of a
+farthing, are added very properly to verbs of esteeming, as
+
+  Nec verberationem flocci pendo, nec ferul� percussionem pili �stimo:
+
+  I don't value a flogging a straw, nor do I regard a spatting a hair.
+
+A boy who can say this, must have a brazen front, and an iron back, and
+be altogether a lad of _mettle_.
+
+Verbs of abounding, of filling, of loading, and their contraries, are
+joined to an ablative case, as
+
+  Tauris abundat Hibernia:
+
+  Ireland aboundeth in bulls.
+
+This circumstance it most probably was which gave rise to the _Tales_ of
+the O'Hara family.
+
+We once heard a son of Erin, while undergoing the operation of bleeding
+from the arm, remark that that would be an easy way of _cutting one's
+throat_.
+
+Some of these sometimes govern a genitive case, as
+
+  Optime ostrearum implebantur:
+
+  They had a capital blow out of oysters.
+
+We are sorry to remark that these are the only _native_ productions
+patronized by great people.
+
+Fungor, to discharge, fruor, to enjoy, utor, to use, vescor, to live
+upon, dignor, to think one's self worthy, muto, to change, communico, to
+communicate, supersedeo, to pass by, are joined to an ablative case, as
+
+  Qui adipisci c[oe]nas optimas volet, leonis fungatur officiis.
+
+  He who shall desire to obtain excellent dinners, should discharge
+  the office of a lion.
+
+    [Illustration]
+
+In which case he will come in for the "lion's share."
+
+_Q._ Why is the lion of a party like one of the grand sources of
+prejudice mentioned by Lord Bacon?
+
+_A._ Because he is the _Idol_ of the _den_.
+
+Mereor, to deserve, with these adverbs, bene, well, satis, enough, male,
+ill, melius, better, pejus, worse, optime, very well, pessime, very ill,
+is joined to an ablative case with the preposition de, as
+
+  De libitinario medicus bene meretur:
+
+  The doctor deserves well of the undertaker.
+
+Notwithstanding it might at first sight appear, that the doctor, in
+_furnishing funerals_, invades the undertaker's province.
+
+Some verbs of receiving, of being distant, and of taking away, are
+sometimes joined to a dative case, as
+
+  Augustus eripuit mihi nitorem:
+
+  Augustus has taken the shine out of me.
+
+    _Last Dying Speech of M. Antony._
+
+An ablative case, taken absolutely, is added to some verbs, as
+
+  Porcis volentibus l�tissime epulabimur:
+
+  Please the pigs we'll have a jolly good dinner.
+
+The pig had divine honours paid to it by the ancient Greeks. --Jos.
+Scalig. de Myst. Eleusin.
+
+An ablative case of the part affected, and by the poets an accusative
+case, is added to some verbs, as
+
+  Qui animo �grotat, eum aera risum moventem ducere oportet.
+
+  He who is sick in mind should breathe the laughing gas.
+
+Much learned controversy has been expended in endeavouring to determine
+whether this gas was the exhalation by which it is supposed that the
+ancient Pythonesses were affected.
+
+  Rubet nasum:
+
+  His nose is red.
+
+  Candet genas:
+
+  His cheeks are pale.
+
+Some of these words are used also with the genitive case, as
+
+  Angitur animi juvenis iste, et mundum indignatur.
+
+  That young man is grieved in mind and disgusted with the world.
+
+Such a man is called by the ladies an interesting young man.
+
+
+  VERBS PASSIVE.
+
+An ablative case of the doer (but with the preposition a or ab going
+before), and sometimes also a dative case, is added to verbs passive, as
+
+  Darius eleganter ab Alexandro victus est:
+
+  Darius was elegantly licked by Alexander.
+
+The other cases continue to belong to verbs passive which belonged to
+them as verbs active, as
+
+  Titanes l�s� majestatis accusati sunt:
+
+  The Titans were indicted for high treason.
+
+And being found guilty were _quartered_ in a very uncomfortable manner,
+as well as _drawn_ by various artists, whose skill in _execution_ has
+been much commended.
+
+Vapulo, to be beaten, veneo, to be sold, liceo, to be prized, exulo, to
+be banished, fio, to be made, neuter passives, have a passive
+construction, as
+
+  A pr�ceptore vapulabis. _Eton Gram._
+
+  You will be beaten by the master.
+
+It appears to us that vapulo, to be beaten, is here at all events more
+susceptible of a passive construction than a funny one.
+
+  Malo a cive spoliari quam ab hoste venire. _Eton Gram._
+
+  I had rather be stripped by a citizen than sold by an enemy.
+
+The Romans were regularly _sold_ by the enemy for once, when they had to
+go under the yoke.
+
+
+  VERBS OF THE INFINITIVE MOOD.
+
+Verbs of the infinitive mood are put after some verbs, participles, and
+adjectives, and substantives also by the poets, as
+
+  Timotheus ursos saltare fecit:
+
+  Timotheus made the bears dance.
+
+This was done in ancient as it is in modern times, by playing the
+Pandean pipes.
+
+  Inconcinnus erat cerni Telamonius Ajax;
+  Ajax (ut referunt) vir bonus ire minor:
+
+  The Telamonian Ajax was a rum un to look at;
+  The lesser Ajax (as they say) a good un to go.
+
+The Grecians used to call Ajax senior, the _fighting cock_, and Ajax
+junior, the _running cock_.
+
+Verbs of the infinitive mood are sometimes placed alone by the figure
+ellipsis, as
+
+  Siphonum de more oculis demittere fluctus Dardanid�:
+
+  The Trojans (began understood) to pipe their eyes.
+
+As for �neas he might have been a town _crier_.
+
+
+  GERUNDS AND SUPINES
+
+govern the cases of their own verbs, as
+
+  Efferor studio pulices industrios videndi:
+
+  I am transported with the desire of seeing the industrious fleas.
+
+    [Illustration]
+
+
+  GERUNDS.
+
+  "When Dido found �neas would not come,
+  She mourned in silence, and was Di-do-dum."
+
+Gerunds in di have the same construction as genitive cases, and depend
+both on certain substantives and adjectives, as
+
+  Londinensem innatus amor civem urget edendi:
+
+  An innate love of eating excites the London citizen.
+
+People are accustomed to utter a great deal of cant about the
+intellectual poverty of civic magistrates, and common councilmen in
+general; but it must be allowed that those respectable individuals have
+often _a great deal in them_.
+
+    [Illustration: TURTUR ALDERMANICUS.]
+
+Gerunds in do have the same construction with ablative, and gerunds in
+dum with accusative cases, as
+
+  Scribendi ratio conjuncta cum loquendo est:
+
+  The means of writing are joined with speaking.
+
+Some things are written precisely after the writer's way of speaking. We
+once, for example, saw the following notice posted in a gentleman's
+preserve.
+
+  Whear 'as Gins and Engens are Set on
+    Thes Grouns for the Destruction Of
+    Varmint, Any trespussing Will be prossy-
+    Cuted a-cordin Too Law.
+
+  Locus ad agendum amplissimus:
+
+  A place very honourable to plead in.
+
+It may be questioned whether Cicero would have said this of the Old
+Bailey.
+
+When necessity is signified, the gerund in dum is used without a
+preposition, the verb est being added.
+
+  Cavendum est ne depr�nsus sis:
+
+  You must take care you 're not caught out.
+
+    [Illustration]
+
+A piece of advice of special importance to schoolboys on many occasions,
+such as the following: shirking down town; making devils, or letting off
+gunpowder behind the school, or in the yard; conducting a foray or
+predatory excursion in gardens and orchards; emulating Jupiter, �la
+Salmoneus,-- in his attribute of Cloud-Compelling-- by blowing a cloud,
+or to speak in the vernacular, indulging in a cigar; hoisting a frog;
+tailing a dog or cat, or in any other way acting contrary to the
+precepts of the Animals' Friend Society; learning to construe on the
+Hamiltonian system; furtively denuding the birch-rods of their "budding
+honours." Cum multis aliis qu� nunc perscribere longum est.
+
+Gerunds are also changed into nouns adjective, as
+
+  Ad faciendos versus molestum est:
+
+  It is a bore to make verses.
+
+This being a self-evident proposition, we shall not enlarge upon it.
+
+The supine in um signifies actively, and follows a verb expressing
+motion to a place, as
+
+  Spectatum veniunt, veniunt spectentur ut ips�:
+
+  They come to see, they come that they themselves may be seen.
+
+So said, or sung the poet Ovid. Was there an opera at Rome in his time?
+
+The supine in u signifies passively, and follows nouns adjective, as
+
+  Quod olfactu f[oe]dum est, idem est et esu turpe:
+
+  That which is foul to be smelled, is also nasty to be eaten.
+
+Except venison, onions, and cheese.
+
+
+  NOUNS OF TIME AND PLACE.
+
+  TIME.
+
+Tempus-- time. There is a story, mentioned (we quote from memory) by the
+learned Joe Miller; of a fellow who seeing "Tempus Fugit" inscribed upon
+a clock, took it for the name of the artificer.
+
+Persons who have lived a long _time_ in the world, are generally
+accounted _sage_; and are sometimes considered to have had a good
+_seasoning_.
+
+Nouns which signify a part of time are put more commonly in the ablative
+case, as
+
+  Nemo mortalium omnibus horis sapit:
+
+  No mortal man is wise at all hours.
+
+The excuse of a philosopher for getting married.
+
+But nouns which signify the duration of time are commonly put in the
+accusative case, as
+
+  Pugna inter juvenem Curtium et Titum Sabinum tres horas perduravit.
+
+  The fight between young Curtius and Sabine Titus lasted three hours.
+
+It is an error to suppose that Roman mills were only water-mills and
+wind-mills. The above mill must have been rather a "winder" though, and
+must have cost the combatants much _pains_.
+
+We say also: in paucis diebus, in a few days: de die, by day, de nocte,
+by night,�&c.
+
+A jest upon the nouns of _Time_ would, perhaps, be somewhat ill timed:
+we hope, however, to have _Space_ for one presently.
+
+
+  THE SPACE OF A PLACE.
+
+The space of a place is put in the accusative, and sometimes also in the
+ablative, as
+
+  C�sar jam mille passus processerat, summ� diligenti�.
+
+  C�sar had now advanced a mile with the greatest diligence--
+
+not on the top of the vehicle so named, as a young gentleman was
+once flogged for saying.
+
+  Qui non abest a schol� centenis millibus passuum, balatronem novi.
+
+  I know a blackguard who is not absent a hundred miles from the school.
+
+"Cantare et apponere" to sing and apply, is the maxim we would here
+inculcate on our youthful readers.
+
+Every verb admits a genitive case of the name of a city or town in which
+any thing takes place, so that it be of the first or second declension,
+and of the singular number, as
+
+  Quid Rom� faciam? mentiri nescio:
+
+  What shall I do at Rome? I know not how to lie.
+
+What a bare-faced perversion of the truth that cock and bull story is of
+Curtius jumping into the hole in the forum. How the Romans managed to
+get _credit_ from any body but the tailors is to us a mystery.
+
+These genitive cases, humi, on the ground, domi, at home, militi�, in
+war, belli, in war, follow the construction of proper names, as
+
+  Parvi sunt foris arma nisi est consilium domi:
+
+  Arms are of little worth abroad unless there be wisdom at home.
+
+Cicero must have said this with a prospective eye to Canada.
+
+But if the name of a city or town shall be of the plural number only, or
+of the third declension, it is put in the ablative case, as
+
+  Aiunt centum portas Thebis fuisse:
+
+  They say there were an hundred gates at Thebes.
+
+You needn't believe it unless you like.
+
+  Egregia Tibure facta videnda sunt:
+
+  Fine doings are to be seen at Tivoli.
+
+The name of a place is often put after verbs signifying motion to a
+place in the accusative case without a preposition, as
+
+  Concessi Cantabrigiam ad capiendum ingenii cultum:
+
+  I went to Cambridge to become a fast man.
+
+After this manner we use domus, a house, and rus, the country, as Rus
+ire jussus sum, I�was rusticated. Domum missus eram, I�was sent home.
+
+Going _too fast_ at Cambridge sometimes necessitates, in two senses,
+a�dose of country air.
+
+The name of a place is sometimes added to verbs signifying motion from a
+place, in the ablative case without a proposition, as
+
+  Arbitror te Virgini� veteri venisse:
+
+  I reckon you've come from old Virginny.
+
+
+  VERBS IMPERSONAL.
+
+Verbs impersonal have no nominative case, as
+
+  Scenas post tragicas multum juvat ire sub umbras:
+
+  After a tragedy it is very pleasant to go under the _Shades_.
+
+The worst of these "Shades" is, that people are now and then apt to get
+rather "too much in the sun" there.
+
+These impersonals, interest, it concerns, and refert, it concerns, are
+joined to any genitive cases, except these ablative cases feminine, me�,
+tu�, su�, nostr�, vestr�, and cuj�, as
+
+  Interest magistrat�s tueri insulsos, animadvertere in acres.
+
+  It concerns the magistrate to defend the flats; to punish the sharps.
+
+These genitive cases also, are added, tanti, of so much, quanti, of how
+much, magni, of much, parvi, of little, quanticunque, of how much
+soever, tantidem, of just so much; as
+
+  Tanti refert honesta agere;
+
+  Of such consequence is it to do honest things.
+
+By this course of conduct, you certainly render yourself worthy of the
+protection of the magistrate; although whether you thereby constitute
+yourself a flat or not, is perhaps a doubtful question. Much may be said
+on both sides. Dishonesty, it is true, may lead to being taken up; but
+then honesty often leads to being taken _in_. Yet honesty is said to be
+the best policy. Policy is a branch of wisdom, and "wisdom" they say "is
+in the _wig_." Certain _wigs_ are retained at the _head_-- of affairs,
+by a good deal of _policy_; perhaps the _best_ they could adopt-- a�fact
+that throws considerable doubt on the truth of the old maxim.
+
+    [Illustration]
+
+Impersonal verbs which are put acquisitively, require a dative case; but
+those which are put transitively an accusative, as--
+
+  A ministris nobis benefit:
+
+  We enjoy blessings from Ministers.
+
+For instance-- No-- We cannot think of any just at present.
+
+  Me juvat per lunam errare, et "Isabellam" cantare:
+
+  I like to wander by moonlight, and sing "Isabelle."
+
+The connexion between love and moonlight is as interesting as it is
+certain. We shrewdly suspect that the said planet has more to do with
+the tender passion than lovers are aware of.
+
+But the preposition _ad_ is peculiarly _ad_ded to these verbs-- attinet,
+it belongs, pertinet, it pertains, spectat, it concerns, as
+
+  Spectat ad omnes bene vivere:
+
+  It concerns all to live well--
+
+When they can afford it.
+
+An accusative case with a genitive is put after these verbs impersonal--
+p[oe]nitet, it repents, t�det, it wearies, miseret, miserescit, it
+pities, pudet, it shames, piget, it grieves, as--
+
+  "Nihil me p[oe]nitet hujus nasi"-- Trist: Shand:
+
+  "My nose has been the making of me."
+
+A verb impersonal of the passive voice may be elegantly taken for each
+person of both numbers; that is to say, by virtue of a case added to it.
+
+Thus statur is used for sto, stas, stat, stamus, statis, stant. Statur a
+me; it is stood by me, that is, I stand; statur ab illis: it is stood by
+them, or they stand.
+
+King George the Fourth's statue at King's Cross is a _standing joke_.
+
+    [Illustration
+      {King's Cross / WINKLES's /
+      _Steel and Copper Plate Manufactory_}]
+
+
+  THE CONSTRUCTION OF PARTICIPLES.
+
+Participles govern the cases of the verbs from which they are derived,
+as--
+
+        Duplices tendens ad sidera palmas,
+  Talia voce refert:
+
+  Stretching forth his hands to heaven, he utters _such_ things.
+
+    [Illustration]
+
+This reminds us of the Italian opera.
+
+A dative case is sometimes added to participles of the passive voice,
+especially when they end in dus, as--
+
+  Sollicito nasus rutilans metuendus amanti est:
+
+  A fiery nose is to be feared by an anxious lover.
+
+Participles, when they become nouns, require a genitive case, as--
+
+  Vectigalis appetens, lingu� profusus:
+
+  Greedy of _rint_, lavish of blarney.
+
+Exosus, hating, perosus, utterly hating, pert�sus, weary of, signifying
+actively, require an accusative case, as--
+
+  Philosophus exosus ad unam mulieres:
+
+  A philosopher hating women in general,
+
+_i.e._ a Malthusian.
+
+Exosus, hated, and perosus, hated to death, signifying passively, are
+read with a dative case, as
+
+  Com[oe]di sanctis exosi sunt:
+
+  The comedians are hated by the saints.
+
+We mean the spiritual Quixotes, or Knights of the Rueful Countenance. We
+"calculate" that they will be the greatest patrons of rail roads,
+considering their dislike to the _stage_.
+
+Natus, born, prognatus, born, satus, sprung, cretus, descended, creatus,
+produced, ortus, risen, editus, brought forth, require an ablative case,
+and often with a preposition, as--
+
+  Taffius, bonis prognatus parentibus, cerevisiam haud tenuem
+  de sese existimat:
+
+  Taffy, sprung of good parents, thinks no small beer of himself.
+
+  De Britannis Antiquis se jactat editum:
+
+  He boasts of being descended from the Ancient Britons.
+
+_Q._ Why is the eldest son of a King of England like a Leviathan?
+
+_A._ Because he is the Prince of _Wales_.
+
+
+  THE CONSTRUCTION OF ADVERBS.
+
+En and ecce, adverbs of showing, are joined most commonly to a
+nominative case, to an accusative case but seldom, as
+
+  En Romanus: See the Roman (q. rum-un.)
+
+  Ecce Corinthium: Behold the Corinthian.
+
+Modern Corinthians, we fear, know but little Greek, except that of the
+�gidiac, or St. Giles's dialect.
+
+En and ecce, adverbs of upbraiding, are joined most commonly to an
+accusative case only, as--
+
+  En togam squamosam!
+
+  Look at his scaly toga!
+
+  Ecce caudam! Twig his tail!
+
+    [Illustration]
+
+    [Plate:
+    DOMESTIC ELOCUTION
+    "MY NAME IS NORVAL ON THE GRAMPIAN HILLS"]
+
+Certain adverbs of time, place, and quantity, admit a genitive case, as
+
+  Ubi gentium est Quadra Russelliana?
+
+  Where in the world is Russell Square?
+
+We must confess that this question is _exquisitely_ absurd.
+
+  Nihil tunc temporis amplius quam flere poteram:
+
+  I could do nothing more at that time than weep.
+
+Talking of weeping-- how odd it is that an affectionate wife should cry
+when her husband is _transported_ for life.
+
+  Satis eloquenti�, sapienti� parum:
+
+  Eloquence enough, wisdom little enough.
+
+This quotation applies very forcibly to domestic oratory as practised by
+small boys at the instigation of their mamma, for the _amusement_ of
+visitors. Those on whom "little bird with boothom wed," "deep _in_ the
+windingths _of_ a whale," or "my name is Nawval," and the like
+recitations are inflicted, have "satis eloquenti�"-- enough of
+eloquence, in all conscience; and we cannot but think that "sapienti�
+parum," "wisdom little enough" is displayed by all the other parties
+concerned.
+
+Some adverbs admit the cases of the nouns from which they are derived,
+as
+
+  Juvenis benevolus sibi inutiliter vivit:
+
+  The good-natured young man lives unprofitably to himself--
+
+Especially if he have a large circle of female acquaintance.
+
+These adverbs of diversity, aliter, otherwise, and secus, otherwise; and
+these two, ante, before, and post, after, are often joined to an
+ablative case, as--
+
+  Plure aliter.  More t'other.
+
+  Multo ante.    Much before.
+
+  Paulo post.    Little behind.
+
+    [Illustration]
+
+Those who are much _before_, are guilty of a great _waste_-- of time;
+and those who are little behind should make it up by a _bustle_.
+
+Instar, like or equal to, and ergo, for the sake of, being taken as
+adverbs, have a genitive case after them, as--
+
+  Instar montis equum divina Palladis arte
+  �dificant:
+
+  By the divine assistance of Pallas they build a horse
+  as big as a mountain.
+
+This may appear incredible; yet the learned Munchausenius relates
+prodigies much more astonishing.
+
+  Mentitur Virgilius leporis ergo:
+
+  Virgil tells lies for fun.
+
+As may be sufficiently seen in the example before the last, and also in
+the sixth book of the �neid, passim.
+
+
+  THE CONSTRUCTION OF CONJUNCTIONS.
+
+Conjunctions copulative and disjunctive, couple like cases, moods, and
+tenses, as
+
+  Socrates docuit Xenophontem et Platonem geographiam, astronomiam,
+  et rationem globorum:
+
+  Socrates taught Xenophon and Plato geography, astronomy,
+  and the use of the globes.
+
+_Q._ How may a waterman answer the polite interrogation "Who are you?"
+correctly, and designate at the same time, an educational institution.
+
+_A._ By saying A-cad-am-I.
+
+The foregoing rule (not riddle) holds good, unless the reason of a
+different construction requires it should be otherwise, as
+
+  Emi librum centussi et pluris:
+
+  I bought a book for a hundred pence, and more,
+    "100d. are 8s. 4d." --Walkinghame.
+
+The conjunction, quam, than, is often understood after amplius, more,
+plus, more, and minus, less, as
+
+  Amplius sunt sex menses:
+
+  There are more than six months.
+
+For this interesting piece of information we are indebted to Cicero. The
+author to whom reference has just been made, has somewhere, if we
+mistake not, a�similar observation. In thus _ushering_ the _Tutor's_
+Assistant into notice, we feel that we are citing a work of which it is
+impossible to make too comical mention.
+
+Thank goodness there are not more than six months in a half year!
+
+
+  TO WHAT MOODS OF VERBS CERTAIN ADVERBS
+  AND CONJUNCTIONS DO AGREE.
+
+Ne, an, num, whether put doubtfully or indefinitely, are joined to a
+subjunctive mood, as--
+
+  Nihil refert fecerisne an persuaseris:
+
+  It matters nothing whether you have done it or persuaded to it--
+
+as the school-master said when he got hold of the wrong end of the cane.
+
+Here it may be remarked-- First, that the young gentlemen who play
+tricks with _tallow_ are likely to get more _whacks_ than they like on
+their fingers. Secondly-- That a master whose hand is in _Grease_ cannot
+be expected to be at the same time in _A-merry-key_.
+
+Dum, for dummodo, so that, and quousque, until, requires a subjunctive
+mood, as--
+
+  Dum felix sis, quid refert?
+
+  What's the odds, so long as you're happy.
+
+Qui, signifying the cause, requires a subjunctive mood, as
+
+  Stultus es qui Ovidio credas:
+
+  You are a fool for believing Ovid.
+
+Ut, for, postquam, after that, sicut, as, and quomodo, how, is joined to
+an indicative mood; but when it signifies quanquam, although, utpote,
+forasmuch as, or the final cause, to a subjunctive mood, as
+
+  Ut sumus in Ponto ter frigore constitit Ister:
+
+  Since that we are in Pontus the Danube has stood frozen three times.
+
+Were skating and sliding classical accomplishments? Ambition, we know,
+led many of the Romans to tread on _slippery_ ground: many of them
+struck out new paths, but none (that we have heard of) ever struck out a
+slide. Imagine Cato or Seneca "coming the cobbler's knock."
+
+  Te oro, domine, ut exeam:
+
+  Please, sir, let me go out.
+
+Lastly, all words put indefinitely, such as are these, quis, who,
+quantus, how great, quotus, how many, require a subjunctive mood, as
+
+  Cave cui incurras, inepte:
+
+  Mind who you run against, stupid.
+
+    [Illustration]
+
+Such may have been the speech of a Roman cabman. A very curious specimen
+of the _tessera_, or badge, worn on the breast by this description of
+persons, has lately been discovered at Herculaneum.
+
+    [Illustration]
+
+
+  THE CONSTRUCTION OF PREPOSITIONS.
+
+A preposition being understood, sometimes causes an ablative case to be
+added, as
+
+  Habeo pigneratorem loco avunculi; _i.e._ in loco:
+
+  I esteem a pawnbroker in the place of an uncle: that is, _in loco_.
+
+A preposition in composition sometimes governs the same case which it
+also governed out of composition, as
+
+  Jupiter Olympo Vulcanum calce exegit:
+
+  Jupiter kicked Vulcan out of Olympus.
+
+This was not only an ungentlemanly, but also an _ungodly_ act on
+Jupiter's part. Reasoning � posteriori, one would think it must have
+been very unpleasant to Vulcan.
+
+  Pr�teriit me in Quadrante insalutatum:
+
+  He cut me in the Quadrant.
+
+Verbs compounded with a, ab, de, e, ex, in, sometimes repeat the same
+prepositions with their case out of composition, and that elegantly, as
+
+  Abstinuerunt a vino:
+
+  They abstained from wine.
+
+This properly is an allusion to the Tiber-totallers. It should be
+remembered that tea was unknown in Rome, except as the accusative case
+of a pronoun.
+
+In, for, erga, towards, contra, against, ad, to, and supra, above,
+requires an accusative case, as
+
+                Quietum
+  Accipit in pueros animum mentemque benignam:
+
+  He admits kind thoughts and inclinations towards the boys.
+
+The master does-- when he gives them a half holiday or a blow out. Mr.
+Squeers (vide Nicholas Nick: illustriss. Boz.) was in the habit of
+_making much_ of the young gentlemen intrusted to his care.
+
+Sub, when it relates to time, is commonly joined to an accusative case,
+as
+
+  Sub idem tempus-- Isaaculus trans maria deportatus est:
+
+  About the same time-- Ikey was transported beyond the seas.
+
+We say _beyond the seas_, lest it should be questioned whether Mr.�I.
+was _transported_ as a necessary or contingent consequence of cheating.
+
+Super, for, ultra, beyond, is put with an accusative case, for de,
+concerning, with an ablative case, as
+
+      Super et Garamantas et Indos
+  Proferet imperium:
+
+  He will extend the empire both beyond the Africans and the Indians.
+
+A wide _rule_ expressed in poetical _measure_.
+
+  Quid de domesticis Peruviorum rebus censeas?
+
+  What may be your opinion concerning the domestic economy
+  of the Peruvians?
+
+Tenus, as far as, is joined to an ablative case, both in the singular
+and plural number, as
+
+  Cervice, auribusque tenus Marius in luto inveniebatur:
+
+  Marius was found up to his neck and ears in mud.
+
+What a lark! or rather a mud lark. But tenus is joined to a genitive
+only in the plural, and it always follows its case, as
+
+  Crurum tenus:  up to the _legs_.
+
+Which it is very necessary to be at Epsom and Ascot.
+
+
+  THE CONSTRUCTION OF INTERJECTIONS.
+
+Interjections are often put without a case, as
+
+  Spem gregis, ah! silice in nud� connixa reliquit:
+
+  Having yearned, she left the hope of the flock, alas!
+  upon the bare flint stones.
+
+And exposed to the _steely_-hearted world, which, as an Irishman
+remarked, was a dangerous situation for _tinder_ infancy. It must have
+been, to say the least, a�most uncomfortable _berth_.
+
+O! of one exclaiming, is joined to a nominative, accusative, and
+vocative case, as
+
+  O lex! Oh law! O alaudas! Oh larks! Oh meum! Oh my!
+  O�care! Oh dear!
+
+We cannot find out what is Latin for oh Crikey!
+
+Heu! and proh! alas! are joined, sometimes to a nominative, sometimes to
+an accusative, and occasionally to a vocative case, as-- Heu bellis!
+Lack-a-_daisy_. Heu diem! Lack-a-_day_. Proh Clamor! Oh _cry_! Proh deos
+pisciculosque! Oh, ye gods and little fishes!
+
+  Heu miserande puer!
+
+  Oh, boy, to be pitied!
+
+What boy is more to be pitied than a junior boy? The _Fagin_ system
+described in Oliver Twist is nothing compared to that adopted in public
+schools. People may say what they will of the beneficial effect which it
+produces on the minds of those who are subjected to it-- we contend that
+to breed a gentleman's son up like a _tiger_ is the readiest way to make
+a _beast_ of him.
+
+Hei! and v�! alas, are joined to a dative case, as
+
+  Hei mihi quod nullis amor est medicabilis herbis:
+
+  Woe is me that love is curable by no herbs.
+
+    [Plate:
+    HEU! MISERANDE PUER!]
+
+Ovid never would have said that, if he had smoked a cigar or chewed
+tobacco. The ancients believed that love might be excited by certain
+articles taken from the vegetable kingdom. Why then should it be
+considered impossible to allay the same feeling in a similar manner?
+Every bane has its corresponding antidote; if so, there may be physic
+even for a philter. And for the pangs which a _virgin_ has inflicted,
+what remedy could be prescribed more reasonable than the _Virginian_
+weed;-- besides, love generally ends in smoke.
+
+    [Illustration: A CURE FOR THE HEARTACHE.]
+
+  V� misero capiti, madefacto, s�pe fenestr�
+  Imbribus immundis, Lydia cara, tu�:
+
+  Woe to my wretched head, often wetted, dear
+  Lydia, by the unclean showers of your window.
+
+This would be a proper place for introducing a few remarks on the
+ancient mode of serenading; which we are prevented from doing by the
+very imperfect state of our present information on this interesting
+point. It is, however, pretty generally admitted that the Romans always
+took care to provide themselves with an umbrella on these occasions,
+and this for a reason which the above distich will have rendered
+sufficiently obvious. It appears to us that so salutary a precaution is
+well worthy of being sometimes adopted in these modern days-- and with
+this hint we conclude the Syntax.
+
+
++PROSODY.+
+
+[Transcriber's Note:
+
+As explained at the beginning of the e-text, vowels with macron ("long"
+mark) are shown as CAPITALS, while vowels with breve ("short" mark) are
+shown in {braces}. Long vowels that are already capitalized (very rare)
+are shown in [brackets].]
+
+  All you that bards of note would be,
+  Must study well your Prosody.
+
+As Comparative Anatomy teaches what the sound of a cod-fish is; so
+Prosody teaches what is the sound of syllables.
+
+Sound and quantity mean the same thing; though how that fact is to be
+reconciled with the proverb, "great _cry_ and little _wool_," we do not
+know.
+
+Prosody is divided into three parts. Tone, Breathing, and Time. As to
+tone-- boys are usually required to repeat it in a loud one, without
+stammering or drawling; and with as little breathing and time, or
+breathing-time, as possible.
+
+We shall leave tone to the consideration of pianoforte and
+fiddle-makers; and breathing to doctors and chemists, who can _analyze_
+it a great deal better than we can. In this place we think proper to
+treat only of Time.
+
+Now of Time a very great deal may be said, taking the word in all the
+senses in which it is capable of being used.
+
+In the first place, Time flies-- but this we have had occasion to
+observe before; as also that Time is a very great eater.
+
+In the second, Time is a very ill-used personage; he is spent, wasted,
+lost, kicked down, and killed-- the last as often as an Irishman is--
+but for all that he never complains.
+
+It is a question whether keeping Time, or losing Time, is the essential
+characteristic of dancing.
+
+Then we might expatiate largely about the value of Time, and of the
+propriety of taking him by the forelock-- but for two reasons.
+
+One of them is, that all this has been said long ago; the other, that it
+is nothing at all to the purpose.
+
+We might also quote extensively from Dr. Culpeper's Herbal, and from
+Linn�us and Jussieu; but the _time_ we speak of, (although we hope it
+will be _twigged_ by the reader,) is no _plant_; nevertheless it is a
+necessary ingredient in grammatical _stuffing_.
+
+Time in prosody is the measure of the pronouncing of a syllable.
+
+Like whist, it is divided into Long and Short. A long time is marked
+thus, as sUmEns, taking: a�short time thus; as p{i}l{u}l{a}, a�pill.
+
+A foot is the placing together of two or more syllables, according to
+the certain observation of their _time_, the organ of which should be
+well developed for that purpose.
+
+Ordinary feet are long feet, short feet, broad feet, splay feet, club
+feet, and bumble feet, to which may be added cloven feet in the case of
+certain animals, and an "old gentleman."
+
+There are several kinds of Latin feet; here, however, we shall only
+notice spondees and dactyls.
+
+A spondee is a foot of two syllables, as InfAns, an infant.
+
+A dactyl is a foot of three syllables, as Ang{e}l{u}s, an angel,
+pOrc{u}l{u}s, a�little pig.
+
+Scanning is measuring a verse as you are measured by your tailor-- by
+the _foot_, according to _rule_. To scanning there belong the figures
+called Synal[oe]pha, Ecthlipsis, Syn�resis, Di�resis, and C�sura.
+
+Synal[oe]pha is the cutting off a vowel at the end of a word, before
+another at the beginning of the next; as
+
+  [O]cclUsIs EvAsi {o}c{u}lIs nAsOqu{e} cruEntO:
+
+  I came off with my eyes bunged up and a bloody nose.
+
+We have here _knocked out an i_ in evasi, on the strength of a
+synal[oe]pha.
+
+But heu and o are never cut off-- at least there are no cases on record
+in which this operation has been performed.
+
+Ecthlipsis is as often as the letter m is cut off with its vowel; the
+next word beginning with a vowel, as
+
+  MOnstrum hOrrEndum InfOrme IngEns-- spectAv{i}m{u}s hOrtIs:
+
+  We saw a horrible, ugly, great monster in the gardens.
+
+If every _bear_ and _boar_ were kept in a den-- what a fine world this
+would be.
+
+Syn�resis is the contraction of two syllables into one, as in alvearia,
+pronounced alvaria.
+
+  StrAv{i}t h{u}mI dEmEns cOnfErta AlveAr{i}{a} JUnO:
+
+  Mad Juno threw the crowded beehives on the ground.
+
+Hydrophobia occurring in a queen bee from the bite of a dog would be an
+interesting case to the faculty.
+
+Di�resis is the separation of one syllable into two, as evoluisse for
+evolvisse. Thus Ovid says, alluding probably to the _padding_ system
+adopted by dandies and theatrical artists,
+
+  DEb{u}{e}rant fUsOs Ev{o}l{u}Iss{e} s{u}Os:
+
+  They ought to have unwound their _spindles_.
+
+C�sura is when after a perfect foot (though not one like Taglioni's),
+a�short syllable is made long at the end of a word, as
+
+  PEct{o}r{i}bUs {i}nh{i}Ans-- mOllEs, En, dEs{e}r{i}t AlAs:
+
+  Intent upon the breasts (of the fowls) lo! he deserts
+  the tender wings.
+
+
+  OF THE KINDS OF VERSES.
+
+Should any one seek here for an account of every kind of verse used by
+the Latin poets, all we can say is-- we wish he may get it. As it
+behoveth no one to be wiser than the law, so it behoveth not us to be
+wiser than the Eton Grammar.
+
+The verses which boys are commonly taught to make are hexameters and
+pentameters.
+
+An hexameter verse consists of six feet. As the ancient heroes were at
+least six feet high, this is probably the reason why it is also called
+an _heroic_ verse.
+
+The fifth foot in this kind of verse should be a dactyl, the sixth a
+spondee; the other feet may be either dactyls or spondees; as
+
+  [O]bstAntI pl{u}v{i}Is vEnIt cUm tEgm{i}n{e} SAmbO:
+
+  Sambo came with his Macintosh.
+
+The fifth foot also is sometimes a spondee, as
+
+  ClAv{i}g{e}r [A]lcIdEs, mAgnUm J{o}v{i}s IncrEmEntUm.
+
+  Hercules, king of clubs, great offspring of Jupiter.
+
+The last syllable of every verse is a _common_ affair.
+
+An elegiac, lack-a-daisical, or pentameter verse, consists of four feet
+and two long syllables, one of which is placed between the second and
+third foot, and the other at the end of the verse. The two first feet
+may be dactyls, spondees, or both; the two last are always dactyls, as
+
+  REs Est InfElIx, plEn{a}qu{e} frAud{i}s {a}mOr:
+
+  Love is an unlucky affair, and full of humbug.
+
+We feel compelled, notwithstanding what has been before said, to make a
+few additions to what is contained in the Eton Grammar with respect to
+verses.
+
+The rhythm of Latin verses may be easily learned by practising (out of
+school), exercises on the principle of the examples following--
+
+  DUm d{i}dl{e}, dI dUm, dUm dUm, dEedl{e}dy, dEEdl{e} d{e}, dUm dum;
+    DUm d{i}dl{e}, dUm dum, dE, dEedl{e}d{y}, dEedl{e}d{y}, dUm.
+
+N.B. The following familiar piece of poetry would not have been admitted
+into the Comic Latin Grammar, but that there being many various readings
+of it, we wished to transmit the right one to posterity.
+
+  Patres conscripti-- took a boat and went to Philippi.
+  Trumpeter unus erat qui coatum scarlet habebat,
+  Stormum surgebat, et boatum overset-ebat,
+  Omnes drownerunt, quia swimaway non potuerunt,
+  Excipe John Periwig tied up to the tail of a dead pig.
+
+Here, also, this poetical curiosity may perhaps be properly introduced.
+
+  Conturbabantur Constantinopolitani,
+    Innumerabilibus sollicitudinibus.
+
+
+  OF THE QUANTITY OF THE FIRST SYLLABLE.
+
+There is a river in Macedon and a river in Monmouth: in like manner
+there are positions in dancing and positions in Prosody.
+
+The following vowels are long by position.
+
+1. A vowel before two consonants, or before a double consonant in the
+same word-- as pInguis, fat, Ingens, great, [A]jax, the name of a hero.
+
+2. A vowel coming before one consonant at the end of a word, and another
+at the beginning of the next, as
+
+  MajOr sUm quAm cui possIt tua virga nocere:
+
+  I'm a bigger boy than your rod is able to hurt.
+
+The syllables _jor_, _sum_, _quam_, and _sit_, are long by position.
+
+    [Plate:
+    PATRES CONSCRIPTI TOOK A BOAT AND WENT TO PHILIPPI
+    TRUMPETER UNUS ERAT QUI COATUM SCARLET HABEBAT.]
+
+3. Sometimes, but seldom, a short vowel at the end of a word placed
+before two consonants at the beginning of the next; as
+
+  OccultA spolia hi Croceo de Colle ferebant:
+
+  These persons brought the secret spoils from Saffron Hill.
+
+A _short_ vowel before a mute, a liquid following, is rendered common,
+as in the word _patris_.
+
+  Sunt quibus ornatur Jenkins femoralia pAtris:
+
+  The breeches that Jenkins is rigged out in are his father's.
+
+A vowel before another is always short, as t{u}a, thy, memor{i}a, memory.
+
+Except the genitive cases of pronouns in ius, where the i is a common i,
+although alter{i}us has always a short _i_ and alIus a long _i_.
+
+Except, likewise, those genitive and dative cases of the fifth
+declension where the vowel _e_, like Punch's nose, is made long between
+two _i_'s, as faciEi, of a face.
+
+    [Illustration]
+
+The syllable _fi_ also in fIo is long, except e and r follow together,
+as f{i}erem, f{i}eri.
+
+  FIent qu� "F{i}eri Facias" mandata vocantur:
+
+  The writ which is called "Fieri Facias" will be made.
+
+Fi. fa. is a legal instrument that deprives a poor man of his mattress
+that a rich one may lounge on his ottoman. Ca. Sa. is a similar
+benevolent contrivance for punishing misfortune as felony.
+
+DIus, heavenly, has the first syllable long;-- Diana, common: and so has
+the interjection Ohe!
+
+  Thus there's a common medium of connexion,
+  Between a goddess and an interjection.
+
+A vowel before another in Greek words is sometimes long, as
+
+  C�rula, PIerides, sunt vobis tegmina crurum:
+
+  Oh, Muses, your stockings are blue.
+
+Also in Greek possessives, as
+
+  Somniculosa fuit, pinguisque �nEia nutrix:
+
+  �neas's nurse was sleepy and fat.
+
+�neas has often enough been represented in _arms_.
+
+  In Latin mark, that every dipthong
+  'S as long as any stage-coach whip-thong;
+  Except before a vowel it goes,
+  When 'tis as short as Elsler's clothes.
+
+Words derived from others are tarred with the same stick, that is, are
+assigned the same quantity as those which they are derived from, with
+some few exceptions, which we must trouble the student to fish for.
+
+Compounds follow the quantity of their simple words, as from l{e}go
+l{e}gis, to read, comes perl{e}go, to read through.
+
+By the way, _reading_ does not always induce _reading through_; though
+we hope it may in the case of the C.�L.�G.
+
+  If to a preterperfect tense belong
+  Two only syllables, the first is long;
+  As vEni, vIdi, vIci, speech so cool.
+  Which C�sar made to illustrate our rule;
+  To which we need not cite exceptions small.
+  Look in your Gradus and you'll find them all.
+
+Consult also the Eton Grammar, and works of the poets, passim, as well
+for exceptions to the above as to the two following rules:
+
+1. Words that double the first syllable of the preterperfect tense have
+the first syllable short-- as c{e}c{i}dI from c{a}d{o},�&c.
+
+  Fortis Higinbottom c{e}cidit terramque m{o}mordit:
+
+  Brave Higinbottom fell and bit the ground.
+
+2. A supine of two syllables has the first syllable long--
+
+  As vIsum lAtum lOtum mOtum:
+
+  And many more if we could quote 'em.
+
+
+  OF THE QUANTITY OF THE LAST SYLLABLE.
+
+We have had a poetical fit gradually growing upon us for some time--
+'tis of no use to resist-- so here goes--
+
+  Oh! Muse, thine aid afford to me,
+  Inspire my Ideality;
+  Thou who, benign, in days of yore,
+  Didst heavenly inspiration pour
+  On him, who luckily for us
+  Sang Propria Qu� Maribus;
+  Teach me to sound on quiv'ring lyre,
+  Prosodial strains in notes of fire;
+  Words' ends shall be my theme sublime,
+  Now first descanted on in rhyme.
+    Come, little boys, attention lend,
+  All words are long in a that end:
+  (In proof of which I'll bet a quart,)
+  Excepting those which must be short--
+  As put{a}, it{a}, poste{a}, qui{a},
+  Ej{a}, and every case in i{a};
+  Or _a_, save such as we must class
+  With Grecian vocatives in as,
+  And ablatives of first declension--
+  Besides the aforesaid, we may mention
+  Nouns numeral that end in ginta,
+  Which common, as a bit of flint are.
+    Some terminate in _b_, _d_, _t_;
+  All these are short; but those in _c_
+  Form toes-- I mean, form ends of feet
+  As long-- as long as Oxford Street.
+  Though n{e}c and don{e}c every bard
+  Hath written short as Hanway yard,
+  Fac, hic, and hoc are common, though
+  Th' ablative hOc is long you know.
+    Now "_e_ finita" short are reckon'd,
+  Like to a jiffey or a second,
+  Though we must call the _Gradus_ wrong,
+  Or these, of fifth declension, long.
+  As also particles that come
+  In mode derivative therefrom.
+  Long second persons singular
+  Of second conjugation are,
+  And monosyllables in _e_.
+  Take, for example, mE, tE, sE,
+  Then, too, adverbial adjectives
+  Are long as rich old women's lives--
+  If from the second declination
+  Of adjectives they've derivation:
+  PulchrE and doctE, are the kind
+  Of adverbs that I have in mind.
+  FermE is long, and ferE also--
+  Ben{e}, and mal{e}, not at all so.
+  Lastly, each final _eta_ Greek,
+  Is long on all days of the week--
+  To wit-- (for thus we render nempe)
+  LethE, AnchisE, cetE, TempE.
+    Those words as long we classify
+  Which end, like _egotists_, in _i_,
+  Rememb'ring mihi, tibi, sibi
+  Are common, so are ubi, ibi;
+  Nis{i} is always short, and quas{i}'s
+  Short also, so are certain cases
+  In i-- Greek vocatives and datives
+  (At least if we may trust the natives;)
+  Making their genitives in os,
+  For instance-- Phyllis, Phyllidos.
+  (A name oft utter'd with a sigh,)
+  Whereof the dative ends in {i}.
+    Words in _l_ ending short are all,
+  Save nIl for nihil, sAl, and sOl,
+  And some few Hebrew words t'were well
+  To cite; as MichaEl, RaphaEl.
+    Your n's are long, save forsit{a}n
+  {I}n, tam{e}n, attam{e}n, and {a}n
+  Veruntam{e}n and fors{a}n, which
+  Are short as any tailor's stitch;
+  These, therefore, we except, and then
+  Contractions "per apocopen"--
+  As vid{e}n'? m{e}n'? and aud{i}n?-- so in
+  Ex{i}n' and sub{i}n', de{i}n', pro{i}n'.
+  _An_, from a nominative in _a_
+  Ending a word is short, they say,
+  But every _an_ for long must pass
+  Derived from nominative in as.
+  Nouns, too, in en are short whose finis
+  Doth in the genitive make _inis_.
+  And so are n's that do delight {i}n
+  An _i_ and _y_-- Alex{i}n, It{y}n.
+    Greek words are short I'd have you know,
+  That end in _on_ with little _o_,
+  Common are terminating o's,
+  Cases oblique except from those,
+  Adverbial adjectives as falsO
+  Are long,-- take tantO,-- quantO also;
+  Save mutuo, sedulo, and crebro.
+  Common as vestment vending Hebrew.
+  Mod{o} and quomod{o} among
+  Short o's we rank-- nor to be long.
+  Nor cit{o}, eg{o}, du{o}; no nor
+  Amb{o} and Hom{o} ever prone are;
+  But monosyllables in _o_,
+  Are counted long. Example-- stO.
+  And omega, the whole world over,
+  'S as long as 'tis from here to Dover.
+    If _r_ should chance a word to wind up,
+  'Tis short in general, make your mind up;
+  But fAr, lAr, nAr, and vIr, and fUr
+  PAr, compAr, impAr, dispAr, cUr,
+  As long must needs be cited here,
+  With words from Greek that end in er;
+  Though 'mong the Latins from this fate are
+  These two exempted-- pat{e}r, mat{e}r;
+  Short in the final _er_ we state 'em,
+  Namely, "auctoritate vatum."
+    Now, s, the Eton Grammar says,
+  Ends words in just as many ways
+  As there are vowels-- five-- as thus
+  In order, _as_, _es_, _is_, _os_, _us_.
+    As, in a general way appears
+  Long unto all but asses' ears,
+  But some Greek words take care to mark as
+  Short,-- for example-- Pall{a}s, Arc{a}s--
+  And nouns increasing plural sport
+  An _as_ accusative that's short.
+    Es in the main's a long affair,
+  AnchisEs, such, and patrEs are,
+  Though of the third declension you
+  As short such substantives must view,
+  The genitives of which increase,
+  Derived from nominatives in es,
+  And have an accent short upon
+  The syllable that's last but one.
+  As mil{e}s, seg{e}s, div{e}s, (which
+  Means what a Poet is n't,)-- rich:
+  But pEs is long, with bipEs, tripEs,
+  Like to a hermit munching dry pease.
+  To these add CerEs, Saturn's cub,
+  (Name of a goddess, and for grub
+  The figure Metonymy through,)
+  And ariEs, abiEs, pariEs, too.
+  Sum with its compounds forming {e}s,    }
+  Are short, join pen{e}s, if you please, }
+  Item Cyclop{e}s Naiad{e}s.                }
+  Greek nominatives and plural neuters,
+  For lists of which consult your tutors.
+    Is, we call short, as Par{i}s, trist{i}s,
+  Save all such words as mensIs, istIs.
+  Plurals oblique that end in _is_,
+  Adding thereto for quibus quIs.
+  The _is_ in SamnIs long by right is
+  Because its genitive's SamnItis,
+  Where you observe a lengthened state
+  Of syllable penultimate.
+  The same to all such words applies,
+  And Is contracted, meaning _eis_,
+  Long too,-- and pray remember this
+  Are monosyllables in _is_.
+  Save {i}s the nominative pronoun,
+  And qu{i}s, and b{i}s, which last is no noun.
+    When verbs by _is_ concluded are,
+  In second person singular;
+  But in the plural _itis_ make,
+  The _is_ is long, and no mistake--
+  Provided always that the pe-
+  Nultimate plural long shall be.
+    Os, saving comp{o}s, imp{o}s, {o}s
+  Is long-- as honOs dominOs.
+  The Greek omicron�'s short, and that in
+  All conscience must be so in Latin.
+    Words should be short in _us_, unless
+  Authority has laid a stress
+  On the penultimate of any
+  Word that increases in the geni-
+  Tive case when us is long, the same
+  Pronunciation nouns may claim--
+  Declined like gradUs or like manUs
+  Though here exceptions still detain us.
+  The first case and the fifth are those
+  Singular; short as monkey's nose.
+  Long are mUs, crUs, and thUs and sUs
+  All monosyllables in Us,
+  And Grecian nouns by diphthong _ous_,
+  Translated _us_ by men of _nous_.
+    Lastly, all words in _u_ are long,
+  And so we end our classic song.
+
+And not our song only, but our work-- the companion of our solitude--
+the object of our cares-- for which alone we live, for which we consumed
+our midnight oil; and not only that, but also burnt a great deal of
+daylight.-- Our work, we say, is ended-- and such as it is we commit it
+to the world. Horace says Carm. Lib. iii, Ode XXX. (an ode which by some
+strange association of ideas, is always connected in our mind with the
+visionary image of a jug of ale,) "Exegi monumentum �re perennius,"
+I�have perfected a work more durable than brass. Whether our production
+is characterized by the _durability_ of that metal or not, is a question
+which we leave to the decision of posterity; we cannot, however, help
+thinking that, considering the boldness of our attempt, it possesses
+figuratively at least, something in common with the substance in
+question-- and we would fain hope that that something does not consist
+in _hardness_.
+
+And now farewell to the reader-- farewell, "a�word that must be and hath
+been"-- said a great many times when once would have been quite
+sufficient. We need not, therefore, repeat it; nor need we say how much
+we hope that we have amused, instructed him, and so forth; that being as
+much an understood thing to put at the end of a book, as "Love to papa,
+mamma, brothers and sisters," in a holiday letter.
+
+Nothing, then, remains for us now to do, but to kick up our hat and cry
+
+"ALL OVER."
+
+
+  FINIS
+
+
+
+
+LIST OF ETCHINGS.
+
+
+1. Vocative case (schoolmaster spatting a boy) _to face page_ 2.
+
+2. Schoolmaster beating a drum, and boys singing in chorus, text
+damaged, 22
+
+3. Ingenuas pugni didicisse fideliter artes (fight)   52
+
+4. Prometheus Vinctus (vagabond in the stocks)   72
+
+5. Smelling a Pig (boys at supper in the bed room)   74
+
+6. Domestic Oratory (small boy spouting in a chair)  135
+
+7. Heu miserande Puer (boy tossed in a blanket)   144
+
+8. Patres conscripti   152
+
+
+Coe, Printer, 27, Old Change, St. Paul's.
+
+
+       *       *       *       *       *
+           *       *       *       *
+
+
+CHARLES TILT'S
+
+LIST OF NEW AND POPULAR
+
+  +Books,+
+
+For Presents, the Drawing-Room Table, &c.
+
+
+  +ELIZA COOK'S POETICAL WORKS;+
+  Beautifully Illustrated Edition.
+  Post 8vo, bound in cloth, 16s.; morocco elegant, 20s.
+
+"Miss Cook is a writer of great promise. Her book contains a great
+number of lyrical and other poems, many of which are extremely
+beautiful." --_United Service Gazette_.
+
+
+  +A GIFT FROM FAIRY LAND;+
+  A Series of Fairy Legends.
+
+Profusely embellished with One Hundred fanciful and illustrative
+Etchings. Small 8vo, very neatly bound, price 12s.
+
+
+  Sir Walter Scott's
+  +LADY OF THE LAKE.+
+  Tilt's Beautifully Illustrated Edition.
+
+Foolscap 8vo, price 7s. cloth; 10s. 6d. morocco, very elegant.
+
+  Also, same size and price,
+
+  +MARMION;
+  A TALE OF FLODDEN FIELD.+
+  Engravings.
+
+  +LAY
+  OF THE LAST MINSTREL.+
+  Twelve Engravings.
+
+
+  Finden's
+  +PORTS AND HARBOURS OF GREAT BRITAIN.+
+
+Fifty large Plates, engraved in the first style of art, from Drawings by
+HARDING, BALMER, &c. &c. Morocco elegant, 1l. 11s. 6d.
+
+
+  Finden's
+  +ILLUSTRATIONS OF THE BIBLE.+
+
+Ninety-six Views of the most interesting Places mentioned in the Old and
+New Testament, with Descriptions by the Rev. T. HARTWELL HORNE.
+
+Three vols, demy 8vo, morocco, 3l. 3s.; or in two vols, super-royal 8vo,
+neatly half-bound in morocco, gilt edges, 3l. 10s.; morocco, 3l. 16s.
+
+
+  Finden's
+  +ILLUSTRATIONS OF LORD BYRON'S WORKS.+
+
+One Hundred and Twenty-six Plates in the highest style of art.
+
+In two vols, large 8vo, beautifully bound in morocco, 3l. 3s.
+
+
+  +THE AUTHORS OF ENGLAND,+
+  or, Biographical Notices of Modern Literary Characters.
+  By HENRY F. CHORLEY.
+
+Fourteen splendid medallion Portraits. Imperial 4to, 1l. 11s. 6d.
+
+       *       *       *       *       *
+
+  NEW AND INTERESTING WORKS.
+
+
+  +THE POETS OF AMERICA;+
+  Illustrated by One of Her Painters,
+
+With many beautiful Embellishments engraved on Steel, in an entirely new
+style. Post 8vo, cloth, 14s.; morocco elegant, 18s.
+
+
+  +TRAVELS IN SOUTH-EASTERN ASIA;+
+  Including
+  Burmah, Malaya, Siam, China, and Hindustan;
+  With a Full Account of the
+  Manners, Customs, and Commerce of the Burmese, &c.�&c.
+  By HOWARD MALCOM.
+
+Two volumes post 8vo, with a Map and many Illustrations, 16s. cloth.
+
+
+  +THE LYRE; THE LAUREL;+
+  A Choice Collection of the Fugitive Poetry of the Nineteenth Century.
+  Neatly printed by Whittingham.
+
+Each 4s. cloth; 6s. 6d. morocco.
+
+
+  +TILT'S CABINET LIBRARY,+
+  Beautifully printed in foolscap 8vo.
+
+  The following are now ready:--
+
+  1. +JOHNSON'S LIVES OF THE POETS.+ Many Portraits.
+  2. +BOSWELL'S LIFE OF JOHNSON.+
+  3. +HERVEY'S MEDITATIONS.+
+  4. +GOLDSMITH'S MISCELLANEOUS WORKS.+
+
+Each volume will contain a complete work of the Author, at an extremely
+moderate price; while care will be taken that the Edition shall be neat,
+correct, and elegant. Price 6s. cloth; 8s. 6d. morocco.
+
+
+  +THE COMIC LATIN GRAMMAR;+
+  A New and Facetious Introduction to the
+  Latin Tongue.
+
+With numerous Illustrations. Crown 8vo, 8s. cloth.
+
+       *       *       *       *       *
+
+  +Illustrated Works,+
+
+  With Plates,
+  ELABORATELY COLOURED,
+  After the Original Paintings.
+
+
+1. +FINDEN'S TABLEAUX;+ or PROSE, POETRY, and ART for 1840. Embellished
+in a new and unique style, 3l. 3s.; or plain, 2l. 2s.
+
+2. +HEATH'S SHAKSPEARE GALLERY;+ consisting of Forty-five Portraits of
+the Female Characters of Shakspeare's Plays, from Drawings by A.�E.
+CHALON, R.�A. STEPHANOFF, BOSTOCK, MEADOWS, &c. 3l. 13s.. 6d.; or plain,
+2l. 2s.
+
+3. +THE AGES OF FEMALE BEAUTY:+ PICTORIAL ILLUSTRATIONS OF WOMAN'S LIFE,
+from Drawings by the most eminent Artists. With Prose and Poetical
+Illustrations, by BARRY CORNWALL, Mrs. NORTON, Miss JANE PORTER, &c.
+31s. 6d.; or plain, 21s.
+
+4. +LE BYRON DES DAMES;+ or, Portraits of the principal Female
+Characters in Lord Byron's Poems. Containing Thirty-nine highly-finished
+Plates, each illustrated by Critical Remarks and Poetical Extracts. 3l.,
+or plain, 1l. 11s. 6d.
+
+5. +FLORA'S GEMS;+ or, THE TREASURES OF THE PARTERRE. In Twelve splendid
+Groups of Flowers drawn and coloured by JAMES ANDREWS. The Plates of
+this work are all coloured in the most finished style, so as to equal
+first-rate Drawings, and are accompanied with Poetical Illustrations. By
+LOUISA TWAMLEY. 2l. 2s.
+
+6. +THE GALLERY OF THE GRACES.+ Thirty-six Beautiful Female Heads,
+illustrating celebrated Passages in Modern British Poets, with
+accompanying Extracts. 3l.; or plain, 31s. 6d.
+
+7. +THE ROMANCE OF NATURE:+ or, The Flower Seasons Illustrated. By L.�A.
+TWAMLEY. 3d edition, 8vo, 31s. 6d.
+
+"This is a book of singular beauty and taste. Twenty-seven exquisite
+coloured drawings of favourite flowers are accompanied by graceful
+quotations from the various authors who have felt their 'sweetest
+inspiration,' and some charming original poems. Whether for tasteful
+decoration, originality, or grace, we have seen no superior to this most
+beautiful volume." --Literary Gazette.
+
+8. +PEARLS OF THE EAST;+ or Beauties from "LALLA ROOKH." Twelve
+large-sized Portraits of the Principal Female Characters in this
+celebrated Poem. Designed by FANNY CORBAUX. 2l. 12s. 6d.; or printed
+with tint, 31s. 6d.
+
+9. +HARDING'S PORTFOLIO.+-- Twenty-four highly-finished Views, coloured
+under Mr. Harding's directions. Imp. 4to, 31s. 6d.; or printed with
+tint, 21s.
+
+10. +OUR WILD FLOWERS:+ a Popular and Descriptive Account of the Wild
+Flowers of England. By L.�A. TWAMLEY, Author of "The Romance of Nature."
+Many Coloured Plates, 21s.
+
+*** All the above works are _very handsomely bound and ornamented_ at
+the prices mentioned, and have been expressly prepared for Presents,
+Souvenirs, the Drawing-Room Table,�&c.
+
+       *       *       *       *       *
+
+  POPULAR JUVENILE WORKS,
+  Just Published.
+
+
+  +THE LITTLE FORGET-ME-NOT;+
+  A Love-Token for Children.
+
+Prettily illustrated with Twelve interesting Engravings. Handsomely
+bound, 2s. 6d.; or _with Coloured Plates_, 4s.
+
+
+  Third Edition. Price 4s. neatly bound,
+  +BINGLEY'S STORIES ABOUT DOGS;+
+  Illustrative of Their Instinct, Sagacity, and Fidelity.
+  With Plates by LANDSEER.
+
+
+  Also, same Size and Price,
+
+  Bingley's
+  STORIES ABOUT HORSES
+
+  Bingley's
+  STORIES ABOUT INSTINCT
+
+  Bingley's
+  TALES ABOUT BIRDS
+
+  Bingley's
+  TALES OF SHIPWRECKS
+
+
+  +TILT'S HAND-BOOKS FOR CHILDREN;+
+
+Each containing 48 pretty Plates, price 1s. 6d. neatly bound.
+
+
+  Mrs. Child's
+  +LITTLE PICTURE BIBLE.+
+
+  Mrs. Child's
+  +LITTLE PICTURE TESTAMENT.+
+
+  Williams'
+  +ZOOLOGICAL GARDENS,+
+  Regent's Park.
+
+  May's Little
+  +BOOK OF BRITISH BIRDS.+
+
+  May's Little
+  +BOOK OF QUADRUPEDS.+
+
+  Williams' Surrey
+  +ZOOLOGICAL GARDENS.+
+
+  Others in Preparation.
+
+
+  +BIBLE QUADRUPEDS;+
+  The Natural History of the Animals Mentioned in Scripture.
+  With Sixteen Engravings, price 5s. neatly bound.
+
+
+  +TALES OF ENTERPRISE,+
+  For the Amusement of Youth.
+  Four Steel Plates, 2s. 6d.
+
+Price 1s. 6d. each, neatly bound,
+
+  +BOB THE TERRIER;+
+  or, Memoirs of a Dog of Knowledge.
+
+  +DICK THE PONY;+
+  Supposed to be Written by Himself.
+
+       *       *       *       *       *
+
+NEW AND POPULAR WORKS.
+
+
+  +PICTORIAL FRENCH DICTIONARY,+
+
+Illustrated with Seven Hundred and Sixty Characteristic Engravings on
+Wood. A large 8vo volume, 12s. cloth.
+
+
+  Cheap Edition.
+  +THE PILGRIMS OF THE RHINE.+
+  By Sir E. LYTTON BULWER,
+
+Author of "PELHAM," "EUGENE ARAM," &c. With Twenty-seven Engravings,
+from Drawings by McClise, Roberts, &c.�&c.
+
+In medium 8vo, uniform with Campbell, Rogers, &c. _Nearly ready._
+
+
+  +MEANS AND ENDS;+
+
+Or SELF-TRAINING, by MISS SEDGWICK, author of "HOPE LESLIE," &c. 18mo,
+3s. 6d. cloth.
+
+
+  +LACONICS;+
+  or the Best Words of the Best Authors.
+
+  Three volumes, embellished with Thirty small Portraits,
+  _New and very cheap Edition, price 8s., cloth._
+
+"There is a world of wit and wisdom in these three little volumes."
+--_Lit. Gaz._
+
+
+  +ILLUSTRATIONS OF THE BIBLE.+
+  From the Monuments of Egypt, by W. C. Taylor, LL.D.,
+
+Ninety-Three Engravings, price 6s. 6d., cloth.
+
+
+  +THE REDEEMER,+
+  A Poem,
+  By WILLIAM HOWORTH, author of the "CRY OF THE POOR."
+  Octavo, 8s., cloth.
+
+"We may venture to predict that this Poem is not doomed to sink
+unnoticed, but will be hailed with a very wide share of popularity, as
+soon as its quality is known by a religious public." --_Court Magazine_.
+
+       *       *       *       *       *
+
+  TILT'S MINIATURE CLASSICS.
+  A Choice Collection of the Works of the Best Authors, Complete,
+  +IN HANDSOME SATIN-WOOD BOOK-CASE,+
+  _With Glass Door, and Lock and Key._
+
+Each volume of this admirable series of Standard Works is printed on the
+finest paper, and is illustrated with an elegant Frontispiece. The
+binding is executed in a superior manner, very tastefully ornamented.
+
+  The series, bound in embossed cloth         �5 10s.
+  Ditto       ditto in silk                    8  0
+  Ditto             in morocco, very elegant  11  0
+
+  +THE BOOK-CASE ALONE, 24s.+
+
+Any work may be purchased separately. The prices per volume are:--
+
+  Ornamented cloth, gilt edges  1s. 6d.
+  Prettily bound in silk        2     0
+  Very handsome in Morocco      3     0
+
+_Those to which a star is prefixed, being much thicker than the others,
+are Sixpence per Volume extra._
+
+    BACON'S ESSAYS, Moral and Economical.
+    BEATTIE'S MINSTREL, a Poem.
+    CHANNING'S ESSAYS. 2 vols.
+    CHAPONE'S LETTERS ON THE MIND.
+    COLERIDGE'S ANCIENT MARINER, &c.
+    COTTIN'S ELIZABETH, OR THE EXILES OF SIBERIA.
+  * COWPER'S POEMS. 2 vols.
+    FALCONER'S SHIPWRECK.
+    FENELON'S REFLECTIONS AND THOUGHTS.
+  * GEMS OF ANECDOTE. Original and Selected.
+  * GEMS OF WIT AND HUMOUR.
+  * GEMS FROM AMERICAN POETS.
+  * GEMS OF AMERICAN WIT AND ANECDOTE.
+  * GEMS OF BRITISH POETS--Chaucer to Goldsmith.
+  * ---------------------- Falconer to Campbell.
+  * ---------------------- Living Authors.
+  * ---------------------- Sacred.
+    GILES'S GUIDE TO DOMESTIC HAPPINESS.
+  * GOLDSMITH'S VICAR OF WAKEFIELD.
+    GOLDSMITH'S ESSAYS.
+    GOLDSMITH'S POETICAL WORKS.
+    GRAY'S POETICAL WORKS.
+    GREGORY'S LEGACY TO HIS DAUGHTERS.
+  * HAMILTON'S COTTAGERS OF GLENBURNIE.
+  * HAMILTON'S LETTERS ON EDUCATION. 2 vols.
+    LAMB'S TALES FROM SHAKSPEARE. 2 vols.
+    ------ ROSAMUND GRAY, a Tale.
+  * IRVING'S ESSAYS AND SKETCHES.
+    JOHNSON'S RASSELAS, Prince of Abyssinia.
+    LEWIS'S TALES OF WONDER.
+    MASON'S TREATISE ON SELF KNOWLEDGE.
+    MILTON'S PARADISE LOST. 2 vols.
+  * MORE'S COELEBS IN SEARCH OF A WIFE. 2 vols.
+    MORE'S PRACTICAL PIETY. 2 vols.
+    PURE GOLD FROM THE RIVERS OF WISDOM.
+  * SACRED HARP.-- A Collection of Sacred Poetry.
+    ST. PIERRE'S PAUL AND VIRGINIA.
+    SCOTT'S BALLADS AND LYRICAL PIECES.
+  * SCOTT'S LADY OF THE LAKE, a Poem.
+    SCOTT'S LAY OF THE LAST MINSTREL.
+  * SCOTT'S MARMION, a Tale of Flodden Field.
+  * SHAKSPEARE'S WORKS. 8 vols., 53 Plates.
+  * GEMS FROM SHAKSPEARE.
+    THOMSON'S SEASONS.
+    TALBOT'S REFLECTIONS AND ESSAYS.
+    TOKEN OF AFFECTION.
+    ---- OF FRIENDSHIP.
+    ---- OF REMEMBRANCE.
+    WALTON'S COMPLETE ANGLER. 2 vols.
+    WARWICK'S SPARE MINUTES.
+    YOUNG'S NIGHT THOUGHTS. 2 vols.
+
+_Morocco Case, with Glass Door, holding Ten or Twelve Volumes, neatly
+ornamented, Price 6s._
+
+  As there are several imitations of this beautiful series,
+  it is necessary to specify
+
+  "TILT'S EDITION."
+
+
+  Also, Uniform In Size,
+  +SCOTT'S POETICAL WORKS,+
+  Comprising
+
+LADY OF THE LAKE, MARMION, LAY OF THE LAST MINSTREL, EVE OF ST. JOHN,
+GLENFINLAS, and other romantic Ballads; very tastefully bound in Three
+miniature Volumes,
+
+  With Illuminated Title-Pages.
+  Cloth, 7s. 6d.; silk, 9s.; morocco, 12s.
+
+       *       *       *       *       *
+
+  GEORGE CRUIKSHANK'S WORKS.
+
+
+  +THE COMIC ALMANACK+
+
+For Six Years. Neatly bound, in Two vols, 17s. Containing Seventy-two
+large Plates on steel and many hundred Woodcuts.
+
+*** Any year separately may be had, price 2s. 6d.
+
+
+  +THE LOVING BALLAD OF LORD BATEMAN,+
+  With Twelve Humorous Plates, neatly bound in cloth, Price 2s.
+
+
+  +MY SKETCH BOOK;+
+  Containing Two Hundred Groups. Cloth, 15s. plain; 21s. coloured.
+
+*** The Work may also be had in Numbers, each containing Four Sheets
+of Plates, 2s. 6d. plain; 3s. 6d. coloured. --Nine Numbers have
+appeared.
+
+
+  +MORE HINTS ON ETIQUETTE,+
+  With Humorous Cuts. 2s. 6d.
+
+
+  +THE COMIC ALPHABET:+
+  24 Plates. Done up on a novel and ingenious plan.
+  2s. 6d. plain; 4s. coloured.
+
+
+  +SCRAPS AND SKETCHES:+
+  In Four Parts.
+
+  +ILLUSTRATIONS OF PHRENOLOGY.+
+  +ILLUSTRATIONS OF TIME.+
+  8s. each, plain; 12s. coloured.
+
+
+  +DEMONOLOGY AND WITCHCRAFT;+
+  In Twelve Plates. 2s. sewed.
+
+
+  +ILLUSTRATIONS OF THE ENGLISH NOVELISTS;+
+  Containing Humorous Scenes from Humphrey Clinker,
+  Roderick Random, Peregrine Pickle, Tom Jones,
+  Joseph Andrews, Vicar of Wakefield, &c. &c.
+  Forty-one Plates, with Descriptive Extracts. 7s. cloth.
+
+
+  +THE BEE AND THE WASP;+
+  A Comic Tale. Four Plates, 1s.
+
+
+  +HOOD'S EPPING HUNT.+
+  Six Engravings, by G. CRUIKSHANK. New and Cheap Edition, price 1s. 6d.
+
+
+  +COWPER'S JOHN GILPIN;+
+  With Six Engravings. Price 1s.
+
+       *       *       *       *       *
+
+USEFUL WORKS.
+
+
+  In a handsome volume, foolscap 8vo, price 5s.,
+  +THE YEAR-BOOK OF FACTS, 1840.+
+
+Exhibiting the most important Discoveries and Improvements in Science
+and Art of the present Year, in
+
+  Mechanics.
+  Natural Philosophy.
+  Electricity.
+  Chemistry.
+  Zoology.
+  Botany.
+  Geology.
+  Mineralogy.
+  Astronomy.
+  Meteorology.
+  Geography.
+  etc. etc.
+
+  By the Editor of "The Arcana of Science."
+
+"To bring _Facts_ together, so as to enable us to grasp with new and
+greater generalisations." --_Professor Sedgwick_.
+
+  (_Will appear early in January._)
+
+
+  +GLOSSARY OF ARCHITECTURE;+
+
+Containing Explanations of the Terms used in Grecian, Roman, Italian,
+and Gothic Architecture. Exemplified by many hundred Woodcuts. Third
+edition, greatly enlarged.
+
+
+  Stuart's Athens.
+  +THE ANTIQUITIES OF ATHENS,+
+  and Other Monuments of Greece;
+
+Abridged from the great work of STUART and REVETT, with accurately
+reduced copies of Seventy of the Plates, forming a valuable Introduction
+to Grecian Architecture, price 10s. 6d. bound in cloth.
+
+
+  +ETIQUETTE FOR THE LADIES;+
+
+Eighty Maxims on Dress, Manners, and Accomplishments. Seventeenth
+Edition. Price 1s. cloth, lettered in gold.
+
+
+  +ETIQUETTE FOR GENTLEMEN;+
+
+With Hints on the Art of Conversation. Tenth Edition. Price 1s. cloth,
+lettered.
+
+
+  +THE HAND-BOOK OF PHRENOLOGY;+
+
+Familiarly explaining its Principles, with a Map of the Organs, and
+Instructions on the best mode of Study. Price 1s. cloth.
+
+
+  +700 DOMESTIC HINTS+
+  in Every Branch of Family Management.
+
+By A LADY. Foolscap 8vo, 2s. 6d. cloth.
+
+
+  +A TREATISE ON DIET AND REGIMEN;+
+
+Intended as a Text Book for the Invalid and Dyspeptic. By W.�H.
+ROBERTSON, M.D. New edition, much enlarged and improved, 4s. 6d. cloth.
+
+"As a family book. Dr. Robertson's 'Treatise' is unequalled in the
+language."
+
+       *       *       *       *       *
+
+  Valuable Books,
+  AT GREATLY REDUCED PRICES.
+
+
+  +WINKLES'S BRITISH CATHEDRALS.+
+  Architectural & Picturesque Illustrations
+  of the Cathedral Churches of England and Wales,
+
+From Drawings by ROBERT GARLAND, Architect, with descriptions by THOMAS
+MOULE; containing One Hundred and Twenty Plates, beautifully engraved by
+B. WINKLES. In two handsome volumes, imperial 8vo, very neatly bound in
+cloth.
+
+  Originally published at 2l. 2s.; reduced to 24s.
+  Royal 4to, India Proofs (very few left), published at 4l. 4s.;
+  reduced to 48s.
+
+
+  +WINKLES'S FRENCH CATHEDRALS.+
+  Illustrations of the Principal Cathedrals of France,
+
+From Drawings by R. GARLAND, with Historical and Descriptive accounts,
+containing Fifty large 4to Plates, engraved by WINKLES and others. In a
+handsome volume, bound in cloth.
+
+  Originally published at 1l. 10s.; reduced to 21s.
+  Royal 4to India Proofs, published at 3l.; reduced to 42s.
+
+
+  +MUSEUM OF PAINTING AND SCULPTURE;+
+
+A collection of the principal Pictures, Statues, and Bas Reliefs in the
+Public and Private Galleries of Europe, drawn and engraved by REVEIL,
+with Critical and Historical Notices. This splendid work, which contains
+engravings of all the chief works in the Italian, German, Dutch, French,
+and English Schools, includes TWELVE HUNDRED PLATES, and is an
+indispensable _vade mecum_ to the Artist or Collector. In seventeen
+handsome volumes small 8vo, neatly bound, with gilt tops.
+
+  Originally published at 17l. 17s.; reduced to 6l. 6s.
+
+
+  +THE ENGLISH SCHOOL;+
+
+A series of Engravings of the most admired works in Painting and
+Sculpture, executed by British Artists from the days of HOGARTH; with
+descriptive and explanatory Notices, by G. HAMILTON. In four vols, small
+8vo, containing nearly THREE HUNDRED PLATES, neatly bound, with gilt
+tops.
+
+  Originally published at 3l. 12s.; reduced to 1l. 16s.
+
+
+  +WATER-COLOUR GALLERY;+
+
+Containing large and highly-finished Engravings of the most
+distinguished Painters in Water-colours; including PROUT, STEPHANOFF,
+COX, DEWINT, HARDING, CATTERMOLE, FIELDING, &c. &c. Eighteen Plates,
+imperial 4to, cloth.
+
+  Originally published at 3l. 3s.; reduced to 21s.
+
+
+  +ILLUSTRATIONS OF SCOTT'S WORKS.+
+
+  1.--+Landscape Illustrations of the Waverley Novels.+
+
+Eighty fine Views of real Scenes described in these popular Tales,
+engraved by FINDEN, &c., from Drawings by ROBERTS, HARDING, STANFIELD,
+&c. &c. Two handsome volumes super-royal 8vo, originally published at
+4l. 4s.; or India Proofs, royal 4to, 7l. 7s.
+
+  Now reduced to 28s. in 8vo, and 3l. 3s. in 4to.
+
+  2.--+Portrait Illustrations of the Same.+
+
+Forty Plates from Drawings by PARRIS, INSKIPP, LANDSEER, &c. Super-royal
+8vo, published at 1l. 13s.; India Proofs, royal 4to, 3l.
+
+  Now reduced to 14s. in 8vo, and 31s. 6d. in 4to.
+
+  3.--+Landscape Illustrations of the Poems.+
+
+Forty Plates from Drawings by TURNER, CALCOTT, FIELDING, &c; with ample
+descriptive Polices. In a handsome volume super-royal 8vo, published at
+30s.; India Proofs royal 4to, 2l. 8s.
+
+  Now reduced to 14s. in 8vo, and 31s. 6d. in 4to.
+
+*** The complete Series of these valuable Illustrations are kept,
+_very handsomely and appropriately bound in morocco, price only Four
+Guineas_; forming one of the cheapest and most elegant books ever
+offered.
+
+
+  +LIBRARY OF ANECDOTE;+
+
+Containing Remarkable Sayings, Efforts of Wit and Humour, Eccentricities
+of Conduct, Private Reminiscences of Celebrated Persons, &c. &c. With
+five Engravings, small 8vo, cloth.
+
+  Published at 5s.; reduced to 2s. 6d.
+
+
+  +MARTIN'S ILLUSTRATIONS OF THE BIBLE.+
+
+Consisting of Twenty large and magnificent Plates, designed and engraved
+by JOHN MARTIN, author of "Belshazzar's Feast," &c. In a large folio
+volume, cloth.
+
+  Originally published at 10l. 10s.; reduced to 3l. 3s.
+  Proof impressions (very few left), published at 21s.;
+  reduced to 4s. 4d.
+
+
+  +MILTON'S PARADISE LOST;+
+  Illustrated by John Martin.
+
+Imperial 8vo. Twenty large mezzotinto Plates, published at Six Guineas,
+reduced to 2l. 2s. cloth; 2l. 15s. very neat, in morocco.
+
+
+  +SINGER'S EDITION OF SHAKSPEARE,+
+
+Beautifully printed by Whittingham, with a Life of the Poet, and
+illustrative Notes. Embellished with many Engravings by STOTHARD,
+HARVEY, &c. In ten vols. small 8vo, neatly bound in cloth, gilt.
+
+  Originally published at 4l. 4s.; reduced to 2l.
+
+
+  +WILD'S ENGLISH CATHEDRALS;+
+
+Twelve select Examples of the Ecclesiastical Architecture of the Middle
+Ages, beautifully coloured after the Original Drawings by Charles Wild,
+Esq. Each Plate is mounted on Tinted Card-board, in imitation of the
+original.
+
+  Originally published at 12l. 12s.; reduced to 5l. 5s.
+
+
+  +LEKEUX'S
+  ILLUSTRATIONS OF NATURAL HISTORY;+
+
+Containing One Hundred and Fourteen Engravings, with descriptive
+accounts of the most popular and interesting Genera and Species of the
+Animal World, drawn by LANDSEER, LEKEUX, &c. &c. Large 8vo, bound in
+cloth.
+
+  Originally published at 1l. 1s.; reduced to 9s. 6d.
+
+
+  +PUCKLE'S CLUB;
+  OR, A�GREY CAP FOR A GREEN HEAD.+
+
+  Many first-rate Wood Engravings, cloth.
+  Published at 7s. 6d.; reduced to 3s. 6d.
+
+*** This very curious book is illustrated with numerous and
+characteristic designs by the celebrated Thurston. It was published
+originally in 4to, at One Guinea. --_See Jackson on Wood Engraving._
+
+
+  +ADDISON'S ESSAYS;+
+  from The Spectator.
+
+  Two neat volumes, cloth. Published at 8s.; reduced to 4s. 6d.
+
+
+  +CARICATURE SCRAP-BOOK,+
+  by H. Heath.
+
+Containing many Hundred laughable and amusing Groups, illustrative of
+Life and Character, on Fifty sheets imperial 4to, neatly and strongly
+bound; forming a never-failing source of amusement for Visitors.
+
+  Published at 28s.; reduced to 18s.
+
+
+  CHARLES TILT, 86, FLEET STREET.
+
+  Bradbury & Evans,]  [Printers, Whitefriars
+
+
+       *       *       *       *       *
+           *       *       *       *
+       *       *       *       *       *
+
+
+Errors and Inconsistencies (noted by transcriber):
+
+_General Notes and Non-Errors:_
+
+The _Eton Grammar_ began in the first half of the 16th century as the
+_Brevissima Institutio_, later _Rudimenta Grammatices_, by William Lily,
+Lilly or Lilye (d. 1522). A 1758 revision acquired the name _Eton Latin
+Grammar_. The headers _Propria quae maribus_ and _As in Pr�senti_ are
+from this book, as is the line "Cum multis aliis qu� nunc perscribere
+longum est".
+
+  If than _is_, _er_, and _or_, it hath many more enders
+    [_i.e. "many more than..."_]
+  qui, who or what, and cujas, of what country.
+    [_uncommon word: not a misprint for "cujus"_]
+  always recals this beautiful line of Ovid's  [_archaic spelling_]
+  some well-disposed sailor in a melodrame  [_archaic spelling_]
+  Malo a cive spoliari quam ab hoste venire.
+    [_that is, "vEnire" with long "e"_]
+  Having yeaned, she left the hope of the flock  [_archaic word_]
+  OF THE QUANTITY OF THE FIRST SYLLABLE.  [_"first" = non-final_]
+
+  Ingens, great, [A]jax, the name of a hero
+    [_Both syllables in "Ajax" are long. Here, the "j" is to be
+    pronounced as a "double letter" (technically an affricate) as in
+    English._]
+  alter{i}us has always a short _i_ and alIus a long _i_
+    [_The "i" in "alterius" is conventionally shortened in poetry to
+    accommodate the metre._]
+
+
+_Introduction_
+
+  it shall be candid.  [is shall]
+  writing in conformity with  [comformity]
+  And more especially is praise due  [epecially]
+
+_Grammar_
+
+  ... venenum, poison; are examples of substantives  [posion]
+  The butcher lays thee low,  [the]
+  Thus the Comic Latin Grammar is lepidissimus, funniest  [lipidissimus]
+  it has not _different persons_, as t�det, it irketh  [t�dat]
+  the magging or talkative mood
+    [_probably error for "nagging"_]
+  Amavissem, I�should have loved  [Amivissem]
+  Amandum, to love, if you�'re doom'd, have a care.  [you 'r]
+  Ab, ad, ante, &c. prepositions.
+    [_printed as shown: missing "are"?_]
+  From neco, necui, and mico, word
+    [_printed as shown: missing "a" ("a word")?_]
+  And (which perhaps is the most pursuasive argument of all)
+    [_spelling unchanged_]
+  illum librum qu� Latina Grammatices et Comica dicitur
+    [_printed as shown: superfluous "et"?_]
+  THE CONSTRUCTION OF NOUNS ADJECTIVE.  [ADJECTVE]
+  it was suggested by the well-known quality  [well-know]
+  the discoveries of their countryman Franklin  [countrymen]
+  Arbor gummifera, alta mille et quingentis passibus  [gumnifera]
+  Adjectives and substantives govern an ablative case  [subsantives]
+  Oft in slumber's deep recesses,  [slumbers]
+  By so much the ugliest, by how much the wisest  [must]
+  whereas an imposition is a task  [as imposition]
+  each other's charms and accomplishments  [others]
+  the pledges were placed  [where]
+  Instar montis equum divina Palladis arte  [Paladis]
+  they build a horse as big as a mountain.  [house]
+
+  nAsOqu{e} cruEntO  [_breve printed over "u" in "nasoque"_]
+  ClAv{i}g{e}r [A]lcIdEs, mAgnUm J{o}v{i}s IncrEmEntUm.
+    [_missing breve on "i" in "claviger"]
+  REs Est InfElIx, plEn{a}qu{e} frAud{i}s {a}mOr
+    [_missing macron on "e" in "infelix"]
+  In Latin mark, that every dipthong
+    [_normally spelled "diphthong", but may be intentional
+    for rhyme with "whip-thong"_]
+  And so are n's that do delight {i}n
+    [_breve printed over "e" in "delight" instead of "i" in "in"_]
+  Short in the final _er_ we state 'em,  [state em,]
+  Long unto all but asses' ears,  [asses ears,]
+  And qu{i}s, and b{i}s, which last is no noun
+    [_breve printed over "u" in "quis"_]
+
+_List of Etchings_
+
+Here and in the Advertising section, a facing pair of pages was damaged.
+Missing text was supplied from elsewhere in the book. The missing parts
+are shown in {braces}.
+
+  2. Schoolmaster beating a drum, and boys singing in ch{orus  22}
+  3. Ingenuas pugni didicisse fideliter artes (fight)  {52}
+
+  Coe, Printer, 27, Old Change, St. {Paul's.}
+
+_Advertising_
+
+  {MAR}MION;
+  {A TALE OF FL}ODDEN FIELD.
+  {En}gravings.
+
+  ... FUGITIVE POETRY OF THE NINETEENTH CENTURY.
+    [NINETEETH]
+  By Sir E. LYTTON BULWER [_text unchanged_]
+  to grasp with new and gr{eater} generalisations
+    [_damaged text reconstructed_]
+
+_Minor Errors: Punctuation, Mechanics_
+
+  the laughter-loving spirit of his age.  [age,]
+  the question, whose, or whereof; as, Whose breeches?  [as Whose]
+  --Third, is. Vulpes, a�fox.  [is, Vulpes]
+  or tarnation 'cute  [tarnation' cute]
+  Docillimus, most docile.-- Man Friday.  [docile. Man]
+  magis, _more_, and maxim�, _most_.  [_most_,]
+  Amabo, I�shall or will love. Inebriabor  [will love Inebriabor]
+  ... Thou dancest,  [Thou dancest.]
+  ... Patricii, gentlemen,  [gentlemen.]
+  ... Doctrinam, learning,  [learning.]
+  Moneo, mones, monet,  [monet.]
+  _Plu._ Regimus, regitis, re_gunt_
+    [_italicized as shown: error for reg_unt_?_]
+  Heu! Lack-a-day!-- Hem! Brute, Hollo! Brutus.
+    [Lack-a-day! Hem!]
+  "Sir," said the great Dr. Johnson  [_invisible . after "Dr"_]
+  October an instance supplies  [_e in "supplies"�invisible_]
+  +SYNTAXIS,+ _or the Construction of Grammar._  [+SYNTAXIS.+]
+  quod, or ut, being left out, as  [out as,]
+  the natural history of school-boys  [_anomalous hyphen unchanged_]
+  suus, his own (Cocknic� his'n),  [_close parenthesis missing_]
+  trium, of three,�&c.,  [&c.]
+  Of these juvo, l�do, delecto, and some others  [l�do delecto]
+  Puell�, ali� aliis pr�lucere student  [_comma in original_]
+  the verb est being added.  [added,]
+  "wisdom" they say "is in the _wig_."  [_final " missing_]
+  "deep _in_ the windingths _of_ a whale,"  [_open quote missing_]
+  guilty of a great _waste_-- of time;  [of time;"]
+  Ut, for, postquam, after that    [postquam after that]
+  quanquam, although, utpote, forasmuch as  [although utpote]
+  Isaaculus trans maria deportatus est:  [_final : missing_]
+  O alaudas! Oh larks!  [O alaudas, Oh larks!]
+  in a similar manner?  [manner.]
+  Synal[oe]pha, Ecthlipsis, Syn�resis, Di�resis  [Ecthlipsis Syn�resis]
+  dandies and theatrical artists,  [artists.]
+  Ingens, great, [A]jax, the name of a hero  [great [A]jax]
+  {I}n, tam{e}n, attam{e}n, and {a}n  [_breve printed over "n" in "In"_]
+  Ex{i}n' and sub{i}n', de{i}n', pro{i}n'  [pro{i}'n]
+  Because its genitive's SamnItis,  [SamnItis.]
+
+
+
+
+
+End of Project Gutenberg's The Comic Latin Grammar, by Percival Leigh
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE COMIC LATIN GRAMMAR ***
+
+***** This file should be named 29456-8.txt or 29456-8.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/9/4/5/29456/
+
+Produced by Louise Hope
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/29456-8.zip b/29456-8.zip
new file mode 100644
index 0000000..a76d549
--- /dev/null
+++ b/29456-8.zip
diff --git a/29456-h.zip b/29456-h.zip
new file mode 100644
index 0000000..a7b273c
--- /dev/null
+++ b/29456-h.zip
diff --git a/29456-h/29456-h.htm b/29456-h/29456-h.htm
new file mode 100644
index 0000000..92063e1
--- /dev/null
+++ b/29456-h/29456-h.htm
@@ -0,0 +1,7879 @@
+
+<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
+<html>
+<head>
+<title>The Comic Latin Grammar</title>
+<meta http-equiv = "Content-Type" content = "text/html; charset=UTF-8">
+
+<style type = "text/css">
+
+body {margin-left: 10%; margin-right: 10%;}
+div.titlepage, div.maintext, div.pub_ads {padding-top: 2em;
+padding-bottom: 2em;}
+
+hr {width: 80%; margin-top: 1em; margin-bottom: 1em; text-align: center;}
+hr.mid {width: 40%;}
+div.pub_ads hr.mid {margin-top: 2em; margin-bottom: 2em;}
+hr.tiny {width: 20%;}
+hr.micro {width: 10%;}
+div.maintext hr.micro {margin-top: 2em;}
+
+
+h1, h2, h3, h4, h5, h6 {text-align: center; font-style: normal;
+font-weight: normal; line-height: 1.5; margin-top: .5em;
+margin-bottom: .5em;}
+
+h1 {font-size: 200%;}
+div.titlepage h1 {margin-top: 1em; margin-bottom: 1em;}
+h2 {font-size: 175%;}
+
+h3 {font-size: 150%;}
+div.titlepage h3 {margin-top: 1.3em; margin-bottom: 1.3em;}
+div.maintext h3 {margin-top: 2em; font-weight: bold;
+font-family: sans-serif; font-size: 133%; letter-spacing: .1em;}
+div.pub_ads h3 {font-size: 133%;}
+
+h4 {font-size: 120%;}
+div.titlepage h4 {margin-top: 1.67em; margin-bottom: 1.67em;}
+div.maintext h4 {font-weight: bold; margin-top: 1.5em;}
+div.maintext h4 + p {margin-top: 1em;}
+div.pub_ads h4 {font-weight: bold; font-family: sans-serif;}
+
+h5 {font-size: 100%;}
+div.titlepage h5 {margin-top: 2em; margin-bottom: 2em;}
+div.maintext h5 {margin-top: 1.5em; font-variant: small-caps;
+clear: right;}
+div.maintext h5.ital {font-variant: normal; font-style: italic;}
+h6 {font-size: 85%;}
+div.maintext h4 + h5, div.maintext h4 + h6, div.maintext h6 + h5
+{margin-top: 0;}
+div.titlepage h6 {margin-top: 2.3em; margin-bottom: 2.3em;}
+
+p {margin-top: .5em; margin-bottom: 0em; line-height: 1.2;}
+p.inset, div.inset {margin-left: 2em; margin-right: 2em;}
+div.inset p {margin-left: 1em; text-indent: -1em;}
+
+div.verse {margin: .5em 2em; font-size: 92%;}
+div.verse p {margin-top: .25em; margin-left: 4em; text-indent: -4em;}
+div.verse.center p {margin-left: 0; text-indent: 0;}
+div.verse p.indent {margin-left: 5em;}
+div.verse p.indent2 {margin-left: 6em;}
+div.verse p.stanza {margin-top: .75em;}
+
+p.verse {font-size: 92%; margin-left: 6em; text-indent: -4em;}
+
+p.center, div.center p {text-align: center;}
+
+p.box {border: 2px solid #000; padding: .5em; margin-left: 2em;
+width: 19em; text-indent: 1em; text-align: justify;}
+
+
+/* tables */
+
+table {margin-left: auto; margin-right: auto; margin-top: 1em;
+margin-bottom: 1em; font-size: inherit;}
+
+td {vertical-align: top; text-align: left; padding: .1em .5em;}
+
+td.center {text-align: center;}
+td.right {text-align: right;}
+
+td.number {text-align: right;}
+
+table p {margin-left: 1em; text-indent: -1em; margin-top: .25em;}
+
+table.bracket {padding: 0; margin: 0; border-collapse: collapse;}
+td.bracket {vertical-align: middle; background-repeat: no-repeat;
+padding: 0 1em 0 0; background-position: center right;
+background-image: url("images/bracket3.gif");}
+
+
+/* inflections */
+
+.grammar {font-size: 92%; margin-left: 2em;}
+table.grammar {margin-top: .5em; margin-bottom: .5em;}
+table.grammar td {line-height: 1.2em; padding-top: .25em;}
+table.grammar p {margin-top: 0;}
+
+
+/* illustrations */
+
+p.illustration {text-align: center; margin-top: 1em; margin-bottom: 1em;}
+p.caption {text-align: center; margin-bottom: 1em;
+font-size: 80%;}
+
+div.plate {text-align: center; margin-left: auto; margin-right: auto;
+margin-top: 2em; margin-bottom: 2em; clear: both;
+padding: .5em; border: 1px solid #999;}
+div.plate p.caption {font-family: sans-serif;}
+
+p.double {margin-left: 33%; margin-right: 33%; margin-top: 1em;
+border-top: 4px double #000;}
+
+table.figfloat, p.figfloat {float: right; clear: right;
+margin: .5em 0 0 1em;}
+table.figfloat td {text-align: center; font-size: 80%; line-height: 1.2;}
+.figfloat img {padding-bottom: 1em;}
+
+table.illustration td {text-align: center;}
+td.caption {padding-top: 1em; font-size: 80%;}
+
+
+/* ads */
+
+div.pub_ads {font-size: 88%;}
+
+div.pub_ads h3, div.pub_ads h4, div.pub_ads h5, div.pub_ads h6
+{margin-top: .25em; margin-bottom: 0;}
+div.pub_ads p {margin-top: .33em;}
+
+div.pub_ads p.double {margin-left: 40%; margin-right: 40%;
+margin-top: 1em;}
+
+div.pub_ads table {font-size: inherit;}
+div.pub_ads td {padding: .1em 1em; line-height: 1.2em;}
+
+div.pub_ads table.nospace td {padding: .1em;}
+td.sideline {border-right: 1px solid #000;}
+
+p.firstline:first-line {font-size: 112%;}
+
+
+/* text formatting */
+
+.smallcaps, span.firstword {font-variant: small-caps;}
+span.invisible {visibility: hidden;}
+
+
+.smaller {font-size: 85%;}
+.smallest {font-size: 70%;}
+.larger {font-size: 110%;}
+.largest {font-size: 125%;}
+.extended {letter-spacing: 0.2em; margin-right: -.2em;}
+.sans {font-family: sans-serif;}
+.ital {font-style: italic;}
+.boldf {font-weight: bold;}
+.cursive {font-family: cursive;}
+h3 span.cursive {letter-spacing: .1em;}
+
+
+/* correction popup */
+
+ins.correction {text-decoration: none; border-bottom: thin dotted red;}
+ins.notation {text-decoration: none; border-bottom: thin dotted blue;}
+
+/* page number */
+
+span.pagenum {position: absolute; right: 2%; font-size: 92%;
+font-weight: normal; font-style: normal; text-align: right;
+text-indent: 0em;}
+div.verse span.pagenum {font-size: 100%;}
+
+/* Transcriber's Note */
+
+.mynote {background-color: #DDE; color: #000;
+font-family: sans-serif; font-size: 90%;}
+
+div.mynote {margin: 1em 5%; padding: .5em 1em 1em;}
+p.mynote {margin: 1em 5%; padding: 1em;}
+div.mynote a {text-decoration: none;}
+
+div.endnote {padding: .5em 1em 1em; margin: 1em; border: 3px ridge #A9F;
+font-family: sans-serif; font-size: 90%;}
+
+</style>
+</head>
+
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of The Comic Latin Grammar, by Percival Leigh
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Comic Latin Grammar
+       A new and facetious introduction to the Latin tongue
+
+Author: Percival Leigh
+
+Illustrator: John Leech
+
+Release Date: July 19, 2009 [EBook #29456]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE COMIC LATIN GRAMMAR ***
+
+
+
+
+Produced by Louise Hope
+
+
+
+
+
+</pre>
+
+
+<div class = "mynote">
+<p>The <a href = "#prosody">Prosody</a> section of <a name = "start" id
+= "start">this e-text</a> uses characters that require UTF-8 (Unicode)
+file encoding:</p>
+
+<p class = "inset">
+ā ē ī ō ū &nbsp; [letters with macron or “long” mark]<br>
+ă ĕ ĭ ŏ ŭ y̆ &nbsp; [letters with breve or “short” mark; y̆ is rare]</p>
+
+<p>In addition, the “oe” ligature œ is used consistently, and the
+decorative symbol ⁂ appears in the advertising section.</p>
+
+<p>If any of these characters do not display properly&mdash;in
+particular, if the diacritic does not appear directly above the
+letter&mdash;or if the apostrophes and quotation marks in this paragraph
+appear as garbage, you may have an incompatible browser or unavailable
+fonts. First, make sure that the browser’s “character set” or “file
+encoding” is set to Unicode (UTF-8). You may also need to change your
+browser’s default font.</p>
+
+<p>This book was written in 1840. It includes material that may be
+offensive to some readers. Students should be cautioned that the book
+predates “New Style” (classical) pronunciation. Note in particular
+the pronunciation of “j” (“Never jam today”) and of all vowels (“Yes,
+you Can-u-leia”).</p>
+
+<p>Typographical errors are shown in the text with <ins class =
+"correction" title = "like this">mouse-hover popups</ins>. A&nbsp;few
+unusual forms are <ins class = "notation" title = "like this">similarly
+marked</ins>.</p>
+
+<p class = "center">
+<a href = "#intro">Introduction</a><br>
+<a href = "#grammar">The Comic Latin Grammar</a><br>
+<a href = "#list">List of Etchings</a><br>
+<a href = "#ads">Publisher’s Advertising</a><br>
+<a href = "#endnotes">Transcriber’s Notes</a></p>
+
+</div>
+
+<p class = "illustration">
+<img src = "images/frontis.png" width = "302" height = "539"
+alt = "picture of author"
+title = "Painted and Engraved by John Leech, R.C.A."></p>
+
+<!-- “Yours Faithfully Paul Prendergast” -->
+
+
+<div class = "titlepage">
+
+<h4>THE COMIC</h4>
+
+<h1 class = "extended">LATIN GRAMMAR;</h1>
+
+<h5 class = "cursive">A new and facetious Introduction</h5>
+
+<h6 class = "smallest">TO THE</h6>
+
+<h3>LATIN TONGUE.</h3>
+
+<h5 class = "sans extended">WITH NUMEROUS ILLUSTRATIONS.</h5>
+
+<h6>THE SECOND EDITION.</h6>
+
+<h4><span class = "smaller extended">LONDON:</span><br>
+<span class = "extended">CHARLES TILT, FLEET STREET</span>.<br>
+<span class = "smallest">MDCCCXL.</span></h4>
+
+</div>
+
+<hr>
+
+<h6>COE, PRINTER, 27, OLD CHANGE, ST. PAUL’S.</h6>
+
+<hr>
+
+<div class = "maintext">
+
+<h3><a name = "intro" id = "intro">ADVERTISEMENT</a></h3>
+
+<h4>TO THE SECOND EDITION.</h4>
+
+<hr class = "micro">
+
+<p><span class = "firstword">The</span> Author of this little work
+cannot allow a second edition of it to go forth to the world,
+unaccompanied by a few words of apology, he being desirous of imitating,
+in every respect, the example of distinguished writers.</p>
+
+<p>He begs that so much as the consciousness of being answerable for a
+great deal of nonsense, usually prompts a man to say, in the hope of
+disarming criticism, may be considered to have been said already. But he
+particularly requests that the want of additions to his book may be
+excused; and
+<span class = "pagenum">||</span>
+pleads, in arrest of judgment, his numerous and absorbing
+avocations.</p>
+
+<p>Wishing to atone as much as possible for this deficiency, and
+prevailed upon by the importunity of his friends, he has allowed a
+portrait of himself, by that eminent artist, Mr. John Leech, to whom he
+is indebted for the embellishments, and very probably for the sale of
+the book, to be presented, facing the title-page, to the public.</p>
+
+<p>Here again he has been influenced by the wish to comply with the
+requisitions of custom, and the disinclination to appear odd, whimsical,
+or peculiar.</p>
+
+<p>On the admirable sketch itself, bare justice requires that he should
+speak somewhat in detail. The likeness he is told, he fears by too
+partial admirers, is excellent. The principle on which it has been
+executed, that of investing with an ideal magnitude, the proportions of
+nature, is plainly, from what we observe in heroic poetry, painting, and
+sculpture, the soul itself of the superhuman
+<span class = "pagenum">||</span>
+and sublime. Of the justness of the metaphorical compliment implied in
+the delineation of the head, it is not for the author to speak; of its
+exquisiteness and delicacy, his sense is too strong for expression. The
+habitual pensiveness of the elevated eyebrows, mingled with the
+momentary gaiety of the rest of the countenance, is one of the most
+successful points in the picture, and is as true to nature as it is
+indicative of art.</p>
+
+<p>The Author’s tailor, though there are certain reasons why his name
+should not appear in print, desires to express his obligation to the
+talented artist for the very favourable impression which, without
+prejudice to truth, has been given to the public of his skill. The ease
+so conspicuous in the management of the surtout, and the thought so
+remarkable in the treatment of the trousers, fully warrant his
+admiration and gratitude.</p>
+
+<p>Too great praise cannot be bestowed on the boots, considered with
+reference to art, though in this respect the Author is quite sensible
+that both himself
+<span class = "pagenum">||</span>
+and the maker of their originals have been greatly flattered. He is also
+perfectly aware that there is a degree of neatness, elegance, and spirit
+in the tie of the cravat, to which he has in reality never yet been able
+to attain.</p>
+
+<p>In conclusion, he is much gratified by the taste displayed in
+furnishing him with so handsome a walking stick; and he assures all whom
+it may concern, that the hint thus bestowed will not be lost upon him;
+for he intends immediately to relinquish the large oaken cudgel which he
+has hitherto been accustomed to carry, and to appear, in every respect,
+to the present generation, such as he will descend to posterity.</p>
+
+
+
+
+<span class = "pagenum">3</span>
+<h3>PREFACE.</h3>
+
+<hr class = "micro">
+
+<p><span class = "firstword">A great</span> book, says an old proverb,
+is a great evil; and a great preface, says a new one, is a great bore.
+It is not, therefore, our intention to expatiate largely on the present
+occasion; especially since a long discourse prefixed to a small volume,
+is like a forty-eight pounder at the door of a pig-stye. We should as
+soon think of erecting the Nelson Memorial in front of Buckingham
+Palace. Indeed, were it not necessary to show some kind of respect to
+fashion, we should hasten at once into the midst of things, instead of
+trespassing on the patience of our readers, and possibly, trifling with
+their time. We should not like to be kept waiting at a Lord Mayor’s
+feast by a long description of the bill of fare. Our preface, however,
+shall at least have the merit of novelty; <ins class = "correction"
+title = "text reads ‘is’">it</ins> shall be candid.</p>
+
+<p>This book, like the razors in Dr. Wolcot’s story, is made to
+<i>sell</i>. This last word has a rather equivocal meaning&mdash;but we
+scorn to blot, otherwise we should say to be sold. An article offered
+for sale may, nevertheless, be worth buying; and it is hoped that the
+resemblance between the aforesaid
+<span class = "pagenum">4</span>
+razors, and this our production, does not extend to the respective
+<i>sharpness</i> of the commodities. The razors proved scarcely worth a
+farthing to the clown who bought them for eighteen-pence, and were fit
+to shave nothing but the beard of an oyster. We trust that the “Comic
+Latin Grammar” will be found to <i>cut</i>, now and then, rather better,
+at least, than that comes to; and that it will reward the purchaser, at
+any rate, with his pennyworth for his penny, by its genuine bonâ fide
+contents. There are many works, the pages of which contain a good deal
+of useful matter&mdash;sometimes in the shape of an ounce of tea or a
+pound of butter: we venture to indulge the expectation, that these
+latter additions to the value of our own, will be considered
+unnecessary.</p>
+
+<p>Perhaps we should have adopted the title of “Latin in sport made
+learning in earnest”&mdash;which would give a tolerable idea of the
+nature of our undertaking. The doctrine, it is true, may bear the same
+relation to the lighter matter, that the bread in Falstaff’s private
+account did to the liquor; though if we have given our reader
+“a&nbsp;deal of sack,” we wish it may not be altogether “intolerable.”
+Latin, however, is a great deal less like bread, to most boys, than it
+is like physic; especially <i>antimony</i>, <i>ipecacuanha</i>, and
+similar medicines. It ought, therefore, to be given in something
+palatable,
+<span class = "pagenum">5</span>
+and capable of causing it to be retained by the&mdash;mind&mdash;in what
+physicians call a pleasant vehicle. This we have endeavoured to
+invent&mdash;and if we have disguised the flavour of the drugs without
+destroying their virtues, we shall have entirely accomplished our
+design. There are a few particularly nasty pills, draughts, and boluses,
+which we could find no means of sweetening; and with which, on that
+account, we have not attempted to meddle. For these omissions we must
+request some little indulgence. Our performance is confessedly
+imperfect, but be it remembered, that</p>
+
+<div class = "verse">
+<p>“Men rather do their broken weapons use,</p>
+<p>Than their bare hands.”</p>
+</div>
+
+<p>The “Comic Latin Grammar” can, certainly, never be called an
+<i>imposition</i>, as another Latin Grammar frequently is. We remember
+having had the whole of it to learn at school, besides being&mdash;no
+matter what&mdash;for pinning a cracker to the master’s coat-tail. The
+above hint is worthy the attention of boys; nor will the following,
+probably, be thrown away upon school-masters, particularly such as
+reside in the north of England. “Laugh and grow fat,” is an ancient and
+a true maxim. Now, will not the “Comic Latin Grammar,” (like Scotch
+marmalade and Yarmouth bloaters) form a “desirable addition” to the
+breakfast of the young
+<span class = "pagenum">6</span>
+gentlemen entrusted to their care? We dare not say much of its
+superseding the use of the cane, as we hold all old established customs
+in the utmost reverence and respect; and, besides, have no wish to
+deprive any one of innocent amusement. We would only suggest, that
+flagellation is now <i>sometimes</i> necessary, and that whatever tends
+to render it <i>optional</i> may, now and then, save trouble.</p>
+
+<p>One word in conclusion. The march of intellect is not confined to the
+male sex; the fairer part of the creation are now augmenting by their
+numbers, and adorning by their countenance, the scientific and literary
+train. But the path of learning is sometimes too rugged for their tender
+feet. We pretend not to strew it for them with roses; we are not
+poetically given&mdash;nay, we cannot even promise them a Brussels
+carpet;&mdash;but if a plain Kidderminster will serve their turn, we
+here display one for their accommodation, that thus smoothly and
+pleasantly they may make their safe ascent to the temple of Minerva and
+the Muses.</p>
+
+
+
+
+<span class = "pagenum">7</span>
+<h3>INTRODUCTION.</h3>
+
+<hr class = "micro">
+
+<p><span class = "firstword">Very</span> little introductory matter
+would probably be sufficient to place the rising generation on terms of
+the most perfect familiarity with a “Comic Latin Grammar.” To the elder
+and middle-aged portion of the community, however, the very notion of
+such a work may seem in the highest degree preposterous; if not
+indicative of a degree of presumptuous irreverence on the part of the
+author little short of literary high treason, if not commensurate, in
+point of moral delinquency, with the same crime as defined by the common
+law of England. It is out of consideration for the praiseworthy, though
+perhaps erroneous, feelings of such respectable personages, that we
+proceed to make the following preliminary remarks; wherein it will be
+our object, by demonstrating the necessity which exists for such a
+publication as the present, to exonerate ourselves from all blame on the
+score of its production.</p>
+
+<p>When we consider the progress of civilization and refinement, we find
+that all ages have in turn
+<span class = "pagenum">8</span>
+been characterized by some one distinctive peculiarity or other. To say
+nothing of the Golden Age, the Silver Age, the Iron Age, and so forth,
+which, with all possible respect for the poets, can scarcely be said to
+be worth much in a grave argument; it is quite clear that the Augustan
+Age, the Middle Ages, the Elizabethan Age, and the Age of Queen Anne,
+were all of them very different, one from the other, in regard to the
+peculiar tone of feeling which distinguished the public mind in each of
+them. In like manner, the present (which will hereafter probably be
+called the Victorian Age) is very unlike all that have preceded it. It
+may be termed the Age of Comicality. Not but that some traces of comic
+feeling, inherent as it is in the very nature of man, have not at all
+times been more or less observable; but it is only of late years that
+the ludicrous capabilities of the human mind have expanded in their
+fullest vigour. Comicality has heretofore been evinced only, as it were,
+in isolated sparks and flashes, instead of that full blaze of meridian
+splendour which now pervades the entire mechanism of society, and
+illuminates all the transactions of life. Thus in the Golden Age, there
+was something very comical in human creatures eating acorns, like pigs.
+The Augustan Age was comical enough, if we may trust some of Horace’s
+satires. Much comicality was displayed
+<span class = "pagenum">9</span>
+in the Middle Ages, in the proceedings of the knights errant, the doings
+in Palestine, and the mode adopted by the priests of inculcating
+religion on the minds of the people. In the Elizabethan Age several
+comic incidents occurred at court; particularly when any of the
+courtiers were guilty of personal impertinence to their virgin queen. It
+must have been very comical to see Shakspere holding stirrups like an
+ostler, or performing the part of the Ghost, in his own play of Hamlet.
+The dress worn in Queen Anne’s time, and that of the first Georges, was
+very comical indeed&mdash;but enough of this. Our concern is with the
+present time&mdash;the funniest epoch, beyond all comparison, in the
+history of the world. Some few years back, the minds of nations,
+convulsed with the great political revolutions then taking place, were
+in a mood by no means apt to be gratified by whimsicality and merriment.
+Furthermore, certain poets of the lack-a-daisical school, such as Byron,
+Shelley, Goethe, and others, writing in <ins class = "correction" title
+= "text reads ‘comformity’">conformity</ins> with the prevailing taste
+of the day, threw a wet blanket on the spirits of men, which all but
+extinguished the feeble embers of mirth, upon which ‘shocking events’
+had exercised so pernicious an influence already: or, to change a vulgar
+for a scientific metaphor, they placed such a pressure of sentimental
+atmosphere on the common stock of laughing gas, as to
+<span class = "pagenum">10</span>
+convert it into a mere fluid, and almost to solidify it altogether. It
+is now exhibiting the amazing amount of expansive force, which under
+favourable circumstances it is capable of exerting. Many causes have
+combined to bring about the happy state of things under which we now
+live. Amongst these, the exertions of individuals hold the first rank;
+of whom the veteran Liston, the late lamented Mr. John Reeve, the
+facetious Keeley, and the inimitable Buckstone, are deserving of our
+highest commendation. And more <ins class = "correction" title = "text reads ‘epecially’">especially</ins> is praise due to the talented author
+of the Pickwick Papers, whose genius has convulsed the sides of
+thousands, has revolutionized the republic of letters (making, no doubt,
+a&nbsp;great many <i>sovereigns</i>) and has become, as it were,
+a&nbsp;mirror, which will reflect to all posterity the laughter-loving
+spirit of his age<ins class = "correction" title = "text has ,">.&nbsp;</ins></p>
+
+<p>But it is not (as we have before remarked) in literature alone, that
+the tendency to the ludicrous is shewn. In many recent scientific
+speculations it is strikingly and abundantly obvious&mdash;some of those
+on geology may be quoted as examples. The offspring of the
+sciences&mdash;those pledges of affection which they present to art,
+almost all of them, come into the world with a caricature-like smirk
+upon their faces. Air-balloons and rail-roads have something funny about
+them; and photogenic drawings are, to say the least, very curious. The
+learned
+<span class = "pagenum">11</span>
+professions are all tinged with drollery. The law is confessedly
+ridiculous from beginning to end, and what is very strange, is that no
+one should attempt to make it otherwise. Medicine is comical&mdash;or
+rather tragi-comical&mdash;the disparity of opinion among its
+professors, the chaotic state of its principles, and the conduct of its
+students being considered. No one can deny that the distribution of
+church property is somewhat <i>odd</i>, or can assert that the
+doings&mdash;at least of those who are destined for the clerical office,
+are now and then of rather a strange character. Political meetings are
+very laughable things, when we reflect upon the strong asseverations of
+patriotism there made and believed. The wisdom of the legislature is by
+no means of the gravest class, particularly when it offers municipal
+reforms as a substitute for bread. The debates in a certain House must
+be of a very humourous character, if we may judge from the frequent
+“hear hear, and a laugh,” by which the proceedings there are
+interrupted. Our risible faculties are continually called into action at
+public lectures of all kinds; and indeed, no lecturer, however learned
+he may be, has much chance now-a-days of instructing, unless he can also
+amuse his audience. Nor can the various public and even private
+buildings, which are daily springing up around us, like so many
+mushrooms, be contemplated
+<span class = "pagenum">12</span>
+without considerable emotions of mirthfulness. The new style of
+ecclesiastical architecture, entitled the Cockney-Gothic, affords a good
+illustration of this remark; but the comic Temple of the Fine Arts, in
+Trafalgar Square, is what Lord Bacon would have called a “glaring
+instance” of its correctness. The occurrences of the day bear all of
+them the stamp of facetiousness. The vote of approbation, lately passed
+on a certain course of policy, is a capital joke; the tricks that are
+constantly played off upon John Bull by the Russians, French, Yankees,
+and others, though somewhat impertinent to the aforesaid John, must seem
+very diverting to lookers on. The state of the Drama may also be brought
+forward in proof of our position. Tragedies are at a discount; farces
+are at a premium; lions, nay goats and monkeys, are pressed into the
+service of Momus. Even the various institutions for the advancement of
+morals have not escaped the influence of the prevailing taste. To
+mention that respectable body of men, the Teetotallers, is sufficient of
+itself to excite a smile. In short, look wherever you will, you will
+find it a matter of the greatest difficulty to keep your
+countenance.</p>
+
+<p>The truth is, that people are tired of crying, and find it much more
+agreeable to laugh. The sublime is out of fashion; the ridiculous is in
+vogue.
+<span class = "pagenum">13</span>
+A&nbsp;turn-up nose is now a more interesting object than a turn-down
+collar; and if it should be urged that the flowing locks of our young
+men are indicative of sentimentality by their <i>length</i>, let it be
+remembered that they are in general quite unaccompanied by a
+corresponding quality of face. It has been said that the schoolmaster is
+abroad:&mdash;true; but he is walking arm and arm with the Merry-Andrew;
+and the members, presidents, and secretaries of mechanics’ institutions,
+and associations for the advancement of everything, follow in his train.
+Nothing can be taught that is not palatable, and nothing is now
+palatable but what is funny. That boys should be instructed in the Latin
+language will be denied by few (although by some eccentric persons this
+has been done); that they can be expected to learn what they cannot
+laugh at will, to all reflecting minds, especially on perusing the
+foregoing considerations, appear in the highest degree unreasonable. To
+conclude:&mdash;let all such as are disposed to stare at the title of
+our work, ponder attentively on what we have said above; let them, in
+the language of the farce, “put this and that together,” and they will
+at once perceive the beneficial effect, which holding up the Latin
+Grammar to ridicule is likely to produce in the minds of youth. So much
+for the satisfaction of our senior readers. And now, no longer to detain
+<span class = "pagenum">14</span>
+our juvenile friends, let us proceed to business, or pleasure, or
+both:&mdash;we will not stand upon ceremony with respect to terms.</p>
+
+<p class = "illustration">
+<img src = "images/pic14.png" width = "262" height = "369"
+alt = "man walking with costumed boy"></p>
+
+<p class = "caption">
+THE SCHOOLMASTER ABROAD.</p>
+
+<hr class = "micro">
+
+<p>&nbsp;<br>&nbsp;</p>
+
+<span class = "pagenum">15</span>
+
+<h5><a name = "grammar" id = "grammar">THE</a></h5>
+
+<h3 style = "margin-top: 1em;">COMIC LATIN GRAMMAR.</h3>
+
+<p class = "double">&nbsp;</p>
+
+<p><span class = "firstword">Of</span> Latin there are three kinds:
+Latin Proper, or good Latin; Dog Latin; and Thieves’ Latin, Latin
+Proper, or good Latin, is the language which was spoken by the ancient
+Romans. Dog Latin is the Latin in which boys compose their first verses
+and themes, and which is occasionally employed at the Universities of
+Oxford and Cambridge, but much more frequently at Edinburgh, Aberdeen,
+and Glasgow. It includes Medical Latin, and Law Latin; though these, to
+the unlearned, generally appear Greek. Mens tuus ego&mdash;mind your
+eye; Illic vadis cum oculo tuo ex&mdash;there you go with your eye out;
+Quomodo est mater tua?&mdash;how’s your mother? Fiat haustus ter die
+capiendus&mdash;let a draught be made, to be taken three times a day;
+Bona et catalla&mdash;goods and chattels&mdash;are examples.</p>
+
+<span class = "pagenum">16</span>
+
+<table class = "figfloat" summary = "illustration">
+<tr><td>
+<img src = "images/pic16.png" width = "134" height = "183"
+alt = "well-dressed fat man"><br>
+A HEAVY SWELL.
+</td></tr>
+</table>
+
+<p>Thieves’ Latin, more commonly known by the name of slang, is much in
+use among a certain class of <i>conveyancers</i>, who disregard the
+distinctions of meum and tuum. Furthermore, it constitutes a great part
+of the familiar discourse of most young men in modern times,
+particularly lawyers’ clerks and medical students. It bears a very close
+affinity to Law Latin, with which, indeed, it is sometimes confounded.
+Examples:&mdash;to prig a wipe&mdash;to steal a handkerchief. A&nbsp;rum
+start&mdash;a&nbsp;curious occurrence. A&nbsp;plant&mdash;an imposition.
+Flummoxed&mdash;undone. Sold&mdash;deceived. A&nbsp;heavy
+swell&mdash;a&nbsp;great dandy. Quibus, tin, dibs, mopuses,
+stumpy&mdash;money. Grub, prog, tuck&mdash;victuals.
+A&nbsp;stiff-’un&mdash;a&nbsp;dead body&mdash;properly, a&nbsp;subject.
+To be scragged&mdash;to suffer the last penalty of the
+law,&nbsp;&amp;c.</p>
+
+<span class = "pagenum">17</span>
+<p>All these kinds of Latin are to be taught in the Comic Latin
+Grammar.</p>
+
+<hr class = "micro">
+
+<table class = "figfloat" summary = "illustration">
+<tr><td>
+<img src = "images/pic17.png" width = "171" height = "222"
+alt = "pig in academic robes holding book"><br>
+TOBY, THE LEARNED PIG.
+</td></tr>
+</table>
+
+<p>If Toby, the learned pig, had been desired to say his alphabet in
+Latin, he would have done it by taking away the W from the English
+alphabet. Indeed, this is what he is said to have actually done. The
+Latin letters, therefore, remind us of the greatest age that a
+fashionable lady ever confesses she has attained to,&mdash;being between
+twenty and thirty.</p>
+
+<p>Six of these letters are called what Dutchmen, speaking English, call
+fowls&mdash;vowels; namely, a, e, i, o, u, y.</p>
+
+<span class = "pagenum">18</span>
+<p>A vowel is like an Æolian harp; it makes a full and perfect sound of
+itself. A&nbsp;consonant cannot sound without a vowel, any more than a
+horn (except such an one as Baron Munchausen’s) can play a tune without
+a performer.</p>
+
+<p>Consonants are divided into mutes, liquids and double letters;
+although they have nothing in particular to do with funerals,
+hydrostatics, or the General post office. The liquids are, l, m, n, r;
+the double letters, j, x, z; the other letters are mutes.</p>
+
+<p class = "verse">
+“Hye dum, dye dum, fiddle <i>dumb</i>&mdash;c.” &mdash;<span class =
+"smallcaps">Sterne</span>.</p>
+
+<p>A syllable is a distinct sound of one or more letters pronounced in a
+breath, or, as we say in the classics, in a jiffey.</p>
+
+<table class = "figfloat" summary = "illustration">
+<tr><td>
+<img src = "images/pic19.png" width = "227" height = "241"
+alt = "husband and wife"><br>
+A HUMAN DIPHTHONG.
+</td></tr>
+</table>
+
+<p>A diphthong is the sound of two vowels in one syllable. Taken
+collectively they resemble a closed fist&mdash;i.e. a&nbsp;bunch of
+<i>fives</i>. The diphthongs are au, eu, ei, æ, and œ. Of the two first
+of these, au and eu, the sound is <i>intermediate</i> between that of
+the two vowels of which each is formed. This fact may perhaps be
+impressed upon the mind, on the principles of artificial memory, by a
+reference to a familiar beverage, known by the name of half-and-half. In
+like manner, ei, which is generally pronounced i, and æ and œ, sounded
+like e,
+<span class = "pagenum">19</span>
+may be said to exhibit something like an analogy to a married couple.
+The human diphthong, Smith female + Brown male, is called Brown
+only.</p>
+
+<p>The reason, says the fool in King Lear, why the seven stars are no
+more than seven&mdash;is a pretty reason&mdash;because they are not
+eight. This is a fool’s reason; but we (like many other commentators)
+cannot give a better one, why the Parts of Speech are no more than
+eight&mdash;because they are not nine. They are as follow:</p>
+
+<p>1. Noun, Pronoun, Verb, Participle&mdash;declined.</p>
+
+<p>2. Adverb, Preposition, Conjunction, Interjection&mdash;undeclined.
+Most schoolboys would like to decline them altogether.</p>
+
+<hr class = "micro">
+
+<span class = "pagenum">20</span>
+<h4>OF A NOUN.</h4>
+
+<p>A noun is a name,&mdash;whether it be a Christian name, or a
+sur-name&mdash;the name of a prince, a&nbsp;pig, a pancake, or a post.
+Whatever is&mdash;is a noun.</p>
+
+<p>Nouns are divided into substantives and adjectives.</p>
+
+<p>A noun substantive is its own trumpeter, and speaks for itself
+without assistance from any other word&mdash;brassica, a&nbsp;cabbage;
+sartor, a&nbsp;tailor; medicus, a physician; vetula, an old woman;
+venenum, <ins class = "correction" title = "text reads ‘posion’">poison</ins>; are examples of substantives.</p>
+
+<table class = "illustration" summary = "illustration">
+<tr>
+<td>
+<img src = "images/pic20a.png" width = "119" height = "165"
+alt = "thin boy with hoop">
+</td>
+<td>
+<img src = "images/pic20b.png" width = "123" height = "173"
+alt = "fat boy">
+</td>
+</tr>
+<tr>
+<td class = "caption">
+MACER PUER.</td>
+<td class = "caption">
+PINGUIS PUER.</td>
+</tr>
+</table>
+
+<p>An adjective is like an infant in leading strings&mdash;it cannot go
+alone. It always requires to be joined to a substantive, of which it
+shows the nature or quality&mdash;as lectio longa, a&nbsp;long lesson;
+magnus aper, a&nbsp;great <i>boar</i>; pinguis puer, a&nbsp;fat boy;
+macer puer, a&nbsp;lean boy. In making love (as you will find
+<span class = "pagenum">21</span>
+one of these days) or in abusing a cab-man, your success will depend in
+no small degree in your choice of adjectives.</p>
+
+<hr class = "micro">
+
+<h4>NUMBERS OF NOUNS.</h4>
+
+<p>Be not alarmed, boys, at the above heading. There are numbers of
+nouns, it is true, that is to say, lots; or, as we say in the schools,
+“a&nbsp;precious sight” of nouns in the dictionary; but we are not now
+going to enumerate, and make you learn them. The numbers of nouns here
+spoken of are two only; the singular and the plural.</p>
+
+<p>The singular speaks but of one&mdash;as later, a&nbsp;brick; faba,
+a&nbsp;bean; tuba, a&nbsp;trump (or trumpet); flamma, a&nbsp;blaze;
+æthiops, a&nbsp;nigger (or negro); cornix, a crow.</p>
+
+<p>The plural speaks of more than one&mdash;as lateres, bricks; fabæ,
+beans; tubæ, trumps; flammæ, blazes; æthiopes, niggers; cornices,
+crows.</p>
+
+<p>Here it may be remarked that the cynic philosophers were very
+<i>singular</i> fellows.</p>
+
+<p>Also that prize-poems are sometimes composed in very <i>singular
+numbers</i>.</p>
+
+<hr class = "micro">
+
+<span class = "pagenum">22</span>
+<h4>CASES OF NOUNS.</h4>
+
+<p>Nouns have six cases in each number, (that is, six of one and half a
+dozen of the other) but can only be put in one of them at a time. They
+are thus ticketed&mdash;nominative, genitive, dative, accusative,
+vocative, and ablative.</p>
+
+<p>The nominative case comes before the verb, as the horse does before
+the cart, the “lieutenant before the ancient,” and the superintendant of
+police before the inspector. It answers to the question, who or what;
+as, Who jaws? magister jurgatur, the master jaws.</p>
+
+<p>The genitive case is known by the sign of, and answers to the
+question, whose, or whereof; as<ins class = "correction" title = ", missing">, </ins>Whose breeches? Femoralia magistri&mdash;the breeches
+of the master, or the master’s breeches.</p>
+
+<p>The dative case is known by the signs to or for, and answers to the
+question, to whom, or to or for what; as, To whom do I hold out my
+hands? Protendo manus magistro&mdash;I&nbsp;hold out my hands to the
+master.</p>
+
+<p>In this place we are called upon to consider, whether it be more
+agreeable to have Latin or the ferula at our <i>fingers’ ends</i>.</p>
+
+<p>Observe that <i>dative</i> means <i>giving</i>. Schoolmasters are
+very often in the dative case&mdash;but
+<span class = "pagenum">23</span>
+their generosity is chiefly exercised in bestowing what is termed
+monkey’s allowance; that is, if not more kicks, more boxes on the ear,
+more spats, more canings, birchings, and impositions, than
+halfpence.</p>
+
+<div class = "plate">
+<p class = "illustration">
+<a name = "plate1" id = "plate1">&nbsp;</a>
+<img src = "images/plate1.png" width = "384" height = "507"
+alt = "schoolmaster spatting a boy"></p>
+
+<p class = "caption">
+A DATIVE AND A VOCATIVE CASE.</p>
+</div>
+
+<p>The accusative case follows the verb, as a bailiff follows a debtor,
+a&nbsp;bull-dog a butcher, or a round of applause a supernatural squall
+at the Italian Opera. It answers to the question Whom? or What? as, Whom
+do you laugh at? (behind his back) Derideo magistrum&mdash;I&nbsp;laugh
+at the master.</p>
+
+<p>The vocative case is known by calling, or speaking to; as,
+O&nbsp;magister&mdash;O&nbsp;master; an exclamation which is frequently
+the consequence of shirking out, making false concords or quantities,
+obstreperous conduct in school,&nbsp;&amp;c.</p>
+
+<p>The ablative case is known by certain prepositions, expressed or
+understood; as Deprensus magistro&mdash;caught out by the master. Coram
+<i>rostro</i>&mdash;before the <i>beak</i>. The prepositions, in, with,
+from, by, and the word, than, after the comparative degree, are signs of
+the ablative case. In angustiâ&mdash;in a fix. Cum indigenâ&mdash;with a
+native. Ab arbore&mdash;from a tree. A&nbsp;rictu&mdash;by a grin. Adipe
+lubricior&mdash;slicker than grease.</p>
+
+<hr class = "micro">
+
+<span class = "pagenum">24</span>
+
+<h4>GENDERS AND ARTICLES.</h4>
+
+<p>The genders of nouns, which are three, the masculine, the feminine,
+and the neuter, are denoted in Latin by articles. We have articles,
+also, in English, which distinguish the masculine from the feminine, but
+they are articles of dress; such as petticoats and breeches, mantillas
+and mackintoshes. But as there are many things in Latin, called
+masculine and feminine, which are nevertheless not
+<span class = "pagenum">25</span>
+male and female, the articles attached to them are not parts of dress,
+but parts of speech.</p>
+
+<table class = "illustration" summary = "illustration">
+<tr>
+<td colspan = "2">
+<img src = "images/pic24.png" width = "302" height = "332"
+alt = "small husband, large wife"></td>
+</tr>
+<tr>
+<td class = "caption" width = "50%">
+MASC.</td>
+<td class = "caption">
+FEM.</td>
+</tr>
+</table>
+
+<p>We will now, with our readers’ permission, initiate them into a new
+mode of declining the article hic, hæc, hoc. And we take this
+opportunity of protesting against the old and short-sighted system of
+teaching a boy only one thing at a time, which originated, no doubt,
+from the general ignorance of everything but the dead languages which
+prevailed in the monkish ages. We propose to make declensions,
+conjugations, &amp;c., a&nbsp;vehicle for imparting something more than
+the mere dry facts of the immediate subject. And if we can occasionally
+inculcate an original remark, a&nbsp;scientific principle, or a moral
+aphorism, we shall, of course, think ourselves sufficiently rewarded by
+the consciousness&mdash;et cætera, et cætera, et cætera.</p>
+
+<p class = "center">
+Masc. hic. &nbsp; Fem. hæc. &nbsp; Neut. hoc, &amp;c.</p>
+
+<div class = "verse">
+<p>The nominative singular’s hic, hæc, and hoc,&mdash;</p>
+<p>Which to learn, has cost school boys full many a knock;</p>
+<p>The genitive&nbsp;’s hujus, the dative makes huic,</p>
+<p>(A fact Mr. Squeers never mentioned to Smike);</p>
+<p>Then hunc, hanc, and hoc, the accusative makes,</p>
+<p>The vocative&mdash;caret&mdash;no very great shakes;</p>
+<p>The ablative case maketh hôc, hac, and hôc,</p>
+<p>A cock is a fowl&mdash;but a fowl&nbsp;’s not a cock.</p>
+<span class = "pagenum">26</span>
+<p>The nominative plural is hi, hæ, and hæc,</p>
+<p>The Roman young ladies were dressed à la Grecque;</p>
+<p>The genitive case horum, harum, and horum,</p>
+<p>Silenus and Bacchus were fond of a jorum;</p>
+<p>The dative in all the three genders is his,</p>
+<p>At Actium his tip did Mark Antony miss:</p>
+<p>The accusative&nbsp;’s hos, has, and hæc in all grammars,</p>
+<p>Herodotus told some American crammers;</p>
+<p>The vocative here also&mdash;caret&mdash;&nbsp;’s no go,</p>
+<p>As Milo found rending an oak-tree, you know;</p>
+<p>And his, like the dative the ablative case is,</p>
+<p>The Furies had most disagreeable faces.</p>
+</div>
+
+<p>Nouns declined with two articles, are called common. This word common
+requires explanation&mdash;it is not used in the same sense as that in
+which we say, that quackery is common in medicine, knavery in the law,
+and humbug everywhere&mdash;pigeons at Crockford’s, lame ducks at the
+Stock Exchange, Jews at the ditto, and Royal ditto, and foreigners in
+Leicester Square&mdash;No; a&nbsp;common noun is one that is both
+masculine and feminine; in one sense of the word therefore it is
+<i>uncommon</i>. Parens, a&nbsp;parent, which may be declined both with
+hic, and hæc, is, for obvious reasons, a&nbsp;noun of this class; and so
+is fur, a&nbsp;thief; likewise miles, a&nbsp;soldier, which will appear
+strange to those of our readers, who do not call to mind the existence
+of the ancient amazons; the dashing white sergeant
+<span class = "pagenum">27</span>
+being the only female soldier known in modern times. Nor have we more
+than one authenticated instance of a female sailor, if we except the
+heroine commemorated in the somewhat apocryphal narrative&mdash;Billy
+Taylor.</p>
+
+<p>Nouns are called doubtful when declined with the article hic or
+hæc&mdash;whichever you please, as the showman said of the Duke of
+Wellington and Napoleon Bonaparte. Anguis, a&nbsp;snake, is a doubtful
+noun. At all events he is a doubtful customer.</p>
+
+<p class = "illustration">
+<img src = "images/pic27.png" width = "356" height = "317"
+alt = "man with very large snake"></p>
+
+<p>Epicene nouns are those which, though declined with one article only,
+represent both sexes, as hic passer, a&nbsp;sparrow, hæc aquila, an
+eagle,&mdash;cock and
+<span class = "pagenum">28</span>
+hen. A&nbsp;sparrow, however, to say nothing of an eagle, must appear a
+doubtful noun with regard to gender, to a cockney sportsman.</p>
+
+<p>After all, there is no rule in the Latin language about gender so
+comprehensive as that observed in Hampshire, where they call every thing
+<i>he</i> but a tom-cat, and that <i>she</i>.</p>
+
+<hr class = "micro">
+
+<h4>DECLENSION OF NOUNS SUBSTANTIVE.</h4>
+
+<p>There are five declensions of substantives. As a pig is known by his
+tail, so are declensions of substantives distinguished by the ending of
+the genitive case. Our fear of outraging the comic feelings of humanity,
+prevents us from saying quite so much about them as our love of learning
+would otherwise induce us to do. We therefore refer the student to that
+clever little book, the Eton Latin Grammar, strongly recommending him to
+decline the following substantives, by way of an exercise, after the
+manner of the examples there set down. First declension, Genitivo æ.
+Virga, a rod. &mdash;Second, i. Puer, a&nbsp;boy. Stultus, a&nbsp;fool.
+Tergum, a&nbsp;back. &mdash;Third, is<ins class = "correction" title =
+"text has ,">. </ins>Vulpes, a&nbsp;fox. Procurator, an attorney.
+Cliens, a&nbsp;client. &mdash;Fourth, ûs&mdash;here you may have, Risus,
+a&nbsp;laugh at. &mdash;Fifth, ei. Effigies, an effigy, image, or
+Guy.</p>
+
+<span class = "pagenum">29</span>
+<p>The substantive face, facies, <i>makes faces</i>, facies, in the
+plural.</p>
+
+<p>Although we are precluded from going through the whole of the
+declensions, we cannot refrain from proposing “for the use of schools,”
+a&nbsp;model upon which all substantives may be declined in a mode
+somewhat more agreeable, if not more instructive, than that heretofore
+adopted.</p>
+
+<h5 class = "ital">Exempli Gratiâ.</h5>
+
+<div class = "verse center">
+<p>Musa mus<i>æ</i>,</p>
+<p>The Gods were at tea,</p>
+<p>Musæ mus<i>am</i>.</p>
+<p>Eating raspberry jam,</p>
+<p>Musa mus<i>â</i>,</p>
+<p>Made by Cupid’s mamma,</p>
+<p>Musæ mus<i>arum</i>,</p>
+<p>Thou “Diva Dearum.”</p>
+<p>Musis mus<i>as</i>,</p>
+<p>Said Jove to his lass,</p>
+<p>Musæ mus<i>is</i>.</p>
+<p>Can ambrosia beat this?</p>
+</div>
+
+<hr class = "micro">
+
+<h4>DECLENSIONS OF NOUNS ADJECTIVE.</h4>
+
+<p>Some nouns adjective are declined with three terminations&mdash;as a
+pacha of three tails would be, if
+<span class = "pagenum">30</span>
+he were to make a proposal to an English heiress&mdash;as bonus,
+<i>good</i>&mdash;tener, <i>tender</i>. Sweet epithets! how forcibly
+they remind us of young Love and a leg of mutton.</p>
+
+<div class = "verse">
+<p>Bonus, bona, bonum,</p>
+<p>Thou little lambkin dumb,</p>
+<p>Boni, bonæ, boni,</p>
+<p>For those sweet chops I sigh,</p>
+<p>Bono, bonæ, bono,</p>
+<p>Have pity on my woe,</p>
+<p>Bonum, bonam, bonum,</p>
+<p>Thou speak’st though thou art mum,</p>
+<p>Bone, bona, bonum,</p>
+<p>“O come and eat me, come,”</p>
+<p>Bono, bonæ, bono,</p>
+<p>The butcher lays <ins class = "correction"
+title = "text reads ‘the’">thee</ins> low,</p>
+<p>Boni, bonæ, bona,</p>
+<p>Those chops are a picture,&mdash;ah!</p>
+<p>Bonorum, bonarum, bonorum,</p>
+<p>To put lots of Tomata sauce o’er ’em</p>
+<p>Bonis&mdash;Don’t, miss,</p>
+<p>Bonos, bonas, bona,</p>
+<p>Thou art sweeter than thy mamma,</p>
+<p>Boni, bonæ, bona,</p>
+<p>And fatter than thy papa.</p>
+<p>Bonis,&mdash;What bliss!</p>
+</div>
+
+<p>In like manner decline tener, tenera, tenerum.</p>
+
+<span class = "pagenum">31</span>
+<p>Unus, one; solus, alone; totus, the whole; nullus, none; alter, the
+other; uter, whether of the two&mdash;make the genitive case singular in
+<i>ius</i> and the dative in i.</p>
+
+<h6>RIDDLES.</h6>
+
+<p><i>Q.</i> In what case will a grain of barley joined to an adjective
+stand for the name of an animal?</p>
+
+<p><i>A.</i> In the dative case of unus&mdash;uni-corn.</p>
+
+<div class = "verse">
+<p><i>Uni</i> nimirum tibi rectè semper erunt res.</p>
+<p class = "center"><i>Hor. Sat. lib. ii.</i> 2. 106.</p>
+</div>
+
+<p><i>Q.</i> Why is the above verse like all nature?</p>
+
+<p><i>A.</i> Because it is an <i>uni</i>-verse.</p>
+
+<p>The word alius, another, is declined like the above-named adjectives,
+except that it makes ali<i>ud</i>, not ali<i>um</i>, in the neuter
+singular.</p>
+
+<p>The difference of unus from alius, say the London commentators, like
+that of a humming-top from a peg-top, consists of the <i>’um</i>.</p>
+
+<p>N.B. Tu es unus alius, is not good Latin for “You’re another,”
+a&nbsp;phrase more elegantly expressed by “Tu quoque.”</p>
+
+<p class = "illustration">
+<img src = "images/pic31.png" width = "191" height = "194"
+alt = "boys exchanging insults"></p>
+
+<p class = "caption">
+TU QUOQUE.</p>
+
+<span class = "pagenum">32</span>
+<p>There are some adjectives that remind us of lawyer’s clerks, and, by
+courtesy, of linen-drapers’ apprentices. These may be termed
+<i>articled</i> adjectives; being declined with the articles hic, hæc,
+hoc, after the third declension of substantives&mdash;as tristis, sad,
+melior, better, felix, happy.</p>
+
+<p>It is not very easy to conceive any thing in which sadness and
+comicality are united, except Tristis Amator, a&nbsp;sad lover.</p>
+
+<p class = "illustration">
+<img src = "images/pic32.png" width = "222" height = "285"
+alt = "boy sitting on a stile"></p>
+
+<p class = "caption">
+TRISTIS AMATOR.</p>
+
+<p>Melior is not <i>better</i> for comic purposes. Felix affords no room
+for a <i>happy</i> joke.</p>
+
+<p>Decline these three adjectives, and others of the same class,
+according to the following rules:</p>
+
+<div class = "verse">
+<p>If the nominative endeth in <i>is</i> or <i>er</i>, why, sir,</p>
+<p>The ablative singular endeth in <i>i</i>, sir;</p>
+<span class = "pagenum">33</span>
+<p>The first, fourth, and fifth case, their neuter make <i>e</i>,</p>
+<p>But the same in the plural in <i>ia</i> must be.</p>
+<p><i>E</i>, or <i>i</i>, are the ablative’s ends,&mdash;mark my
+song,</p>
+<p>While <i>or</i> to the nominative case doth belong;</p>
+<p>For the neuter aforesaid we settle it thus:</p>
+<p>The plural is <i>ora</i>; the singular <i>us</i>.</p>
+<p>If <ins class = "notation" title = "i.e. ‘many more than...’">than</ins> <i>is</i>, <i>er</i>, and <i>or</i>, it hath many
+more enders,</p>
+<p>The nominative serves to express the three genders;</p>
+<p>But the plural for <i>ia</i> hath <i>icia</i> and <i>itia</i>,</p>
+<p>As Felix, felicia&mdash;Dives, divitia.</p>
+</div>
+
+<hr class = "micro">
+
+<h4>COMPARISONS OF ADJECTIVES.</h4>
+
+<p>Comparisons are odious&mdash;</p>
+
+<p>Adjectives have three degrees of comparison. This is perhaps the
+reason why they are so disagreeable to learn.</p>
+
+<p>The first degree of comparison is the positive, which denotes the
+quality of a thing absolutely. Thus, the Eton Latin Grammar is lepidus,
+funny.</p>
+
+<p>The second is the comparative, which increases or lessens the
+quality, formed by adding <i>or</i> to the first case of the positive
+ending in <i>i</i>. Thus the Charter House Grammar, is
+lepidor&mdash;funnier, or more funny. &mdash;The third is the
+superlative, which increases or diminishes the signification to the
+greatest degree,
+<span class = "pagenum">34</span>
+formed from the same case by adding thereto, <i>ssimus</i>. Thus the
+Comic Latin Grammar is <ins class = "correction" title = "text reads ‘lipidissimus’">lepidissimus</ins>, funniest, or most funny.
+A&nbsp;Londoner is acutus, sharp, or ’cute,&mdash;a&nbsp;Yorkshireman
+acutior, sharper, or more sharp, ’cuter or more ’cute&mdash;but a Yankee
+is acutissimus&mdash;sharpest, or most sharp, ’cutest or most ’cute, or
+<ins class = "correction" title = "text reads ‘tarnation’ cute’">tarnation ’cute</ins>.</p>
+
+<p>Enumerate, in the manner following, with substantives, the exceptions
+to this rule, mentioned in the Eton Grammar.</p>
+
+<table class = "grammar" summary = "table of inflections">
+<tr>
+<td>Bonus, good.<br>
+A plain pudding.</td>
+<td>Melior, better.<br>
+A suet pudding.</td>
+<td>Optimus, best.<br>
+A plum pudding.</td>
+</tr>
+</table>
+
+<table class = "grammar" summary = "table of inflections">
+<tr>
+<td>Malus, bad.<br>
+A caning.</td>
+<td>Pejor, worse.<br>
+A spatting.</td>
+<td>Pessimus, worst.<br>
+A flogging.</td>
+</tr>
+<tr>
+<td class = "center" colspan = "3">
+&amp;c. &amp;c.</td>
+</tr>
+</table>
+
+<p>Adjectives ending in <i>er</i>, form the superlative in
+<i>errimus</i>. The taste of vinegar is acer, sour; that of verjuice
+acrior, more sour; the visage of a tee-totaller, acerrimus, sourest, or
+most sour.</p>
+
+<p>Agilis, docilis, gracilis, facilis, humilis, similis, change
+<i>is</i> into <i>llimus</i>, in the superlative degree.</p>
+
+<div class = "grammar">
+<p>Agilis, nimble.&mdash;Madlle. Taglioni.</p>
+<p>Agilior, more nimble.&mdash;Jim Crow.</p>
+<p>Agillimus, most nimble.&mdash;Mr. Wieland.</p>
+<p>Docilis, docile.&mdash;Learned Pig.</p>
+<p>Docilior, more docile.&mdash;Ourang-outang.</p>
+<p>Docillimus, most docile.<ins class = "correction" title = "dash missing">&mdash;</ins>Man Friday.</p>
+<span class = "pagenum">35</span>
+<p>Gracilis, slender.&mdash;A whipping post.</p>
+<p>Gracilior, more slender.&mdash;A fashionable waist.</p>
+<p>Gracillimus, most slender.&mdash;A dustman’s leg.</p>
+<p class = "center">
+&amp;c. &amp;c.</p>
+</div>
+
+<p>If a vowel comes before <i>us</i> in the nominative case of an
+adjective, the comparison is made by magis, <i>more</i>, and maximè,
+<i>most</i><ins class = "correction" title = "text has ,">.&nbsp;</ins></p>
+
+<div class = "grammar">
+<p>Pius, pious.&mdash;Dr. Cantwell.</p>
+<p>Magis pius, more pious.&mdash;Mr. Maw-worm.</p>
+<p>Maximè pius, most pious.&mdash;Mr. Stiggins.</p>
+</div>
+
+<p>Sancho Panza called Don Quixote, Quixottissimus. This was not good
+Latin, but it evinced a knowledge on Sancho’s part, of the nature of the
+superlative degree.</p>
+
+<hr class = "micro">
+
+<h4>OF A PRONOUN.</h4>
+
+<p>A pronoun is a substitute, or (as we once heard a lady of the
+Malaprop family say), a&nbsp;<i>subterfuge</i> for a noun.</p>
+
+<p>There are fifteen Pronouns.</p>
+
+<div class = "verse">
+<p>Ego, tu, ille,</p>
+<p>I, thou, and Billy,</p>
+<p>Is, sui, ipse,</p>
+<p>Got very tipsy.</p>
+<p>Iste, hic, meus,</p>
+<p>The governor did not see us.</p>
+<span class = "pagenum">36</span>
+<p>Tuus, suus, noster,</p>
+<p>We knock’d down a coster-</p>
+<p>Vester, noster, vestras.</p>
+<p>monger for daring to pester us.</p>
+</div>
+
+<p>To these may be added, egomet, I myself; tute, thou thyself, idem the
+same, qui, who or what, and <ins class = "notation" title = "rare word: not an error for ‘cujus’">cujas</ins>, of what country.</p>
+
+<hr class = "micro">
+
+<h4>DECLENSION OF PRONOUNS.</h4>
+
+<p>Pronouns concern <i>ourselves</i> so much, that we cannot altogether
+pass over them; though a hint or two with regard to the mode of learning
+their declension is all that we can here afford to give. We are
+constrained now and then to leave out a good deal of valuable matter,
+for the reason that induced the Dublin manager to omit the part of
+Hamlet in the play of that name&mdash;the length of the performance.</p>
+
+<p>Pronouns may be thus agreeably declined:</p>
+
+<div class = "verse">
+<p>Ego, mei, mihi,</p>
+<p>Hoist the frog up sky-high.</p>
+<p>Tu, tui, tibi,</p>
+<p>In Chancery they fib ye.</p>
+<p>Ille, illa, illud,</p>
+<p>Cows chew the cud.</p>
+<span class = "pagenum">37</span>
+<p>Is, ea, id,</p>
+<p>Always do as you’re bid.</p>
+<p>Qui, quæ, quod,</p>
+<p>Or else you’ll taste the rod.</p>
+</div>
+
+<p>Every donkey can decline is, ea, id. We heard one the other day on
+Hampstead Heath, repeat distinctly</p>
+
+<p class = "center">E&mdash;o! e&mdash;a! e&mdash;o!</p>
+
+<p class = "illustration">
+<img src = "images/pic37.png" width = "354" height = "253"
+alt = "man sitting sideways on a donkey"></p>
+
+<p class = "caption">
+THE FIRST LESSON IN LATIN.</p>
+
+<p>When you decline quis quæ <i>quid</i>, beware of any temptation to
+indulge in dirty habits. <i>Es</i>chew pig-tail instead of chewing it.
+Never have any <i>quid</i> in your mouth, but a quid pro quo.</p>
+
+<hr class = "micro">
+
+<span class = "pagenum">38</span>
+
+<h4>OF A VERB.</h4>
+
+<p>A verb is the chief word in every <i>sentence</i>, as
+<i>Suspendatur</i> per collum, let him be hanged by the neck.</p>
+
+<p>It expresses the action or being of a thing. Ego <i>sum</i> sapiens,
+I&nbsp;am a wise man. Tu <i>es</i> stultus, thou art a fool. Non hic
+amice, <i>pernoctas</i>, you don’t lodge here, Mr. Ferguson.</p>
+
+<p>Verbs have two voices, like the gentleman who was singing,
+a&nbsp;short time since, at the St. James’s Theatre.</p>
+
+<p>The active ending in <i>o</i>&mdash;as amo, I&nbsp;love.</p>
+
+<p>The passive ending in <i>or</i>&mdash;as amor, I&nbsp;am loved.</p>
+
+<p>In these two words is contained the terrestrial summum bonum&mdash;In
+short, love beats everything&mdash;cock-fighting not excepted. Amo!
+amor! How happy every human being, from the peer to the pot-boy, from
+the duchess to the dairy-maid, would be to be able to say so.</p>
+
+<p>They would <i>conjugate</i> immediately. Except, however, certain
+modern political economists of the Malthusian school, who, albeit they
+are great advocates for the diffusion of learning, are violently opposed
+to unlimited conjugations.</p>
+
+<p>Of verbs ending in <i>o</i> some are actives transitive. A verb is
+called transitive when the action passes
+<span class = "pagenum">39</span>
+on to the following noun, as Seco baculum meum, I cut my stick.</p>
+
+<p>Numerous examples of this kind of cutting, which may be called a
+<i>comic section</i>, are recorded in history, both ancient and modern.
+Even Hector cut his stick (with Achilles after him) at the siege of
+Troy. The Persians cut their stick at Marathon. Pompey cut his stick at
+Pharsalia, and so did Antony at Actium. Napoleon Bonaparte cut his stick
+at Waterloo.</p>
+
+<p>Other verbs ending in <i>o</i> are named neuters and intransitives.
+A&nbsp;verb is called intransitive, or neuter, when the action does not
+pass on, or require a following noun, as curro, I&nbsp;run. Pistol
+cucurrit, Pistol ran. But to say, “Falstaff voluit <i>currere eum
+per</i>,” “Falstaff wished <i>to run him through</i>,” would be making a
+neuter verb, a&nbsp;verb active, and would therefore be Latin of the
+canine species, or Dog-Latin; so would Meus homo Gulielmus <i>cucurrit
+caput suum</i> plenum sed contra te homo dic pax, My man William <i>ran
+his head</i> full but against the mantel-piece. This, it is obvious,
+will not do after Cicero.</p>
+
+<p>Verbs transitive ending in <i>o</i> become passive by changing
+<i>o</i> into <i>or</i>, as Secor, I&nbsp;am cut. Cæsar was cut by his
+friend Brutus in the capitol. “This,” as Antony very judiciously
+observed on the hustings, “was the most unkindest <i>cut</i> of
+all,”&mdash;much worse,
+<span class = "pagenum">40</span>
+indeed, than any of the similar operations which are daily performed in
+Regent Street.</p>
+
+<p class = "illustration">
+<img src = "images/pic40.png" width = "257" height = "336"
+alt = "two black men"></p>
+
+<p class = "caption">
+BRUTUS AND CÆSAR.</p>
+
+<p>Verbs neuter and intransitive are never made passive. We may say,
+Crepo, I&nbsp;crack, but we cannot say, Crepor, I&nbsp;am cracked.</p>
+
+<p>The ancient heroes appear, from what Homer says, to have got into a
+way of <i>cracking</i> away most tremendously when they were going to
+engage in single combat.</p>
+
+<p>Orestes was certainly <i>cracked</i>.</p>
+
+<p>Some verbs ending in <i>or</i> have an active signification&mdash;as
+Loquor, I&nbsp;speak.</p>
+
+<span class = "pagenum">41</span>
+<p><i>Q.</i> Why are such verbs like witnesses on oath?</p>
+
+<p><i>A.</i> Because they are called “Deponents.”</p>
+
+<p>Of these some few are neuters, as Glorior, I&nbsp;boast.</p>
+
+<p>Cæsar boasted that he came, saw, and overcame. Bald-headed people
+(like Cæsar) do not, in general, make <i>conquests</i> so easily.</p>
+
+<p>Neuter Verbs ending in <i>or</i>, and verbs deponent, are declined
+like verbs passive; but with gerunds and supines like verbs active; thus
+presenting a curious combination of <i>activity</i> and
+<i>supineness</i>.</p>
+
+<p>There are some verbs which are called verbs personal. A&nbsp;verb
+personal resembles a mixed group of old maids and young maids, because
+it has <i>different persons</i>, as Ego irrideo, I&nbsp;quiz. Tu
+irrides, thou quizzest.</p>
+
+<p>A verb impersonal is like a collection of tombstone angels, or small
+children; it has not <i>different persons</i>, as <ins class =
+"correction" title = "text reads ‘tædat’">tædet</ins>, it irketh,
+oportet, it behoveth.</p>
+
+<p>It irketh to learn Greek and Latin, nevertheless it behoveth to do
+so.</p>
+
+<hr class = "micro">
+
+<h4>OF MOODS.</h4>
+
+<p>Moods in verbs are like moods in man, they have each of them a
+peculiar <i>expression</i>. Here,
+<span class = "pagenum">42</span>
+however, the resemblance stops. Man has many moods, verbs have but five.
+For instance, we observe in men the merry mood, the doleful mood, (or
+dumps), the shy, timid, or sheepish mood, the bold, or <i>bumptious</i>
+mood, the placid mood, the angry mood, whereto may be added the
+vindictive mood, and the sulky mood; the sober mood, as
+contradistinguished from both the serious and the drunken mood; or as
+blended with the latter, in which case it may be called the sober-drunk
+mood&mdash;the contented mood, the grumbling mood; the sympathetic mood,
+the sarcastic mood, the idle mood, the working mood, the communicative
+mood, the secretive mood, and the moods of all the phrenological organs;
+besides the monitory or mentorial mood, and the mendacious, or lying
+mood, with the imaginative, poetical, or romantic mood, the
+compassionate, or melting mood, and many other moods too tedious to
+mention.</p>
+
+<table class = "figfloat" summary = "illustration">
+<tr><td>
+<img src = "images/pic43.png" width = "192" height = "339"
+alt = "very tall man talking to woman on ladder"><br>
+A LONG COURTSHIP.
+</td></tr>
+</table>
+
+<p>We must not however omit the flirting mood, the teazing or
+tantalizing mood, the giggling mood, the <ins class = "correction" title
+= "probably error for ‘nagging’">magging</ins> or talkative mood, and
+the scandalizing mood, which are peculiarly observable in the fair
+sex.</p>
+
+<p>The moods of verbs are the following:</p>
+
+<p>1. The indicative mood, which either affirms a fact or asks a
+question, as Ego amo, I&nbsp;<i>do</i> love. Amas tu? <i>Dost</i> thou
+love?</p>
+
+<span class = "pagenum">43</span>
+<p>The long and short of all courtships are contained in these two
+examples.</p>
+
+<p>2. The imperative mood, which commandeth, or entreateth. This
+two-fold character of the imperative mood is often exemplified in
+schools, the command being on the part of the master, and the entreaty
+on that of the boy&mdash;as thus, Veni huc! Come hither! Parce mihi!
+Spare me! The imperative mood is also known by the sign
+<i>let</i>&mdash;as in the well-known verse in the song Dulce
+Domum&mdash;</p>
+
+<p class = "verse">“Eja! nunc eamus.”</p>
+
+<p>“Hurrah! now let us be off”&mdash;meaning for the vacation. N.B. This
+mood is one much in the
+<span class = "pagenum">44</span>
+mouth of beadles, boatswains, bashaws, majors, magistrates, slave
+drivers, superintendents, serjeants, and jacks-in-office of all
+descriptions&mdash;monitors, especially, and præfects of public schools,
+are very fond of using it on all occasions.</p>
+
+<p class = "illustration">
+<img src = "images/pic44.png" width = "328" height = "262"
+alt = "uniformed man chasing boys"></p>
+
+<p class = "caption">
+THE IMPERATIVE MOOD.</p>
+
+<p>3. The potential mood signifies power or duty. The signs by which it
+is known are, may, can, might, would, could, should, or ought&mdash;as,
+Amem, I&nbsp;may love (when I leave school). <ins class = "correction"
+title = "text reads ‘Amivissem’">Amavissem</ins>, I&nbsp;should have
+loved (if I had not known better,) and the like.</p>
+
+<p>4. The subjunctive differs from the potential only in being always
+governed by some conjunction or indefinite word, and in being subjoined
+to some other verb going before it in the same sentence&mdash;as
+Cochleare eram cum amarem, I&nbsp;was a <i>spoon</i> when
+<span class = "pagenum">45</span>
+I loved&mdash;Nescio qualis sim hoc ipso tempore, I&nbsp;don’t know what
+sort of a person I am at this very time.</p>
+
+<p>The propriety of the above expression “cochleare,” will be explained
+in a Comic System of Rhetoric, which perhaps may appear hereafter.</p>
+
+<p>5. The infinitive mood is like a gentleman’s cab, because it has no
+number.</p>
+
+<p>We have not made up our minds exactly, whether to compare it to the
+“picture of nobody” mentioned in the Tempest, or to the “picture of
+ugliness,” which young ladies generally call their successful rivals. It
+may be like one, or the other, or both, because it has no
+<i>person</i>.</p>
+
+<p>Neither has it a nominative case before it; nor, indeed, has it any
+more business with one than a toad has with a side pocket.</p>
+
+<p>It is commonly known by the sign <i>to</i>. As, for
+example&mdash;Amare, to love; Desipere, to be a fool; Nubere, to marry;
+Pœnitere, to repent.</p>
+
+<hr class = "micro">
+
+<h4>OF GERUNDS AND SUPINES.</h4>
+
+<p>Ever anxious to encourage the expansion of youthful minds, by as
+general a cultivation as possible of the various faculties, we beg to
+invite attention to the following combination of Grammar, Poetry, and
+Music.</p>
+
+<span class = "pagenum">46</span>
+<h6><i>Air.</i>&mdash;Believe me if all those endearing young charms.
+&mdash;<i>Moore.</i></h6>
+
+<div class = "verse">
+<p>The gerunds of verbs end in di, do, and dum,</p>
+<p class = "indent">
+But the supines of verbs are but two;</p>
+<p>For instance, the active, which endeth in <i>um</i>,</p>
+<p class = "indent">
+And the passive which endeth in <i>u</i>.</p>
+
+<p class = "stanza">
+Amandi, of loving, kind reader, beware;</p>
+<p class = "indent">
+Amando, in loving, be brief;</p>
+<p>Amandum, to love, if <ins class = "correction" title = "text reads ‘you ’r’">you ’re</ins> doom’d, have a care,</p>
+<p class = "indent">
+In the goblet to drown all your grief.</p>
+
+<p class = "stanza">
+Amatum, Amatu, to love and be loved,</p>
+<p class = "indent">
+Should it be your felicitous (?) lot,</p>
+<p>May the fuel so needful be never removed</p>
+<p class = "indent">
+Which serves to keep boiling the pot.</p>
+</div>
+
+<hr class = "micro">
+
+<h4>OF TENSES.</h4>
+
+<p>In verbs there are five tenses, or times, expressing an action, or
+affirmation.</p>
+
+<p>1. The present tense, or time. There is no time (or tense) like the
+present. It expresses an action now taking place. Examples&mdash;
+<i>Act.</i> I love, or am loving. Amo, I&nbsp;am loving.
+&mdash;<i>Pass.</i> I am made drunk, or am drunk. Inebrior, I&nbsp;am
+drunk.</p>
+
+<p>2. The preterimperfect tense denotes something, or a state of things,
+partly, but not entirely
+<span class = "pagenum">47</span>
+past. &mdash;Examp. I&nbsp;did love or was loving. Amabam, I was loving.
+I&nbsp;was made drunk an hour ago. Inebriabar, I&nbsp;was made
+drunk.</p>
+
+<p>3. The preterperfect tense expresses a thing lately done, but now
+ended. &mdash;Examp. I&nbsp;have loved, or I loved. Amavi, I&nbsp;loved.
+I&nbsp;have been made drunk, or have been drunk. Inebriatus sum,
+I&nbsp;have been drunk.</p>
+
+<p>4. The preterpluperfect tense refers to a thing done at some time
+past, but now ended. &mdash;Examp. Amaveram, I&nbsp;had loved.
+Inebriatus eram, I&nbsp;had been drunk.</p>
+
+<p>5. The future tense relates to a thing to be done hereafter, as,
+Amabo, I&nbsp;shall or will love<ins class = "correction" title = ". missing">. </ins>Inebriabor, I shall get drunk&mdash;say to-morrow.</p>
+
+<hr class = "micro">
+
+<h4>OF NUMBERS AND PERSONS.</h4>
+
+<p>Verbs have two numbers. No. 1, Singular, No.&nbsp;2, Plural.</p>
+
+<p>In most matters it is usual to pay exclusive attention to number one.
+In learning the verbs, however, it is necessary to regard equally number
+two.&mdash;The <i>persons</i> of verbs are generally considered very
+disagreeable. Verbs have three persons in each number. Thus, for
+instance, at a dancing academy&mdash;</p>
+
+<span class = "pagenum">48</span>
+<table class = "grammar" summary = "table of inflections">
+<tr>
+<td>Sing.</td>
+<td>Ego salto,<br>
+Tu saltas,<br>
+Ille saltat,</td>
+<td>I dance,<br>
+Thou dancest<ins class = "correction" title = "text has .">,&nbsp;</ins><br>
+He danceth.</td>
+</tr>
+<tr>
+<td>Plur.</td>
+<td>Nos saltamus,<br>
+Vos saltatis,<br>
+Illi saltant,</td>
+<td>We dance,<br>
+Ye dance,<br>
+They dance.</td>
+</tr>
+</table>
+
+<p>At an academy on <i>Free-knowledge-ical</i> principles&mdash;or a
+Comic Academy.</p>
+
+<table class = "grammar" summary = "table of inflections">
+<tr>
+<td width = "20%">&nbsp;</td>
+<td>Ego rideo,<br>
+Tu rides,<br>
+Ille ridet,</td>
+<td>I laugh,<br>
+Thou laughest,<br>
+He laugheth.</td>
+</tr>
+<tr>
+<td></td>
+<td>Nos ridemus,<br>
+Vos ridetis.<br>
+Illi rident,</td>
+<td>We laugh,<br>
+Ye laugh,<br>
+They laugh.</td>
+</tr>
+</table>
+
+<p>Laughter, too, is very common at other academies, but generally
+occurs on the wrong side of the mouth. The right sort of laughter (which
+may be presumed to be on the <i>right</i> side of the mouth), is most
+frequent about the time of the holidays. What does the song say?</p>
+
+<div class = "verse">
+<p>“Ridet annus, prata rident</p>
+<p class = "indent">
+Nosque rideamus.”</p>
+</div>
+
+<p class = "grammar">
+“The year laughs, the meadows laugh,&mdash;suppose we have a laugh as
+well.”</p>
+
+<p><i>Note</i>&mdash;That all nouns are of the third person except Ego,
+Nos, Tu, and Vos. Hence we see
+<span class = "pagenum">49</span>
+how absurdly the man who drew a couple of donkeys acted in endeavouring
+to prevail upon <i>us</i> to call the picture “<i>We</i>
+Three”&mdash;<i>Ille</i>, <i>he</i>,&mdash;may, perhaps, have been
+qualified to make a <i>third person</i> in the group, and have “written
+himself down an ass” with some correctness. <i>Ego</i>, <i>I</i>, and
+<i>Nos</i>, <i>we</i>, have certainly nothing in common with that
+animal, and it is to be hoped that neither Tu, thou, nor Vos, ye, can be
+said to partake of his nature.</p>
+
+<p><i>Note</i> also. That all nouns of the vocative case are of the
+second person. So that if we should say, O&nbsp;asine, O&nbsp;thou
+donkey; or O asini, O&nbsp;ye donkeys, we should have grammar at least
+on our side.</p>
+
+<p>Be it your care to prevent us from having justice also.</p>
+
+
+<h5>Of the Verb Esse, to be.</h5>
+
+<p>Before other verbs are declined, it is necessary to learn the verb
+Esse, to be. And before we teach the verb Esse, to be, it is necessary
+to make a few remarks on verbs in general.</p>
+
+<p>In the first place we have to observe, that they are rather
+difficult; and in the next, that if any one expects that we are going to
+consider them in detail, he is very much mistaken.</p>
+
+<p>But our skipping a very considerable portion of the verbs, is no
+reason why boys should do the
+<span class = "pagenum">50</span>
+same. Were we all to follow the examples of our teachers, instead of
+attending to their precepts, where would be the world by this time?</p>
+
+<p>Whirling away, no doubt, far from the respectable society of the
+neighbouring planets, and blundering about right and left, pell-mell,
+helter-skelter among the fixed stars&mdash;itself, “and all which it
+inherit” in that glorious state of confusion so admirably described by
+the poet Ovid&mdash;</p>
+
+<p class = "verse">
+“Quem dixere Chaos,”</p>
+
+<p>which men have called Shaos. It would indeed be little better than a
+broken down <i>Shay</i>-horse.</p>
+
+<p>But “revenons à nos moutons,” that is, let us get back to our verbs.
+We recommend the most attentive and diligent study of all of them as set
+forth in the Eton Grammar, assisted by that kind of association of
+ideas, of which we shall now proceed to give a few specimens.</p>
+
+<p>Sum, es, fui, esse, futurus, to be,&mdash;or not to be&mdash;that is
+the question.</p>
+
+<p><i>Rule</i> 1. To each person of a verb, singular and plural, join a
+noun, according to your taste or comic talent. Should you be deficient
+in the inventive faculty, apply for assistance to one of the senior
+boys, which, in consideration of your fagging for him, he will readily
+give you. If yourself a senior boy, apply to the master.</p>
+
+<span class = "pagenum">51</span>
+
+<table class = "grammar" summary = "table of inflections">
+<tr>
+<td class = "center" colspan = "4">
+<i>Examples.</i>
+<h5>Indicative Mood.</h5>
+Present Tense. &nbsp; Am.</td>
+</tr>
+<tr>
+<td class = "center" colspan = "2">
+<i>Sing.</i></td>
+<td></td><td></td>
+</tr>
+<tr>
+<td>Sum,<br>
+Es,<br>
+Est,</td>
+<td>I am,<br>
+Thou art,<br>
+He is,</td>
+<td>Vir,<br>
+Stultus,<br>
+Latro,</td>
+<td>a man,<br>
+a fool,<br>
+a thief.</td>
+</tr>
+<tr>
+<td class = "center" colspan = "2">
+<i>Plu.</i></td>
+<td></td><td></td>
+</tr>
+<tr>
+<td>Sumus,<br>
+Estis,<br>
+Sunt,</td>
+<td>We are,<br>
+Ye are,<br>
+They are,</td>
+<td>Patricii,<br>
+Plebeii,<br>
+Errones,</td>
+<td>gentlemen<ins class = "correction" title = "text has .">, </ins><br>
+snobs,<br>
+vagabonds.</td>
+</tr>
+</table>
+
+<p>We would proceed in this way with Sum, but that we are afraid of
+being tire-<i>sum</i>.</p>
+
+<table class = "grammar" summary = "table of inflections">
+<tr>
+<td class = "center" colspan = "4">
+<h5>Verbs Regular.</h5>
+First Conjugation. &nbsp; Amo.
+</td>
+</tr>
+<tr>
+<td class = "center" colspan = "2">
+<i>Sing.</i></td>
+<td></td><td></td>
+</tr>
+<tr>
+<td>Amo,<br>
+Amas,<br>
+Amat,</td>
+<td>I love,<br>
+Thou lovest,<br>
+He loveth,</td>
+<td>Puellam,<br>
+Fartum,<br>
+<p>Carnem<br>porcinam,</p></td>
+<td>a lass,<br>
+a pudding,<br>
+pork.</td>
+</tr>
+<tr>
+<td class = "center" colspan = "2">
+<i>Plu.</i></td>
+<td></td><td></td>
+</tr>
+<tr>
+<td>Amamus,<br>
+Amatis,<br>
+Amant,</td>
+<td>We love,<br>
+Ye love,<br>
+They love,</td>
+<td>Doctrinam,<br>
+Leporem,<br>
+Poesin,</td>
+<td>learning<ins class = "correction" title = "text has .">, </ins><br>
+comicality,<br>
+poetry.</td>
+</tr>
+</table>
+<p>The consideration of which three things leads us to</p>
+
+<p><i>Rule</i> 2. In repeating the different tenses of verbs, be careful
+to be provided with a short English
+<span class = "pagenum">52</span>
+verse, contrived so as to rhyme with the third person singular, and
+another to rhyme with the third person plural. In this way your powers
+of composition as well as of memory will be profitably exercised.</p>
+
+<table class = "grammar" summary = "table of inflections">
+<tr>
+<td class = "center" colspan = "2">
+<i>Example.</i><br>
+Second Conjugation. &nbsp; Moneo.</td>
+</tr>
+<tr>
+<td><i>Sing.</i></td>
+<td>Moneo, mones, monet<ins class = "correction" title = "text has .">,
+</ins><br>
+Reid &amp; Co.’s <i>heavy wet</i>.</td>
+</tr>
+<tr>
+<td><i>Plu.</i></td>
+<td>Monemus, monetis, monent,<br>
+Beats that from the firmament.</td>
+</tr>
+</table>
+
+<table class = "grammar" summary = "table of inflections">
+<tr>
+<td class = "center" colspan = "2">
+Third Conjugation. &nbsp; Rego.</td>
+</tr>
+<tr>
+<td><i>Sing.</i></td>
+<td>Rego, regis, regit,<br>
+A statesman for office unfit.</td>
+</tr>
+<tr>
+<td><i>Plu.</i></td>
+<td>Regimus, regitis, <ins class = "correction" title = "italicized as shown: error for ‘reg{unt}’?">re<i>gunt</i></ins>,<br>
+Is much like a bear in a punt.</td>
+</tr>
+</table>
+
+<p><i>Rule</i> 3. Should you be desired to give the English of each
+person in the tense which you are repeating, you may (we mean a class of
+you), follow a plan adopted with great success and striking effect in
+that kind of dramatic representation entitled “A&nbsp;Grand Opera,” that
+of <i>singing</i> what you have to <i>say</i>. Hold up your head, turn
+out your toes, clear your voices, and begin. A-hem!</p>
+
+<div class = "plate">
+<p class = "illustration">
+<a name = "plate2" id = "plate2">&nbsp;</a>
+<img src = "images/plate2.png" width = "381" height = "483"
+alt = "Schoolmaster beating a drum, and boys singing in chorus"></p>
+
+<p class = "caption">
+GOING THROUGH THE VERBS.<br>
+AUDIO&mdash;I HEAR.</p>
+</div>
+
+<span class = "pagenum">53</span>
+
+<table class = "grammar" summary = "table of inflections">
+<tr>
+<td class = "center" colspan = "3">
+Fourth Conjugation. &nbsp; Audio.</td>
+</tr>
+<tr>
+<td class = "center" colspan = "3">
+<i>Trio.</i></td>
+</tr>
+<tr>
+<td><i>Sing.</i></td>
+<td>Audio,<br>
+Audis,<br>
+Audit,</td>
+<td>I hear the Tartar drum!<br>
+Thou hearest the Tartar drum!<br>
+<p>He hears the Tartar drum!&mdash;the Tartar drum! the Tartar
+drum!</p></td>
+</tr>
+<tr>
+<td></td>
+<td><i>Chorus.</i></td>
+<td>He hears!<br>
+He hears!</td>
+</tr>
+<tr>
+<td colspan = "3">
+He h - - e - - - a - - rs the Tar - tar drum!</td>
+</tr>
+<tr>
+<td><i>Plu.</i></td>
+<td colspan = "2">
+Audimus, We hear the Tartar drum,&nbsp;&amp;c.</td>
+</tr>
+</table>
+
+
+<h5>Verbs Irregular&mdash;</h5>
+
+<p>Are <i>regular</i> bores. The above Rules are equally applicable to
+them, and also to the</p>
+
+
+<h5>Defective Verbs;</h5>
+
+<p>Concerning which it may be asserted, that though almost all of them
+have tenses more or less imperfect, there are some which have not a
+single <i>Imperfect Tense</i>.</p>
+
+
+<h5>Impersonal Verbs.</h5>
+
+<p>Such as delectat, it delighteth; decet, it becometh, &amp;c., answer
+to such English verbs as take the word <i>it</i> before them. When we
+consider that <i>it</i> is
+<span class = "pagenum">54</span>
+a term of endearment used in speaking to babies, as “it’s a pretty
+dear,” we cannot help thinking that Verbs Impersonal ought to be
+<i>pet</i> verbs. Such however, is not, as far as we know, the fact.</p>
+
+<p class = "illustration">
+<img src = "images/pic54.png" width = "151" height = "267"
+alt = "nursemaid holding baby"></p>
+
+<p class = "caption">
+PRETTY DEAR.</p>
+
+<hr class = "micro">
+
+<h4>OF A PARTICIPLE.</h4>
+
+<p>A participle is a hybrid part of speech; a&nbsp;kind of
+mongrel-cross, between a noun and a verb. It is two parts verbs, and
+four parts noun; wherefore its composition may be likened unto the milk
+sold in and about London, which is usually watered in the proportion of
+four to two. The properties of the noun belonging to it, are, number,
+gender, case, and declension; those of the verb, tense, and
+signification.</p>
+
+<span class = "pagenum">55</span>
+<p>As a horse hath four legs, so hath a verb four participles.</p>
+
+<h6><i>Air.</i>&mdash;Bonnets of Blue.</h6>
+
+<div class = "verse">
+<p>There&nbsp;’s one of the present,&mdash;and then,</p>
+<p class = "indent">
+There&nbsp;’s one of the future in <i>rus</i>;</p>
+<p>Of the tense preterperfect a third,&mdash;and again,</p>
+<p class = "indent">
+A fourth of the future in <i>dus</i>.</p>
+</div>
+
+<p>Participles are declined like nouns adjective, as&mdash;but no! how
+can we ask our fair (blue) readers to decline <i>a-man’s</i> (amans)
+loving.</p>
+
+<p>Now here we feel called upon to say a few words on the difference
+between a man’s loving and a woman’s loving. It has often been a
+question, whether do men or women love most <i>dearly</i>? To us the
+matter does not appear to admit of a doubt. We defy any of our male
+readers to be in love (when they are old and silly enough) for six
+months without finding themselves most grievously out of pocket. We have
+a friend who was in that unfortunate condition for about a month, and it
+cost him at least seven and sixpence a week in fees to the maid servant,
+and that without once being enabled to exchange a word with the object
+of his affections. At last he began to think that he was paying rather
+too dear for his whistle; so he gave it up. What girl would have held on
+so long, and laid out so much money without a return&mdash;
+<span class = "pagenum">56</span>
+not of soft affection, but of hard cash? Women, indeed, instead of
+loving dearly, love, according to our own experience, particularly
+cheaply. Think of what they save, by taking their admirers “shopping”
+with them, in ribands, bracelets, and the like, to say nothing of
+coach-hire, pastry-cooks, and the price of admission, when they go with
+them to the play. And we should like to hear of the young lady who in
+these days would dispose of her hand at any thing less than a good round
+sum if she could help it&mdash;no, no. To love <i>dearly</i> is the
+precious prerogative of the lords of the creation alone.</p>
+
+<p>But we are forgetting our participles.</p>
+
+<p>The participle of the present tense ends in <i>ans</i>, or
+<i>ens</i>; as Flagellans, whipping; Lædens, hurting.</p>
+
+<p>That of the future in <i>rus</i>, signifies a likelihood, or design
+of doing something, as Flagellaturus, about to whip; Læsurus, about to
+hurt.</p>
+
+<p>That of the preterperfect tense has generally a passive
+signification, and ends in <i>us</i>, as Flagellatus, whipped; Læsus,
+hurt.</p>
+
+<p>That of the future in <i>dus</i> has also a passive signification, as
+Flagellandus, to be whipped; Lædendus, to be hurt.</p>
+
+<p><i>Note</i> 1. All participles are declined like nouns adjective. We
+recommend the above participles to be declined like <i>winking</i>.</p>
+
+<span class = "pagenum">57</span>
+<p>2. There are three things that are not hurt by
+whipping&mdash;a&nbsp;top, a&nbsp;syllabub, and a cream.</p>
+
+<hr class = "micro">
+
+<h4>OF AN ADVERB.</h4>
+
+<p>Convex and concave spectacles are contrivances used to increase or
+diminish the magnitude of objects.</p>
+
+<p>Adverbs are parts of speech used to increase or diminish the
+signification of words.</p>
+
+<p>Spectacles are joined to the bridge of the nose.</p>
+
+<p>Adverbs are joined to nouns adjective, and verbs. Benè, well; multùm,
+much; malè, ill, &amp;c. are adverbs.</p>
+
+<div class = "grammar">
+<p>Cæsar <i>multûm</i> conturbavit indigenas:</p>
+
+<p>Cæsar much astonished the natives.</p>
+</div>
+
+<p class = "illustration">
+<img src = "images/pic57.png" width = "299" height = "277"
+alt = "boys watching black man eating"></p>
+
+<p class = "caption">
+CÆSAR ASTONISHING THE NATIVES.</p>
+
+<hr class = "micro">
+
+<span class = "pagenum">58</span>
+
+<h4>OF A CONJUNCTION.</h4>
+
+<p>A conjunction is a part of speech that joineth together; wherefore it
+may be likened unto many things; for instance&mdash;</p>
+
+<p>To glue, to paste, to gum arabic, to mortar, (for it joins words and
+sentences together <i>like bricks</i>), to Roman cement, (<i>Latin</i>
+conjunctions more especially), to white of egg, to isinglass, to putty,
+to adhesive plaster, to matrimony.</p>
+
+<p>Conjunctions are thus used.</p>
+
+<p>Ova <i>et</i> lardum, eggs and bacon. Dimidium dimidium<i>que</i>,
+half-and-half. Amor <i>et</i> dementia, love and madness.</p>
+
+<p class = "illustration">
+<img src = "images/pic58.png" width = "224" height = "274"
+alt = "boys pouring beer from spigot"></p>
+
+<p class = "caption">
+HALF-AND-HALF.</p>
+
+<hr class = "micro">
+
+<span class = "pagenum">59</span>
+
+<h4>OF A PREPOSITION.</h4>
+
+<p>A Preposition is a part of speech commonly <i>set before</i> another
+word. Words, however, do not eat each other, though men have been known
+to eat words. Ab, ad, ante, &amp;c. <ins class = "correction" title =
+"missing ‘are’?">prepositions</ins>.</p>
+
+<p>Sometimes a preposition is joined in composition with another word,
+as <i>pro</i>stratus, knocked down&mdash;floored.</p>
+
+<div class = "grammar">
+<p>Tullius ab aquario <i>pro</i>stratus est:</p>
+
+<p>Tully was knocked down by a waterman.</p>
+</div>
+
+<hr class = "micro">
+
+<h4>OF AN INTERJECTION.</h4>
+
+<p>An interjection is a word expressing a sudden emotion or feeling, as
+Hei! Oh dear!&mdash;Heu! Lack-a-day!<ins class = "correction" title =
+"-- missing">&mdash;</ins>Hem! Brute, Hollo! Brutus.&mdash;Euge! Tite,
+Bravo! Titus.</p>
+
+<p>We here find ourselves approaching the delightful subject of the
+three Concords, with which we shall make short work, first, for fear of
+further <i>Accidence</i>, and, secondly, because we are no fonder than
+boys are of <i>repetitions</i>, which, were we to follow the Eton
+Grammar in the Concords, we should be obliged to make in the Syntax.</p>
+
+<p>However, there are just one or two points to be mentioned.</p>
+
+<span class = "pagenum">60</span>
+<p><i>Rule.</i> (Text-hand copy-books.) “Ask no questions.”</p>
+
+<p><i>Exception.</i> When you want to find where the concord should be,
+ask the following&mdash;</p>
+
+<p>Who? or what?&mdash;to find the nominative case to the verb.</p>
+
+<p>Whom? or what? with the verb, for the accusative after it.</p>
+
+<p>Who? or what? with the adjective, for the substantive to the
+adjective.</p>
+
+<p>Who? or what? with the verb, for the antecedent to the relative.</p>
+
+<p>But remember, that the use of the interrogatives who? and what?
+however justifiable in grammar, is very impertinent in conversation.
+What, for example, can be more ill-bred than to say, Who are you?
+Indeed, most questions are ill mannered. We do not speak of such
+expressions as, Has your mother sold her mangle? and the like, used only
+by persons who have never asked themselves where they expect to go to?
+but of all unnecessary demands whatever. “Sir,” said the great Dr<ins
+class = "correction" title = ". invisible">.&nbsp;</ins>Johnson, “it is
+uncivil to be continually asking, Why is a dog’s tail short, or why is a
+cow’s tail long.”</p>
+
+<hr class = "micro">
+
+<span class = "pagenum">61</span>
+
+<h4>OF THE GENDERS OF NOUNS,</h4>
+
+<h6>Commonly known by the name of</h6>
+
+<h5 class = "ital">“Propria Quæ Maribus.”</h5>
+
+<p>As the “Propria Quæ Maribus” is no joke, and the “As in Præsenti” is
+too much of a joke, we must do with them as we did with the verbs.
+Singing a song is always esteemed a valid substitute for telling a
+story; and the indulgence which we would have extended to us in this
+respect, is that universally granted to civilized society.</p>
+
+<p>Let the “Propria Quæ Maribus” be turned into a series of exercises,
+thus, or in like manner&mdash;</p>
+
+<h6><i>Air.</i>&mdash;“Here&nbsp;’s to the maiden of bashful
+fifteen.”</h6>
+
+<div class = "verse">
+<p>All names of the male kind you masculine call,</p>
+<p class = "indent">
+Ut sunt (for example), Divorum,</p>
+<p>Mars, Bacchus, Apollo, the deities all,</p>
+<p class = "indent">
+And Cato, Virgilius, virorum.</p>
+<p class = "indent2">
+Latin&nbsp;’s a bore, and bothers me sore,</p>
+<p class = "indent2">
+Oh how I wish that my lesson was o’er.</p>
+
+<p class = "stanza">
+Fluviorum, ut Tibris, Orontes likewise,</p>
+<p class = "indent">
+Fine rivers in ocean that lost are,</p>
+<p>And Mensium&mdash;October an instance <ins class = "correction" title
+= "‘e’ invisible">supplies</ins>;</p>
+<p class = "indent">
+Ventorum, ut Libs, Notus, Auster.</p>
+<p class = "indent2">
+Latin&nbsp;’s a bore, &amp;c.</p>
+</div>
+
+<p>We do not pretend that the mode of study here recommended, is
+perfectly original. The genuine
+<span class = "pagenum">62</span>
+Propria Quæ Maribus, and As in Præsenti, like the writings of the most
+remote antiquity, consist of certain useful truths recorded in
+harmonious numbers. It has been a question among commentators, whether
+these interesting compositions were originally intended to be said or
+sung. Analogy (we mean that derived from the works of Homer and Virgil)
+would incline us to the latter opinion, which however does not appear to
+have been generally entertained in the schools. We shall give one more
+specimen in the above style; and we beg it may be remembered, that in so
+doing, we have no wish to detract in any way from the merit of the
+illustrious poet in the Eton Grammar; all we think is, that he might
+have introduced a little more <i>comicality</i> into his work, while he
+was about it.</p>
+
+<hr class = "micro">
+
+<h4>OF THE PRETERPERFECT TENSE, &amp;c. OF VERBS.</h4>
+
+<h5 class = "ital">Otherwise the “As in Præsenti.”</h5>
+
+<div class = "verse">
+<p>As in Præsenti&mdash;Preterperfect&mdash;avi,</p>
+<p>Oh! send me well done, lean, and lots of gravy,</p>
+<p>Save lavo, lavi, nexo, nexui.</p>
+<p>Ah! me&mdash;how sweet is cream with apple-pie,</p>
+<p>Juvi from juvo, secui from seco,</p>
+<p>Could n’t I lie and tipple, more Græco!</p>
+<span class = "pagenum">63</span>
+<p>From neco, necui, and mico, <ins class = "correction" title =
+"missing ‘a’?">word</ins></p>
+<p>Which micui makes, Oh! roast goose, lovely bird!</p>
+<p>Plico which plicui gives. Delightful grub!</p>
+<p>And frico, fricas, fricui, to rub&mdash;</p>
+<p>So domo, tono, domui, tonui make.</p>
+<p>And sono, sonui.&mdash;Lead me to the stake,</p>
+<p>I mean the beef-<i>stake</i>&mdash;crepo, crepui too,</p>
+<p>Which means to <i>crack</i> (as roasted chestnuts do,)</p>
+<p>Then veto, vetui makes&mdash;<i>forbidding</i> sound,</p>
+<p>Cubo, to lie along (these verbs confound</p>
+<p>Ye gods) makes cubui, do gives rightly dedi;</p>
+<p>What viler object than a coat that&nbsp;’s seedy?&mdash;</p>
+<p>Sto to form steti has a predilection;</p>
+<p>Well&mdash;let it if it likes, I’ve no objection.</p>
+<p class = "indent2">
+&amp;c. &amp;c. &amp;c.</p>
+</div>
+
+<hr class = "micro">
+
+<h4>&nbsp;SYNTAXIS<ins class = "correction" title = "text has .">,&nbsp;</ins></h4>
+
+<h5 class = "ital">or the Construction of Grammar.</h5>
+
+<p><i>Q.</i> What part of the grammar resembles the indulgences sold in
+the middle ages?</p>
+
+<p><i>A.</i> <i>Sin</i>-tax.</p>
+
+
+<h5>The first Concord;<br>
+The Nominative case and the Verb.</h5>
+
+<p>Where there is much <i>personality</i>, there is generally little
+concord.</p>
+
+<span class = "pagenum">64</span>
+<p>However, a verb personal agrees with its nominative case in number
+and person, as Sera nunquam est ad bonos mores via, The way to good
+manners is never too late. Mind that, brother Jonathan.</p>
+
+<p class = "illustration">
+<img src = "images/pic64a.png" width = "347" height = "252"
+alt = "men lounging"></p>
+
+<p class = "caption">
+AMERICAN GENTLEMEN.</p>
+
+<p><i>Note</i>&mdash;The above maxim is especially worthy of the
+attention of neophytes in law and medicine; of the gods in the gallery,
+and of Members of the <i>House</i>.</p>
+
+<p class = "figfloat">
+<img src = "images/pic64b.png" width = "112" height = "104"
+alt = "stick figures"></p>
+
+<p>The nominative case of pronouns is rarely expressed, except for the
+sake of distinction or emphasis, as&mdash;</p>
+
+<div class = "grammar">
+<p><i>Tu</i> es exquisitus, <i>tu</i> es,</p>
+
+<p><i>You</i> ’re a nice man, <i>you</i> are.</p>
+</div>
+
+<span class = "pagenum">65</span>
+<p>Sometimes a sentence is the nominative case to the verb, as</p>
+
+<div class = "verse">
+<p>Ingenuas pugni didicisse fideliter artes,</p>
+<p class = "indent2">
+Mollitos mores non sinit esse viri.</p>
+</div>
+
+<div class = "verse">
+<p>The faithful study of the fistic art</p>
+<p>From mawkish softness guards a Briton’s heart.</p>
+</div>
+
+<div class = "plate">
+<p class = "illustration">
+<a name = "plate3" id = "plate3">&nbsp;</a>
+<img src = "images/plate3.png" width = "364" height = "562"
+alt = "fistfight in the street"></p>
+
+<p class = "caption">
+INGENUAS PUGNI DIDICISSE FIDELITER ARTES<br>
+MOLLITOS MORES NON SINIT ESSE VIRI.</p>
+</div>
+
+<p>Who can doubt it? But, besides, we have much to say in praise of
+boxing. In the first place, it is a <i>classical</i> accomplishment. To
+say nothing of the Olympic and Isthmian Games, which are of themselves
+sufficient proof of the elegant and <i>fanciful</i> tastes of the
+ancients; we need only allude to the fact, that the <i>Corinthians</i>
+are universally celebrated for their proficiency in this science. Then,
+of its eminently <i>social</i> tendency, there can be no doubt. What can
+be more conducive to good fellowship, and conviviality than the frequent
+<i>tapping of claret</i>, attendant both on its study and practice? Nor
+can its beneficial influence on the fine arts be called in question,
+seeing that its immediate object is to teach us the <i>use of our
+hands</i>. And (which perhaps is the most <ins class = "notation" title
+= "spelling unchanged">pursuasive</ins> argument of all), it is
+particularly pleasing to the fair sex, who besides their well known
+admiration of <i>bravery</i>, are, to a woman, devotedly attached to the
+<i>ring</i>.</p>
+
+<p>Sometimes an adverb with a genitive case stands in the place of the
+nominative, as&mdash;</p>
+
+<span class = "pagenum">66</span>
+<div class = "grammar">
+<p>Partim astutorum mordebantur,</p>
+
+<p>Part of the knowing ones were bit.</p>
+</div>
+
+<p>We must contend that the above is a <i>racy</i> observation.</p>
+
+
+<h5>Exceptions to the Rule.</h5>
+
+<p>Verbs of the infinitive mood&mdash;but hold. Remember that there is
+scarcely any rule without an exception; and this axiom particularly
+applies to the Syntax. We used to wish it did not; because then we
+should not have had so much to learn&mdash;to resume however&mdash;</p>
+
+<p>Verbs of the infinitive mood often have set before them an accusative
+case instead of a nominative; the conjunction quod, or ut, being left
+<ins class = "correction" title = "text reads ‘out as,’">out,
+as</ins></p>
+
+<div class = "grammar">
+<p>Annam reginam aiunt occubuisse:</p>
+
+<p>They say that Queen Anne’s dead.</p>
+</div>
+
+<p>A verb placed between two nominative cases of different numbers, is
+not like a donkey between two stacks of hay, it makes choice of one or
+the other, and agrees with it, as</p>
+
+<div class = "grammar">
+<p>Amygdalæ amaræ venenum <i>est</i>,</p>
+
+<p>Bitter almonds <i>is</i> poison.</p>
+</div>
+
+<p>We have written the English beneath the Latin. Perhaps it may be
+imagined that we think good English <i>beneath</i> us.</p>
+
+<span class = "pagenum">67</span>
+<p>A singular noun of multitude is sometimes joined to a plural verb;
+as</p>
+
+<div class = "grammar">
+<p>Pars puerorum philosophum secuti sunt,</p>
+
+<p>Part of the boys followed the philosopher.</p>
+</div>
+
+<p class = "illustration">
+<img src = "images/pic67.png" width = "281" height = "182"
+alt = "boys running around philosopher"></p>
+
+<p>And so they would now, particularly if they saw one in costume.</p>
+
+<p>Verbs impersonal have no nominative case before them, as</p>
+
+<div class = "grammar">
+<p>Tædet me Grammatices, I am weary of Grammar.</p>
+
+<p>Pertæsum est Syntaxeos, I am quite sick of Syntax.</p>
+
+<p>Mirificum visum est Socratem in gyrum saltantem videre,</p>
+
+<span class = "pagenum">68</span>
+<p>It seemed wonderful to behold Socrates jumping Jim Crow.</p>
+</div>
+
+<p class = "illustration">
+<img src = "images/pic68.png" width = "388" height = "575"
+alt = "philosopher dancing on stage"></p>
+
+
+<span class = "pagenum">69</span>
+<h5>Second concord.<br>
+The substantive and the adjective.</h5>
+
+<table class = "figfloat" summary = "illustration">
+<tr><td>
+<img src = "images/pic69.png" width = "102" height = "320"
+alt = "man walking with umbrella"><br>
+A TEA SPOON.
+</td></tr>
+</table>
+
+<p>Adjectives, participles, and pronouns agree with the substantive in
+gender, number, and case, as</p>
+
+<div class = "grammar">
+<p>Vir exiguo conventui, sobrioque idoneus:</p>
+
+<p>A nice man for a small tea-party.</p>
+</div>
+
+<p>The Spartans, probably, were men of this kind; their aversion to
+drunkenness being well known.</p>
+
+<p>Observe how close the concord is between substantive and adjective.
+The ties of wedlock are nothing to it; for, besides that in that happy
+state there is very often not a little discord, it is quite impossible
+that man and wife should ever agree in <i>gender</i>.</p>
+
+<span class = "pagenum">70</span>
+<p>Sometimes a sentence supplies the place of a substantive; the
+adjective being placed in the neuter gender, as</p>
+
+<div class = "grammar">
+<p>Audito reginam leones cœnantes visisse:</p>
+
+<p>It being heard that Her Majesty had gone to see the lions at
+supper.</p>
+</div>
+
+
+<h5>Third Concord.<br>
+The relative and the antecedent.</h5>
+
+<p>The relative and antecedent hit it off very well together; they agree
+one with the other in gender, number, and person, as</p>
+
+<div class = "verse">
+<p>Qui plenos haurit cyathos, madidusque quiescit,</p>
+<p>Ille bonam degit vitam, moriturque facetus.</p>
+</div>
+
+<div class = "verse">
+<p>“He who drinks plenty, and goes to bed mellow,</p>
+<p>Lives as he ought to do, and dies a jolly fellow.”</p>
+</div>
+
+<p class = "illustration">
+<img src = "images/pic70.png" width = "378" height = "314"
+alt = "three men enjoying themselves at a table"></p>
+
+<span class = "pagenum">71</span>
+<p>Horace was the fellow for this kind of thing. Cato must have been a
+regular wet blanket.</p>
+
+<table class = "figfloat" summary = "illustration">
+<tr><td>
+<img src = "images/pic71.png" width = "192" height = "220"
+alt = "bust of Roman emperor"><br>
+HELIOGABALUS.
+</td></tr>
+</table>
+
+<p>Sometimes a sentence is placed for an antecedent, as</p>
+
+<div class = "grammar">
+<p>Heliogabalus, spiritu contento, viginti quatuor ostrearum demersit in
+alvum, quod Dandoni etiam longé antecellit.</p>
+
+<p>Heliogabalus, at one breath, swallowed two dozen of oysters, which
+beats even Dando out and out.</p>
+</div>
+
+<p>Many of the ancients could swallow a good deal.</p>
+
+<p>A relative placed between two substantives of different genders and
+numbers, sometimes agrees with the latter, as</p>
+
+<div class = "grammar">
+<p>Pueri tuentur illum librum quæ Latina Grammatices <ins class =
+"correction" title = "superfluous ‘et’?">et</ins> Comica dicitur.</p>
+
+<p>Boys regard that book which is called the Comic Latin Grammar.</p>
+</div>
+
+<span class = "pagenum">72</span>
+<p>Sometimes a relative agrees with the primitive, which is understood
+in the possessive, as</p>
+
+<div class = "grammar">
+<p>Mirabantur impudentiam suam qui ad reginam literas misit.</p>
+
+<p>They wondered at his impudence, who wrote a letter to the queen.</p>
+</div>
+
+<p>If a nominative case be interposed between the relative and the verb,
+the relative is governed by the verb, or by some other word which is
+placed in the sentence with the verb, as</p>
+
+<div class = "grammar">
+<p>Luciferi quos Prometheus surripuit, ad Jovem cujus numen contempsit,
+pertinebant.</p>
+
+<p>The Lucifers which Prometheus shirked, belonged to Jupiter, whose
+authority he despised.</p>
+</div>
+
+<p>In fact, Prometheus <i>made light</i> of Jupiter’s
+<i>lightning</i>.</p>
+
+<p>We now take leave of the Concords, observing only how pleasant it is
+to see <i>relatives agree</i>.</p>
+
+<p class = "illustration">
+<img src = "images/pic72.png" width = "257" height = "199"
+alt = "woman and man arguing"></p>
+
+<p class = "caption">
+IT ’S PLEASANT TO SEE RELATIVES AGREE.</p>
+
+<div class = "plate">
+<p class = "illustration">
+<a name = "plate4" id = "plate4">&nbsp;</a>
+<img src = "images/plate4.png" width = "353" height = "540"
+alt = "vagabond in the stocks"></p>
+
+<p class = "caption">
+PROMETHEUS VINCTUS.</p>
+</div>
+
+<span class = "pagenum">73</span>
+<p>Our next subject is the</p>
+
+
+<h5>Construction of Nouns Substantive.</h5>
+
+<p>Which is not quite so amusing as the construction of small boats,
+paper kites, pinwheels, crackers, or any other mode of displaying the
+faculty of “constructiveness”&mdash;though in one sense the construction
+of nouns substantive, is not unlike the construction of
+<i>puzzles</i>.</p>
+
+<p>When two substantives of a different signification meet together, the
+latter is put in the genitive case, as</p>
+
+<div class = "grammar">
+<p>Ulysses lumen Cyclopis extinxit:</p>
+
+<p>Ulysses doused the glim of the Cyclops.</p>
+</div>
+
+<p>This genitive case is sometimes changed into a dative, as</p>
+
+<div class = "grammar">
+<p>Urbi pater est, urbique maritus. &mdash;Gram. Eton.</p>
+
+<p>He is the father of the city, and the husband of the city.</p>
+</div>
+
+<p>He must have been a pretty fellow, whoever he was.</p>
+
+<p>An adjective of the neuter gender, put without a substantive,
+sometimes requires a genitive case, as</p>
+
+<div class = "grammar">
+<p>Paululùm honestatis sartori sufficit:</p>
+
+<p>A very little honesty is enough for a tailor.</p>
+</div>
+
+<p>A genitive case is sometimes placed alone; the preceding substantive
+being understood by the figure ellipsis, as</p>
+
+<span class = "pagenum">74</span>
+<div class = "grammar">
+<p>Ubi ad magistri veneris, cave verbum de porco:</p>
+
+<p>When you are come to the master’s (house), not a word about the
+pig.</p>
+</div>
+
+<p>The word pig is a very general term, and is used to signify not only
+the animal so called, and such of the human race as resemble him in
+habits, appearance, or feelings; but also to denote a variety of little
+things, which it is sometimes necessary to keep secret. A&nbsp;pedagogue
+now and then discovers a <i>pig-tail</i> appended to his coat
+collar&mdash;this, or rather the way in which it got there, is one of
+the little <i>pigs</i> in question. Robbing the larder or the garden is
+another; so is insinuating horse-hairs into the cane, or putting
+cobbler’s wax on the seat of learning &mdash;we mean the master’s stool.
+A&nbsp;sort of <i>pig</i> (or rather a <i>rat</i>) is sometimes
+<i>smelt</i> by the master on taking his nightly walk though the
+dormitories, when roast fowl, mince pies, bread and cheese, shrub,
+punch, &amp;c. have been slyly smuggled into those places of repose.
+Shirking down town is always a <i>pig</i>, and the consequences thereof,
+in case of discovery, a great <i>bore</i>.</p>
+
+<p>Considering that a secret is a <i>pig</i>, it is singular that
+betraying one should be called letting the <i>cat</i> out of the
+bag.</p>
+
+<div class = "plate">
+<p class = "illustration">
+<a name = "plate5" id = "plate5">&nbsp;</a>
+<img src = "images/plate5.png" width = "374" height = "473"
+alt = "boys at supper in the bed room"></p>
+
+<p class = "caption">
+SMELLING A PIG.</p>
+</div>
+
+<p>Two substantives respecting the same thing are put in the same case,
+as</p>
+
+<span class = "pagenum">75</span>
+<div class = "grammar">
+<p>Telemachum, juvenem bonæ indolis, Calypso existimavit.</p>
+
+<p>Calypso thought Telemachus a nice young man.</p>
+</div>
+
+<p>By the way, what a nice young man Virgil makes out Marcellus to have
+been!</p>
+
+<p>Praise, dispraise, or the quality of a thing is placed in the
+ablative, and also in the genitive case&mdash;as</p>
+
+<div class = "grammar">
+<p>Vir paucorum verborum et magni appetitûs:</p>
+
+<p>A man of few words and large appetite.</p>
+
+<p>Paterfamilias. Vir multis miseriis:</p>
+
+<p>A father of a family. A man of many woes.</p>
+</div>
+
+<p class = "illustration">
+<img src = "images/pic75.png" width = "303" height = "179"
+alt = "family with many children on a walk"></p>
+
+<p>The man of most <i>woes</i>, however, is a hackney-coachman.</p>
+
+<p>Opus, need, and usus, need, require an ablative case, as</p>
+
+<span class = "pagenum">76</span>
+<div class = "grammar">
+<p>Didoni marito opus erat;</p>
+
+<p>Dido had need of a husband.</p>
+
+<p>Æneæ cœnâ usus erat;</p>
+
+<p>Æneas had need of a dinner.</p>
+</div>
+
+<p>But opus appears to be sometimes placed like an adjective for
+necessarius, necessary, as</p>
+
+<div class = "grammar">
+<p>Regi Anthropophagorum coquus opus est:</p>
+
+<p>The King of the Cannibal Islands wants a cook.</p>
+</div>
+
+<p>Which would serve his purpose best&mdash;a valet-de-chambre who
+<i>dresses</i> men, or a wit, who <i>roasts</i> them?</p>
+
+
+<h5>The Construction of Nouns <ins class = "correction" title = "text reads ‘Adjectve’">Adjective</ins>.<br>
+the genitive case after the adjective.</h5>
+
+<p>Adjectives which signify desire, knowledge, memory, fear, and the
+contrary to these, require a genitive case, as</p>
+
+<div class = "grammar">
+<p>Est natura vetularum obtrectationis avida:</p>
+
+<p>The nature of old women is fond of scandal.</p>
+</div>
+
+<p>This particularly applies to old maids. As those delightful creatures
+now-a-days, not content with being <i>grey</i> aspire to be actually
+<i>blue</i>; we cannot help recommending to them a kind of study, for
+which their propensity to <i>cutting up</i> renders them peculiarly
+adapted; we mean <i>Anatomy</i>. And since it is on the foulest and most
+odious points of character that they chiefly delight to dwell, we
+<span class = "pagenum">77</span>
+more especially suggest to them the pursuit of <i>Morbid Anatomy</i>, as
+one which is likely to be attended both with gratification and
+success.</p>
+
+<div class = "grammar">
+<p>Mens tempestatum præscia:</p>
+
+<p>A mind foreknowing the weather.</p>
+</div>
+
+<p>A piece of <i>sea-weed</i> has often, heretofore, been used as a
+barometer; but it is only of late that this purpose has been answered by
+a <i>murphy</i>.</p>
+
+<div class = "grammar">
+<p>Immemor beneficii:</p>
+
+<p>Unmindful of a kindness.</p>
+</div>
+
+<p>The sort of kindness one is least likely to forget is that which our
+master used to say he conferred upon us, when he was inculcating
+learning by means of the rod. We cannot help thinking, however, that he
+began <i>at the wrong end</i>.</p>
+
+<div class = "grammar">
+<p>Imperitus rerum:</p>
+
+<p>Unacquainted with the world, i.e. Not ‘up to snuff’.</p>
+</div>
+
+<p>Much controversy has been wasted in attempts to determine the origin
+of the phrase “up to snuff”. Some have contended that it was suggested
+by the <ins class = "correction" title = "text reads ‘well-know’">well-known</ins> quality possessed by snuff, of <i>clearing
+the head</i>; but this idea is far fetched, not to say absurd. Others
+will have that the expression was derived from Snofe, or Snoffe, the
+name of a cunning rogue who flourished about the time of the first
+crusade; so that “up to Snoffe” signified as clever, or knowing, as
+Snoffe; and was in process of time
+<span class = "pagenum">78</span>
+converted into “up to snuff.” This opinion is deserving of notice;
+though the only argument in its favour is, that the phrase in question
+was in vogue long before the discovery of tobacco. Probably the soundest
+view is that which connects it with the proper name Znoufe, which in
+ancient High-Dutch is equivalent to Mercury, whose reputation for
+astuteness among the ancients was exceedingly great. Conf. Hookey-Walk,
+ii.&nbsp;13. Hok. Pok. Wonk-Fum. viii.&nbsp;24. Cheek. Marin. passim,
+with a host of commentators, ancient and modern.</p>
+
+<div class = "grammar">
+<p>Roscius timidus Deorum fuit:</p>
+
+<p><i>Roscius</i> was afraid of the <i>Gods</i>.</p>
+</div>
+
+<p>Adjectives ending in <i>ax</i>, derived from verbs, also require a
+genitive case, as</p>
+
+<div class = "grammar">
+<p>Tempus edax rerum:</p>
+
+<p>Time is the consumer of all things.</p>
+</div>
+
+<p>Hence Time is sometimes figured as an alderman.</p>
+
+<p>Nouns partitive, nouns of number, nouns comparative and superlative,
+and certain adjectives put partitively, require a genitive case, from
+which also they take their gender; as</p>
+
+<div class = "grammar">
+<p>Utrum horum mavis accipe:</p>
+
+<p>Take which of those two things you had rather.</p>
+</div>
+
+<p>So Queen Eleanor gave Fair Rosamond her choice between the dagger and
+the bowl of poison. This, to our mind, would have been like choosing a
+tree to be hanged on.</p>
+
+<span class = "pagenum">79</span>
+<div class = "grammar">
+<p>Primus fidicinum fuit Orpheus:</p>
+
+<p>Orpheus was the first of fiddlers.</p>
+</div>
+
+<p>He is said to have charmed the hearts of broomsticks.</p>
+
+<div class = "grammar">
+<p>Momus lepidissimus erat Deorum:</p>
+
+<p>Momus was the funniest of the Gods.</p>
+</div>
+
+<p>Other deities may have made Jupiter shake his head. Momus used to
+make him shake his sides.</p>
+
+<div class = "grammar">
+<p>Sequimur te, sancte deorum:</p>
+
+<p>We follow thee, O sacred deity.</p>
+</div>
+
+<p>Namely, the aforesaid Momus. He is the only heathen god that we
+should have had much reverence for, and certainly the only one that we
+should ever have sacrificed to at all. The offering most commonly made
+to the god of laughter was, probably, <i>a&nbsp;sacrifice of
+propriety</i>.</p>
+
+<p>But the above nouns are also used with these prepositions, a, ab, de,
+e, ex, inter, ante; as,</p>
+
+<div class = "grammar">
+<p>Primus inter philosophos Democritus est:</p>
+
+<p>Democritus is the first amongst philosophers.</p>
+</div>
+
+<p>And why? Because he alone was wise enough to find out that laughing
+is better than crying. He it was who first proved to the world that
+philosophy and comicality are, in fact, one science; and that the more
+we learn the more we laugh. We forget whether it was he or Aristotle who
+made the remark, that man is the only laughing animal except the
+hyæna.</p>
+
+<span class = "pagenum">80</span>
+
+<p class = "figfloat">
+<img src = "images/pic80.png" width = "98" height = "131"
+alt = "bust of man in cap and gown"></p>
+
+<p><i>Secundus</i> sometimes requires a dative case, as</p>
+
+<div class = "grammar">
+<p>Haud ulli veterum virtute secundus:</p>
+
+<p>Inferior to none of the ancients in valour.</p>
+</div>
+
+<p>Surely Virgil in saying this, had an eye to a hero, whose fame has
+been perpetuated in the verses of a later poet.</p>
+
+<div class = "verse">
+<p>“Some talk of Alexander, and some of Pericles,</p>
+<p class = "indent">
+Of Conon and Lysander, and Alcibiades;</p>
+<p>But of all the gallant heroes, there&nbsp;’s none for to compare,</p>
+<p class = "indent">
+With my ri-fol-de-riddle-iddle-lol to the British grenadier!”</p>
+</div>
+
+<p>An interrogative, and the word which answers to it, shall be of the
+same case and tense, except words of a different construction be made
+use of; as</p>
+
+<div class = "grammar">
+<p>Quarum rerum nulla est satietas? Pomorum.</p>
+
+<p>Of what things is there no fulness? Of fruit.</p>
+</div>
+
+<span class = "pagenum">81</span>
+<p>Dr. Johnson used to say that he never got as much wall fruit as he
+could eat.</p>
+
+<p class = "illustration">
+<img src = "images/pic81.png" width = "152" height = "103"
+alt = "boy looking at fruit on table"></p>
+
+
+<h5>The Dative Case after the Adjective.</h5>
+
+<p>Adjectives by which advantage, disadvantage, likeness, unlikeness,
+pleasure, submission, or relation to any thing is signified, require a
+dative case; as</p>
+
+<div class = "grammar">
+<p>Astaci incocti patriæ idonei sunt in pace; cocti autem in bello.</p>
+
+<p>Raw lobsters are serviceable to their country in peace; but boiled
+ones in war. Lobster’s <i>claws</i> are nasty things to get into.</p>
+</div>
+
+<p>The Corporation of London seemed very much afraid of the <i>Police
+clause</i>.</p>
+
+<p>One of the reasons why a soldier is sometimes called a lobster,
+probably is, that the latter is a <i>marine</i> animal.</p>
+
+<div class = "grammar">
+<p>Balænæ persimile:</p>
+
+<p>Very like a whale.</p>
+
+<p>Qui color albus erat nunc est contrarius albo:</p>
+
+<p>The colour which was white is now contrary to white.</p>
+</div>
+
+<span class = "pagenum">82</span>
+<p>Some people will swear white is black to gain their ends; and a man
+who will do this, though he may not always be&mdash;</p>
+
+<div class = "grammar">
+<p>Jucundus amicis:</p>
+
+<p>Pleasant to his friends;</p>
+</div>
+
+<p>is nevertheless frequently so to his <i>constituents</i>.</p>
+
+<p>Hither are referred nouns compounded of the preposition <i>con</i>,
+as contubernalis, a&nbsp;comrade; commilito, a fellow soldier, &amp;c.
+You must <i>con</i> all such words attentively before you can
+<i>con</i>strue well, or the <i>con</i>sequence will be, that you will
+be <i>con</i>siderably blown up, if not <i>con</i>foundedly flogged.</p>
+
+<p>Some of these which signify similitude, are also joined to a genitive
+case, as</p>
+
+<div class = "grammar">
+<p>Par uncti fulminis:</p>
+
+<p>Like greased lightning.</p>
+</div>
+
+<p>The familiarity of our transatlantic friends with the nature of the
+electric fluid, is no doubt owing to the discoveries of their <ins class
+= "correction" title = "text reads ‘countrymen’">countryman</ins>
+Franklin. <i>Q.</i>&nbsp;Was the lightning which that philosopher drew
+down from the clouds, of the kind mentioned in the example?</p>
+
+<p>Communis, common; alienus, strange; immunis, free, are joined to a
+genitive, dative, and also to an ablative case, with a preposition,
+as</p>
+
+<div class = "grammar">
+<p>Aures longæ communes asinorum sunt:</p>
+
+<p>Long ears are common to asses.</p>
+</div>
+
+<span class = "pagenum">83</span>
+<p>Though <i>musical</i> ears are not. We even doubt whether they would
+have the slightest admiration for <i>Bray</i>-ham.</p>
+
+<div class = "grammar">
+<p>Non sunt communes caudæ hominibus:</p>
+
+<p>Tails are not common to men.</p>
+</div>
+
+<p>Except coat-tails, shirt-tails, pig-tails, and rats’-tails&mdash;to
+which en-<i>tails</i> may perhaps also be added, though these last are
+often cut off.</p>
+
+<div class = "grammar">
+<p>Non alienus a poculo cerevisiæ:</p>
+
+<p>Not averse to a pot of beer.</p>
+</div>
+
+<p>We should think we were not; and should as soon think of engaging in
+an unnatural quarrel with our bread and butter.</p>
+
+<p class = "figfloat">
+<img src = "images/pic83.png" width = "106" height = "162"
+alt = "man leaning against post"></p>
+
+<p>Natus, born; commodus, convenient; incommodus, inconvenient; utilis,
+useful; inutilis, useless; vehemens, earnest; aptus, fit, are sometimes
+also joined to an accusative case with a preposition, as</p>
+
+<div class = "grammar">
+<p>Natus ad laqueum:</p>
+
+<p>Born to a halter.</p>
+</div>
+
+<span class = "pagenum">84</span>
+<p>Those who are reserved for this exalted destiny, are said to enjoy a
+peculiar immunity from drowning. Is this the reason why <i>watermen</i>
+are such a set of rogues?</p>
+
+<p>To prevent mistakes, it should be mentioned, that the <i>watermen</i>
+here meant are those who, by their own account, are so called from their
+office being <i>to shut the doors of hackney coaches</i>.</p>
+
+<p>Verbal adjectives ending in <i>bilis</i>, taken passively, and
+participles made adjectives ending in <i>dus</i>, require a dative case;
+as</p>
+
+<div class = "grammar">
+<p>Nulli penetrabilis astro;</p>
+
+<p>Penetrable by no <i>star</i>&mdash;</p>
+</div>
+
+<p>not fond of <i>acting</i>?</p>
+
+<div class = "grammar">
+<p>O venerande mihi Liston! te luget Olympus:</p>
+
+<p>O Liston, to be venerated by me the <i>Olympic</i> bewails thee.</p>
+</div>
+
+
+<h5>The Accusative Case after the Adjective.</h5>
+
+<p>The measure of quantity is put after adjectives, in the accusative,
+the ablative, and the genitive case, as</p>
+
+<div class = "grammar">
+<p>Anguis centum pedes longus:</p>
+
+<p>A snake a hundred feet long.</p>
+
+<p>Arbor <ins class = "correction" title = "text reads ‘gumnifera’">gummifera</ins>, alta mille et quingentis passibus.</p>
+
+<p>A gum-tree a mile and a half high.</p>
+
+<p>Aranea, lata pedum denum:</p>
+
+<p>A spider ten feet broad.</p>
+</div>
+
+<span class = "pagenum">85</span>
+<p>An accusative case is sometimes put after adjectives and participles,
+where the preposition secundum, appears to be understood, as</p>
+
+<div class = "grammar">
+<p>Os humerosque asello similis:</p>
+
+<p>Like to a cod-fish as to his head and shoulders.</p>
+</div>
+
+<p>Some men <i>are</i> exceedingly like a cod-fish, as to their head and
+shoulders, and they often endeavour to increase this natural resemblance
+as much as possible, by wearing <i>gills</i>.</p>
+
+
+<h5>The Ablative Case after the Adjective.</h5>
+
+<p>Adjectives which relate to plenty or want, sometimes require an
+ablative, sometimes a genitive case, as</p>
+
+<div class = "grammar">
+<p>Amor et melle et felle est fœcundissimus:</p>
+
+<p>Love is very full both of honey and gall.</p>
+</div>
+
+<p>The <i>honey</i> of love is&mdash;we do not know exactly what. Honey,
+however, is Latin for love, as the Irishman said.</p>
+
+<table class = "figfloat" summary = "illustration">
+<tr><td>
+<img src = "images/pic85.png" width = "61" height = "143"
+alt = "large foot, small boot"><br>
+<p class = "caption">
+A TIGHT BOOT.
+</td></tr>
+</table>
+
+<p>The gall of love consists in</p>
+
+<p>First. Tight boots, in which it is often necessary
+<span class = "pagenum">86</span>
+to do penance before <i>our Lady’s</i> window. This is at all events
+very <i>galling</i>.</p>
+
+<p>Secondly. In lover’s sighs, to which it communicates their peculiar
+<i>bitterness</i>.</p>
+
+<p>Thirdly. Another very <i>galling</i> thing in love is being cut
+out.</p>
+
+<p>Fourthly. Love is one of the passions treated of by <i>Gall</i> and
+Spurzheim.</p>
+
+<p>Adjectives and <ins class = "correction" title = "text reads ‘subsantives’">substantives</ins> govern an ablative case, signifying
+the cause and the form, or the manner of a thing, as</p>
+
+<div class = "grammar">
+<p>Demosthenes vociferatione raucus erat:</p>
+
+<p>Demosthenes was hoarse with bawling.</p>
+
+<p>Nomine grammaticus, re barbarus:</p>
+
+<p>A grammarian in name; in reality a barbarian.</p>
+</div>
+
+<p>Like many of the old masters&mdash;we do not mean
+painters&mdash;though we certainly allude to <i>brothers of the
+brush</i>&mdash;perhaps it would be better to call them <i>brothers of
+the angle</i>, on account of their partiality to the <i>rod</i>. Does
+the reader <i>twig</i>? If so, it is unnecessary to <i>branch</i> out
+into a discussion with regard to the nature of the barbarity hinted
+at&mdash;a&nbsp;kind of barbarity which, though it may proclaim its
+perpetrators to be by no means allied to the <i>feline</i> race,
+connects them most decidedly with the <i>canine</i> species.</p>
+
+<p>Dignus, worthy; indignus, unworthy; præditus,
+<span class = "pagenum">87</span>
+endued; captus, disabled; contentus, content; extorris, banished;
+fretus, relying upon; liber, free; with adjectives signifying price,
+require an ablative case, as</p>
+
+<div class = "grammar">
+<p>Leander dignus erat meliore fato:</p>
+
+<p>Leander was worthy of a better fate.</p>
+</div>
+
+<p>Poor fellow! first to be head over ears in love, and then over head
+and ears in the sea! Shocking! What an <i>hero</i>ic young man he must
+have been.&mdash;What <i>a duck</i>, too, the fair Hero must have
+thought him as she watched him from her lonely tower, nearing her every
+moment, as he cleft with lusty arm the foaming herring-pond. We mean the
+Hellespont&mdash;but no matter. What a <i>goose</i> he must have been
+considered by any one else who happened to know of his nightly exploits!
+How miserably he was <i>gulled</i> at last! Never mind. If Leander went
+to the <i>fishes</i> for love, many a better man than he, has, before
+and since, gone, from the same cause, to the <i>dogs</i>.</p>
+
+<div class = "grammar">
+<p>Conscientia procuratoris solidis sex, denariis octo, venale est;</p>
+
+<p>A lawyer’s conscience is to be sold for six and eightpence.</p>
+</div>
+
+<p>Some of these, sometimes admit a genitive case, as</p>
+
+<div class = "grammar">
+<p>Carmina digna deæ:</p>
+
+<p>Verses worthy of a goddess.</p>
+</div>
+
+<span class = "pagenum">88</span>
+<p>Whether the following verses are worthy of a goddess or not, we shall
+not attempt to decide; they were addressed to one at all events&mdash;at
+least to a being who, if <i>idolizing</i> constitutes a goddess, may,
+perhaps, be termed one. We met with them in turning over the pages of an
+album.</p>
+
+<h5>Lines by a Fond Lover.</h5>
+
+<div class = "verse">
+<p>Lovely maid, with rapture swelling,</p>
+<p class = "indent2">
+Should these pages meet thine eye,</p>
+<p>Clouds of absence soft dispelling;</p>
+<p class = "indent2">
+Vacant memory heaves a sigh.</p>
+
+<p class = "stanza">
+As the rose, with fragrance weeping,</p>
+<p class = "indent2">
+Trembles to the tuneful wave,</p>
+<p>So my heart shall twine unsleeping,</p>
+<p class = "indent2">
+Till it canopies the grave!</p>
+
+<table class = "figfloat" summary = "illustration">
+<tr><td>
+<img src = "images/pic89.png" width = "122" height = "161"
+alt = "poet looking heavenward"><br>
+AN ALBUM AUTHOR.
+</td></tr>
+</table>
+
+<p class = "stanza">
+Though another’s smiles requited,</p>
+<p class = "indent2">
+Envious fate my doom should be:</p>
+<p>Joy for ever disunited,</p>
+<p class = "indent2">
+Think, ah! think, at times on me!</p>
+
+<p class = "stanza">
+Oft amid the spicy gloaming,</p>
+<p class = "indent2">
+Where the brakes their songs instil,</p>
+<p>Fond affection silent roaming,</p>
+<p class = "indent2">
+Loves to linger by the rill&mdash;</p>
+
+<p class = "stanza">
+There when echo’s voice consoling,</p>
+<p class = "indent2">
+Hears the nightingale complain,</p>
+<span class = "pagenum">89</span>
+<p>Gentle sighs my lips controlling,</p>
+<p class = "indent2">
+Bind my soul in beauty’s chain.</p>
+
+<p class = "stanza">
+Oft in <ins class = "correction" title = "text reads ‘slumbers’">slumber’s</ins> deep recesses,</p>
+<p class = "indent2">
+I thy mirror’d image see;</p>
+<p>Fancy mocks the vain caresses</p>
+<p class = "indent2">
+I would lavish like a bee!</p>
+
+<p class = "stanza">
+But how vain is glittering sadness!</p>
+<p class = "indent2">
+Hark, I hear distraction’s knell!</p>
+<p>Torture gilds my heart with madness!</p>
+<p class = "indent2">
+Now for ever fare thee well!</p>
+</div>
+
+<p>It would be interesting as well as instructive to settle the
+difference between love verses and nonsense verses, if this were the
+proper place for doing so. But we are not yet come to the Prosody; nor
+shall we arrive there very soon unless we get on with the Syntax.</p>
+
+<span class = "pagenum">90</span>
+<p>Comparatives, when they may be explained by the word quam, than,
+require an ablative case, as</p>
+
+<div class = "grammar">
+<p>Achilles Agamemnone velocior erat:</p>
+
+<p>Achilles was a faster man than Agamemnon.</p>
+</div>
+
+<p><i>Fast men</i> in modern times are very apt to <i>outrun the
+constable</i>.</p>
+
+<p>Tanto, by so much, quanto, by how much, hoc, by this, eo, by this,
+and quo, by which; with some other words which signify the measure of
+exceeding; likewise ætate, by age, and natu, by birth, are often joined
+to comparatives and superlatives, as</p>
+
+<div class = "grammar">
+<p>Tanto deformissimus, quanto sapientissimus philosophorum.</p>
+
+<p>By so much the ugliest, by how <ins class = "correction" title =
+"text reads ‘must’">much</ins> the wisest of philosophers.</p>
+</div>
+
+<p>Such an one was Socrates. It is all very well to have a contemplative
+disposition; but it need not be accompanied by a <i>contemplative
+nose</i>.</p>
+
+<div class = "grammar">
+<p>Quo plus habent, eo plus cupiunt:</p>
+
+<p>The more they have the more they want.</p>
+</div>
+
+<p>This is a curious fact in the natural history of <ins class =
+"correction" title = "anomalous hyphen in original">school-boys</ins>,
+considered in relation to roast beef and plum pudding.</p>
+
+<div class = "grammar">
+<p>Maximum ætate virum in totâ Kentuckiâ contudi:</p>
+
+<p>I whopped the oldest man in all Kentucky.</p>
+</div>
+
+
+<span class = "pagenum">91</span>
+<h5>The Construction of Pronouns.</h5>
+
+<p>All those who would understand the construction of pronouns, should
+take care to be well versed in the distinction between <i>meum</i> and
+<i>tuum</i>, ignorance of which often gives rise to the disagreeable
+necessity of becoming too intimately acquainted with <i>quod</i>.</p>
+
+<p>Mei, of me, tui, of thee, sui, of himself, nostri, of us, vestri, of
+you, (the genitive cases of their primitives ego, tu, &amp;c.) are used
+when a person is signified, as</p>
+
+<div class = "grammar">
+<p>Languet desiderio tui:</p>
+
+<p>He languishes for want of you.</p>
+</div>
+
+<p>You cannot give a more acceptable piece of information than the
+above, to any young lady. The fairer and more amiable sex always like to
+have something&mdash;if not to love, at least to pity.</p>
+
+<div class = "grammar">
+<p>Parsque tui lateat corpore clausa meo. &mdash;<i>Eton Gram.</i></p>
+
+<p>And a part of you may lie shut up in my body.</p>
+</div>
+
+<p>Or rather <i>may</i> it so lie! How forcibly a sucking pig hanging up
+outside a pork-butcher’s shop always <ins class = "notation" title =
+"spelling unchanged">recals</ins> this beautiful line of Ovid’s to the
+mind!</p>
+
+<p>Meus, mine, tuus, thine, suus, his own (Cocknicè his’n<ins class =
+"correction" title = ") missing">),</ins> noster, ours, vester, yours,
+are used when action, or the possession of a thing is signified; as</p>
+
+<div class = "verse">
+<p>Qui bona quæ non sunt sua furtim subripit, ille</p>
+<p class = "indent">
+Tempore quo capitur, carcere clausus erit:</p>
+</div>
+
+<span class = "pagenum">92</span>
+<div class = "verse">
+<p>Him as prigs wot isn&nbsp;’t his’n,</p>
+<p>Ven he’s cotch’d ’ll go to pris’n.</p>
+</div>
+
+<p class = "illustration">
+<img src = "images/pic92.png" width = "293" height = "168"
+alt = "boy picking pocket caught by second man"></p>
+
+<p>These possessive pronouns, meus, tuus, suus, noster, and vester, take
+after them these genitive cases,&mdash;ipsius, of himself, solius, of
+him alone, unius, of one, duorum, of two, trium, of three, <ins class =
+"correction" title = ", missing">&amp;c.,</ins> omnium, of all, plurium,
+of more, paucorum, of few, cujusque, of every one, and also the genitive
+cases of participles, which are referred to the primitive word
+understood; as</p>
+
+<div class = "grammar">
+<p>Meis unius impensis pocula sex exhausi:</p>
+
+<p>I drank six pots to my own cheek.</p>
+</div>
+
+<p>We wonder that any one should have the <i>face</i> to say so.</p>
+
+<p>Sui and suus are reciprocal pronouns, that is, they have always
+relation to that which went before, and was most to be noted in the
+sentence, as&mdash;</p>
+
+<span class = "pagenum">93</span>
+<div class = "grammar">
+<p>Jonathanus nimium admiratur se:</p>
+
+<p>Jonathan admires himself too much.</p>
+
+<p>Parcit erroribus suis, He spares his own errors.</p>
+
+<p>Magnoperè Jonathanus rogat ne se derideas, Jonathan earnestly begs
+that you would not laugh at him.</p>
+</div>
+
+<p>If you <i>do</i>, take care that he does not <i>blow you up</i> one
+of these fine days.</p>
+
+<p>These demonstrative pronouns, hic, iste, and ille are thus
+distinguished: hic points out the nearest to me; iste him who is by you;
+ille him who is at a distance from both of us.</p>
+
+<p>In making <i>game</i> of the Syntax, we regard them as
+<i>pointers</i>.</p>
+
+<p>When hic and ille are referred to two things or persons going before,
+hic generally relates to the latter, ille to the former, as</p>
+
+<div class = "verse">
+<p>Richardus Thomasque suum de more bibebant,</p>
+<p class = "indent">
+Ebrius hic vappis, ebrius ille mero:</p>
+</div>
+
+<div class = "verse">
+<p>Both Dick and Tom caroused away like swine,</p>
+<p>Tom drunk with swipes, and Dicky drunk with wine.</p>
+</div>
+
+
+<h5>The Construction of Verbs.<br>
+The Nominative Case after the Verb.</h5>
+
+<p>Verbs substantive, as sum, I am, forem, I&nbsp;might be, fio,
+I&nbsp;am made, existo, I&nbsp;am; verbs passive of calling, as nominor,
+I&nbsp;am named, appellor, I&nbsp;am called, dicor, I&nbsp;am said,
+vocor, I&nbsp;am called, nuncupor,
+<span class = "pagenum">94</span>
+I am named, and the like to them, as videor, I am seen, habeor,
+I&nbsp;am accounted, existimor, I&nbsp;am thought, have the same cases
+before and after them, as</p>
+
+<div class = "grammar">
+<p>Adeps viridis est summum bonum:</p>
+
+<p>Green fat is the chief good.</p>
+</div>
+
+<table class = "figfloat" summary = "illustration">
+<tr><td>
+<img src = "images/pic94.png" width = "131" height = "162"
+alt = "man with chimneypot on head"><br>
+TILED IN.
+</td></tr>
+</table>
+
+<p>Even among the ancients, <i>turtles</i> were the emblems of love;
+which, next to eating and drinking, has always been the first object of
+human pursuit. This fact proves, very satisfactorily, two things, first,
+their proficiency in the science of gastronomy; and, secondly, their
+extreme susceptibility of the tender passion.</p>
+
+<div class = "grammar">
+<p>Pileus vocatur tegula:</p>
+
+<p>A hat is called a tile.</p>
+</div>
+
+<p>Likewise all verbs in a manner admit after them an adjective, which
+agrees with the nominative case of the verb, in case, gender, and
+number, as</p>
+
+<span class = "pagenum">95</span>
+<div class = "grammar">
+<p>Pii orant taciti. &mdash;<i>Eton Gram.</i></p>
+
+<p>The pious pray silently.</p>
+</div>
+
+<p>Is this a sly rap at the Quakers?</p>
+
+
+<h5>The Genitive Case after the Verb.</h5>
+
+<p>Sum requires a genitive case as often as it signifies possession,
+duty, sign, or that which relates to any thing; as</p>
+
+<div class = "grammar">
+<p>Quod rapidam trahit Ætatem pecus est Melibœi,</p>
+
+<p>The cattle <i>wot</i> drags the <i>Age</i>, fast coach, is
+Melibœus’s.</p>
+</div>
+
+<p>Alas! that such an Age should be banished by the Age of
+rail-roads!&mdash;let us hear the</p>
+
+<h5>Coachman’s Lament.</h5>
+
+<h6><i>Air.</i>&mdash;“Oh give me but my Arab steed.”</h6>
+
+<p class = "figfloat">
+<img src = "images/pic96.png" width = "73" height = "271"
+alt = "raggedly dressed man"></p>
+
+<div class = "verse">
+<p>Farewell my ribbons, and, alack!</p>
+<p class = "indent2">
+Farewell my tidy drag;</p>
+<p>Mail-coach-men now have got the <i>sack</i>,</p>
+<p class = "indent2">
+And engineers the <i>bag</i>.</p>
+
+<p class = "stanza">
+My heart and whip alike are broke&mdash;</p>
+<p class = "indent2">
+I’ve lost my varmint team</p>
+<p>That used to cut away like <i>smoke</i>,</p>
+<p class = "indent2">
+But could n’t go like <i>steam</i>.</p>
+
+<p class = "stanza">
+It is, indeed, a bitter <i>cup</i>,</p>
+<p class = "indent2">
+Thus to be sent to <i>pot</i>;</p>
+<p>My bosom boils at boiling up</p>
+<p class = "indent2">
+A gallop or a trot.</p>
+
+<span class = "pagenum">96</span>
+<p class = "stanza">
+My very brain with <i>fury</i>&nbsp;’s rack’d,</p>
+<p class = "indent2">
+That railways are the <i>rage</i>;</p>
+<p>I’m sure you’ll never find them <i>act</i>,</p>
+<p class = "indent2">
+Like our old English <i>stage</i>.</p>
+
+<p class = "stanza">
+A man whose <i>passion</i>&nbsp;’s crost, is sore,</p>
+<p class = "indent2">
+Then pray excuse my <i>pet</i>;</p>
+<p>I ne’er was <i>overturn’d</i> before,</p>
+<p class = "indent2">
+But now am quite <i>upset</i>.</p>
+</div>
+
+<p>These nominative cases are excepted from the above rule, meum, mine,
+tuum, thine, suum, his, noster, our, vester, your, humanum, human,
+belluinum brutal, and the like, as</p>
+
+<span class = "pagenum">97</span>
+<div class = "grammar">
+<p>Non est tuum aviam instruere:</p>
+
+<p>Don’t teach your grandmother&mdash;to suck eggs.</p>
+
+<p>Humanum est inebriari.</p>
+
+<p>It is a human frailty&mdash;or an amiable weakness&mdash;to get
+drunk.</p>
+</div>
+
+<p>Lord Byron proves it to be a <i>human</i> frailty.</p>
+
+<p>“<i>Man</i> being <i>reasonable</i>, <i>must</i> get drunk.”</p>
+
+<p class = "illustration">
+<img src = "images/pic97.png" width = "206" height = "126"
+alt = "man sleeping against a post"></p>
+
+<p class = "caption">
+A REASONABLE CREATURE.</p>
+
+<p>Another poet (anon.) proves it to be an <i>amiable</i> one, by
+establishing the analogy which exists between it and an intoxication of
+another kind&mdash;</p>
+
+<div class = "verse">
+<p>“Love is like a dizziness,</p>
+<p>Never lets a poor man go about his business.”</p>
+</div>
+
+<p>Verbs of accusing, condemning, advising, acquitting, and the like,
+require a genitive case which signifies the charge; as</p>
+
+<div class = "grammar">
+<p>Qui alterum accusat probri, eum ipsum se intueri oportet.</p>
+
+<p>It is fit that he who accuses another of dishonesty should look into
+himself.</p>
+</div>
+
+<span class = "pagenum">98</span>
+<p>If this maxim were acted up to, what attorney could we ever get to
+frame an indictment?</p>
+
+<div class = "grammar">
+<p>Furti damnatus, “tres menses” adeptus est:</p>
+
+<p>Being condemned of theft, he had “three months.”</p>
+</div>
+
+<p>We do not see much <i>fun</i> in that. We cannot help thinking,
+however, that “Three Months at Brixton,” would form a taking (at least a
+<i>thief</i>-taking) title for a novel.</p>
+
+<div class = "grammar">
+<p>Admoneto magistrum squalidarum vestium:</p>
+
+<p>Put the master in mind of his seedy clothes.</p>
+</div>
+
+<p>That is if you want a <i>good dressing</i>.</p>
+
+<p>This genitive case is sometimes changed into an ablative, either with
+or without a preposition, as</p>
+
+<div class = "grammar">
+<p>Putavi de calendis Aprilibus te esse admonendum:</p>
+
+<p>I thought that you ought to be reminded of the first of April.</p>
+</div>
+
+<p>Young reader! were you ever, on the above anniversary, sent to the
+cobbler’s for pigeons’ milk, and dismissed with <i>strap-oil</i> for
+your <i>pains</i>? Were your domestic and alimentive affections ever
+sported with by the false intelligence that a letter from home and a
+large cake were waiting for you below! Or worse, did some waggish, but
+inconsiderate friend ever send you a fool’s-cap and a hamper of
+stones?</p>
+
+<p>Reader, of a more advanced age, were you ever?&mdash;
+<span class = "pagenum">99</span>
+but we cannot go on&mdash;Oh! Matilda&mdash;we might have been your
+<i>slave</i>&mdash;but it was cruel of you to <i>sell</i> us in such a
+manner.</p>
+
+<p>Uterque, both, nullus, none, alter, the other, neuter, neither of the
+two, alius, another, ambo, both, and the superlative degree, are joined
+to verbs of that kind only in the ablative case, as</p>
+
+<div class = "grammar">
+<p>Fratris, an asini, trucidationis accusas me? Utroque, sed sceleris
+unius:</p>
+
+<p>Do you accuse me of killing my brother or my donkey? Of both; but of
+one crime.</p>
+</div>
+
+<p>Satago, to be busy about a thing, misereor and miseresco, to pity,
+require a genitive case, as</p>
+
+<div class = "grammar">
+<p>Qui ducit uxorem rerum satagit:</p>
+
+<p>He who marries a wife has his hands full of business.</p>
+</div>
+
+<p>We hear frequently of lovers being <i>distracted</i>. Husbands are
+much more so.</p>
+
+<div class = "grammar">
+<p>O! tergi miserere mei non digna ferentis:</p>
+
+<p>Oh! have pity on my back, suffering things undeserved.</p>
+</div>
+
+<p>Reminiscor, to remember, obliviscor, to forget, memini, to remember,
+recorder, to call to mind, admit a genitive or accusative case, as</p>
+
+<div class = "grammar">
+<p>Reminiscere nonarum Novembrium:</p>
+
+<p>Remember the fifth of November.</p>
+</div>
+
+<p>No wonder that so many <i>squibs</i> are let off on that
+<span class = "pagenum">100</span>
+day; considering the political feeling connected with it.</p>
+
+<div class = "grammar">
+<p>Hoc te spectantem me meminisse precor:</p>
+
+<p>When this you see remember me.</p>
+</div>
+
+<p>How particularly anxious all young men and women who are lovers, and
+all waiters and chambermaids, whether they are lovers or no, besides
+coachmen and porters of all kinds, seem to be <i>remembered</i>. A
+coachman in one respect especially resembles a lover; he always wishes
+to be remembered by his <i>fare</i>.</p>
+
+<p>Potior, to gain, is joined either to a genitive or to an ablative
+case, as</p>
+
+<div class = "grammar">
+<p>Xantippe, marito subacto, femoralium potita fuit.</p>
+
+<p>Xantippe, her husband being overcome, gained the breeches.</p>
+
+<p>Terentius Thrace potitus est:</p>
+
+<p>Terence got a Tartar.</p>
+</div>
+
+<p>At least he said he did, when he took the prisoner who would n’t let
+him come.</p>
+
+
+<h5>The Dative Case after the Verb.</h5>
+
+<p>All verbs govern a dative case of that thing to or for which any
+thing is gotten or taken away, as</p>
+
+<div class = "grammar">
+<p>Diminuam tibi caput:</p>
+
+<p>I will break your head.</p>
+
+<p>Eheu! mihi circulum ademit!</p>
+
+<p>Oh dear, he has taken away my hoop!</p>
+</div>
+
+<span class = "pagenum">101</span>
+<p>What a thing it is to be a junior boy!</p>
+
+<p>Verbs of various kinds belong to the above rule. In the first place
+verbs signifying advantage or disadvantage govern a dative case, as</p>
+
+<div class = "grammar">
+<p>Judæi ad commodandum nobis vivunt:</p>
+
+<p>The Jews live to accommodate us.</p>
+</div>
+
+<p>Or accommodate us to live&mdash;which?</p>
+
+<p>Of these juvo, lædo<ins class = "correction" title = ", missing">,
+</ins>delecto, and some others, require an accusative case, as</p>
+
+<div class = "grammar">
+<p>Maritum quies plurimum juvat:</p>
+
+<p>Rest very much delighteth a married man&mdash;when he can get it.</p>
+</div>
+
+<p class = "illustration">
+<img src = "images/pic101.png" width = "279" height = "256"
+alt = "mother, father and crying baby"></p>
+
+<span class = "pagenum">102</span>
+<p>Verbs of comparing govern a dative case, as</p>
+
+<div class = "grammar">
+<p>Ajacem “Surdo” componere sæpe solebam:</p>
+
+<p>I was often accustomed to compare Ajax to the “Deaf un,”&mdash;not
+because he was hard of hearing, but hard in hitting.</p>
+</div>
+
+<p>Sometimes, however, they require an ablative case with the
+preposition cum; sometimes an accusative case with the prepositions ad
+and inter, as</p>
+
+<div class = "grammar">
+<p>Comparo <i>Pompeium</i> cum <i>globo nivali</i>:</p>
+
+<p>I compare <i>Pompey</i> with a <i>snow-ball</i>.</p>
+</div>
+
+<p>Pompey is called in the schools a proper name. Whether it is a
+<i>proper name</i> for a nigger or not, may be questioned. It may also
+be doubted whether a negro can ever rightly be called “snow-ball,”
+except he be <i>an ice</i> man; in which case even though he should be
+the knave of <i>clubs</i>, it is obvious that he ought never to be
+<i>black balled</i>.</p>
+
+<div class = "grammar">
+<p>Si ad pensum verberatio comparetur nihil est:</p>
+
+<p>If a flogging be compared to an imposition, it is nothing.</p>
+</div>
+
+<p>A flogging is a fly-blow, or at least a <i>flea</i>-blow to the boy,
+and a task only to the master; whereas <ins class = "correction" title =
+"text reads ‘as’">an</ins> imposition is a task to the boy, and very
+often a <i>verse</i> task.</p>
+
+<p>Verbs of giving and of restoring govern a dative case, as</p>
+
+<span class = "pagenum">103</span>
+<div class = "grammar">
+<p>Learius unicuique filiarum dimidium coronæ dedit:</p>
+
+<p>Lear gave his daughters half-a-crown a-piece.</p>
+</div>
+
+<p>Hence we are enabled to gain some notion of the great value of money
+in the time of the Ancient Britons.</p>
+
+<p>Verbs of promising and of paying govern a dative case; as</p>
+
+<div class = "grammar">
+<p>Menelaus Paridi fustuarium promisit:</p>
+
+<p>Menelaus promised Paris a drubbing.</p>
+</div>
+
+<p class = "illustration">
+<img src = "images/pic103.png" width = "302" height = "260"
+alt = "two actors on stage"></p>
+
+<div class = "grammar">
+<p>“Gubernatoris” est pendere sartoribus pecuniam:</p>
+
+<p>It is the place of “the governor” to pay tailors.</p>
+</div>
+
+<p>Hence young men may learn how desirable it is to be “in statu
+pupillari.” True, in that state of
+<span class = "pagenum">104</span>
+felicity, they are somewhat under control, but the above example, and
+many others of a like nature, sufficiently prove, that such restriction,
+compared to the responsibilities of manhood, is but a <i>minor</i>
+inconvenience.</p>
+
+<p>Verbs of commanding and telling govern a dative case, as</p>
+
+<div class = "grammar">
+<p>Alexander, vinosus, animis imperare non potuit:</p>
+
+<p>Alexander, when drunk, could not command his temper.</p>
+</div>
+
+<p>Thus, in a state of beer, he committed manslaughter at least, by
+killing and slaying his friend Clitus. We could not resist the
+temptation to mention this fact, since, as we have so often laughed at
+its narration in those interesting compositions called themes, we
+thought there must needs be something very funny about it. Alexander the
+Great, be it remarked, for the special behoof of schoolboys, furnishes
+an example of any virtue or vice descanted on in any prose task or poem
+under the sun.</p>
+
+<div class = "grammar">
+<p>Antonio dixit Augustus Lepidum veteratorem fuisse.</p>
+
+<p>Augustus told Antony that Lepidus was a humbug.</p>
+</div>
+
+<p>We don’t know exactly where this historical fact is mentioned.
+<i>Lepidus</i> is a <i>funny</i> name.</p>
+
+<p>Except, from the foregoing rule, rego, to rule,
+<span class = "pagenum">105</span>
+guberno, to govern, which have an accusative case; tempero and moderor,
+to rule, which have sometimes a dative, sometimes an accusative case;
+as</p>
+
+<div class = "grammar">
+<p>Luna regit ministros:</p>
+
+<p>The moon rules the ministers.</p>
+</div>
+
+<p>That is to say, when it is at the full, and resembles a
+great&nbsp;O.</p>
+
+<div class = "grammar">
+<p>Præco pauperes gubernat:</p>
+
+<p>The beadle governs the paupers.</p>
+
+<p>Non semper temperat ipse sibi:</p>
+
+<p>He does not always govern himself.</p>
+
+<p>Non animos mollit proprios, nec temperat iras:</p>
+
+<p>He neither softens his own mind, nor tempers his anger.</p>
+
+<p>Ecce, Ducrow moderatur equos:</p>
+
+<p>Lo, Ducrow manages the horses.</p>
+</div>
+
+<p><i>Q.</i> Why is a general officer like a writing-master?</p>
+
+<p><i>A.</i> Because he is a <i>ruler of lines</i>.</p>
+
+<p>Verbs of trusting govern a dative case, as</p>
+
+<div class = "verse">
+<p>Credite, fœmineæ, juvenes, committere menti,</p>
+<p>Nil nisi lene decet.</p>
+</div>
+
+<p class = "grammar">
+Believe me, young men, it is fit to entrust nothing to a female mind but
+what is <i>soft</i>.</p>
+
+<p>In fact, <i>soft nothings</i> are fittest for the ear of a lady.</p>
+
+<span class = "pagenum">106</span>
+<div class = "grammar">
+<p>Pomarius poetæ non credit:</p>
+
+<p>The costermonger trusts not the poet.</p>
+</div>
+
+<p>How wrong, therefore, it is to call him a <i>green</i> grocer.</p>
+
+<p>Verbs of complying with and of opposing govern a dative case, as</p>
+
+<div class = "grammar">
+<p>Nunquam obtemperat tiro hodiernus magistro:</p>
+
+<p>A modern apprentice never obeys his master.</p>
+</div>
+
+<p>Verbs of threatening and of being angry govern a dative case, as</p>
+
+<div class = "grammar">
+<p>Utrique latronum mortem est minitatus:</p>
+
+<p>He threatened death to both of the robbers,&mdash;</p>
+</div>
+
+<p>By presenting a pistol right and left at each of them. This when done
+by some well-disposed sailor in a <ins class = "notation" title =
+"archaic spelling">melodrame</ins>, constitutes a situation of thrilling
+interest.</p>
+
+<p class = "illustration">
+<img src = "images/pic106.png" width = "267" height = "199"
+alt = "(scene described above)"></p>
+
+<span class = "pagenum">107</span>
+<p>Sum with its compounds, except possum, governs a dative case, as</p>
+
+<p class = "figfloat">
+<img src = "images/pic107.png" width = "120" height = "143"
+alt = "heavy woman with black eye"></p>
+
+<div class = "grammar">
+<p>Oculi nigri non semper sunt faciei ornamentum:</p>
+
+<p>Black eyes are not always an ornament to the face.</p>
+</div>
+
+<p>Verbs compounded with these adverbs, bene, well, satis, enough, male,
+ill, and with these prepositions, præ, ad, con, sub, ante, post, ob, in,
+inter, for the most part govern a dative case, as</p>
+
+<div class = "grammar">
+<p>Saginatio multis hominibus benefacit:</p>
+
+<p>Cramming does good to many men.</p>
+</div>
+
+<p>For instance, it does good to aldermen, especially in these days of
+reform, <i>by enlarging the Corporation</i>. Cramming, or rather the
+effect of it, benefits medical men, who again do good to their patients
+by <i>cramming</i> them in another way. There is also a species of
+cramming which is found very
+<span class = "pagenum">108</span>
+serviceable at the Universities, by enabling certain students to <i>pass
+in a crowd.</i></p>
+
+<table class = "figfloat" style = "width: 150px;">
+<tr><td>
+<img src = "images/pic108.png" width = "144" height = "263"
+alt = "teacher with very large spoon"><br>
+OH! HERE ’S A COMPLIMENT.
+</td></tr>
+</table>
+
+<p>In this respect however it differs essentially from aldermanic
+cramming, which enhances the difficulty of such a feat in a very
+remarkable manner.</p>
+
+<div class = "grammar">
+<p><ins class = "correction" title = "comma in original">Puellæ,</ins>
+aliæ aliis prælucere student:</p>
+
+<p>Girls endeavour to outshine one another.</p>
+</div>
+
+<p>And yet they <i>make light</i>, as much as they can, of each <ins
+class = "correction" title = "text reads ‘others’">other’s</ins> charms
+and accomplishments.</p>
+
+<div class = "grammar">
+<p>Intempestive parum longe prospicienti Doctori adlusit.</p>
+
+<span class = "pagenum">109</span>
+<p>He joked unseasonably on the short-sighted Doctor.</p>
+</div>
+
+<p>Johnson was not so short-sighted as to be blind to a joke.</p>
+
+<p>Not a few of the verbs mentioned in the last rule, sometimes change
+the dative into another case; as</p>
+
+<div class = "grammar">
+<p>Præstat ingenio alius alium:</p>
+
+<p>One exceeds another in ability.</p>
+</div>
+
+<p class = "illustration">
+<img src = "images/pic109.png" width = "247" height = "205"
+alt = "dancing boy with goose"></p>
+
+<p>Thus one boy learns Latin and Greek better than the rest; another
+learns slang. One is a good hand at construing, another at climbing.
+Some boys are peculiarly skilled at casting accounts, others in casting
+stones. Here we have a boy of a small appetite and many words, there one
+of a large appetite and few words. Sometimes precocious talent is
+evinced for playing the fiddle, sometimes
+<span class = "pagenum">110</span>
+for playing a <i>stick</i>; sometimes, again, a&nbsp;strong propensity
+is discovered for playing the fool. This boy makes verses, as it were,
+by inspiration; that boy shows an equal capacity in making mouths. The
+most peculiar talent, however, and the one most exclusive of all others,
+is that of riding. Those who are destined to attain great proficiency in
+this science, can seldom do any thing else; and usually begin their
+career by being <i>horsed</i> at school.</p>
+
+<p>Est, for habeo to have, governs a dative case, as</p>
+
+<div class = "grammar">
+<p>Est mihi qui vestes custodit avunculus omnes:</p>
+
+<p>I have an uncle who takes care of all my clothes.</p>
+</div>
+
+<p>Suppetit, it sufficeth, is like to this, as</p>
+
+<div class = "grammar">
+<p>Pauper enim non est cui rerum suppetit usus:</p>
+
+<p>For he is not poor, to whom the use of things suffices.</p>
+</div>
+
+<p>The two last examples must suggest a rather alarming idea to those
+who are accustomed to propitiate the relation to whom we have just
+alluded, by relinquishing <i>their habits</i>. Is it possible that he
+can ever <i>use</i> one’s <i>things</i>? We recommend this query to the
+serious consideration of theatrical persons, and all others who are
+addicted to <i>spouting</i>.</p>
+
+<p><i>Sum</i> with many <i>others</i> admits a double dative case,
+as</p>
+
+<div class = "grammar">
+<p>Exitio est avidis alvus pueris:</p>
+
+<p>The belly is the destruction of greedy boys.</p>
+</div>
+
+<p>Particularly those of <i>Eton</i> College.</p>
+
+<span class = "pagenum">111</span>
+<p>Sometimes this dative case tibi, or sibi, or also mihi, is added for
+the sake of elegance in expression, as</p>
+
+<div class = "grammar">
+<p>Cato suam sibi uxorem Hortensio vendidit:</p>
+
+<p>Cato sold his own wife to Hortensius.</p>
+</div>
+
+<p class = "illustration">
+<img src = "images/pic111.png" width = "316" height = "328"
+alt = "(scene as described above)"></p>
+
+<p>Some say he only lent her. The fact most probably is, that the lady,
+being tired of her husband, wished to be a-<i>loan</i>.</p>
+
+
+<span class = "pagenum">112</span>
+<h5>The Accusative Case after the Verb.</h5>
+
+<p>Verbs transitive, of what kind soever, whether active, deponent, or
+common, require an accusative case, as</p>
+
+<div class = "grammar">
+<p>Procuratorem fugito, nam subdolus idem est:</p>
+
+<p>Avoid an attorney, for the same is a cunning rogue.</p>
+</div>
+
+<p>Yet the legal profession are always boasting of their
+<i>deeds</i>.</p>
+
+<p>Verbs neuter have an accusative case of a like signification to
+themselves, as</p>
+
+<div class = "grammar">
+<p>Pomarii asinus duram servit servitutem:</p>
+
+<p>A coster-monger’s donkey serves a hard servitude.</p>
+</div>
+
+<p>Poor animal! A <i>Sterne</i> heart was once melted by thy
+sufferings&mdash;how then must they affect that of the <i>gentle</i>
+reader?</p>
+
+<p>There are some verbs which have an accusative case by a figure,
+as</p>
+
+<div class = "grammar">
+<p>Nec vox hominem sonat;</p>
+
+<p>Nor does your voice sound like a human creature’s.</p>
+</div>
+
+<p>This may be said of boys of various kinds&mdash;as pot-boys,
+butcher’s boys, baker’s boys, and other boys who are in the habit of
+bawling down areas; also of several descriptions of men, as cab-men,
+coach-men, watch-men, and dust-men. The same may likewise be asserted of
+some women, such
+<span class = "pagenum">113</span>
+as apple-women, oyster-women, fish-women, and match-women. Here also the
+singing of charity children of both sexes, and the voices of
+parish-clerks, may be specified, and, lastly, of many foreigners whose
+names terminate in ini.</p>
+
+<p class = "illustration">
+<img src = "images/pic113.png" width = "306" height = "79"
+alt = "women with open mouths"></p>
+
+<p>Verbs of asking, of teaching, of clothing, and of concealing,
+commonly govern two accusative cases, as</p>
+
+<div class = "grammar">
+<p>Ego docebo te, adolescentule, lectiones tuas:</p>
+
+<p><i>I’ll</i> teach you your lessons, young man.</p>
+</div>
+
+<p>This speech is usually the prelude to something which elicits that
+exemplification of the vocative case which has been given in the first
+part of the Grammar.</p>
+
+<p>Some verbs of this kind have an accusative case even in the passive
+voice, as</p>
+
+<div class = "grammar">
+<p>Bis denos posceris versus de scoparum manubrio:</p>
+
+<p>You are required to make twenty verses on a broomstick.</p>
+</div>
+
+<p>Why should not a broomstick form the subject of a poetical effusion,
+when the material of the broom itself is so often used in schools to
+stimulate inventive genius?</p>
+
+<span class = "pagenum">114</span>
+<p>Nouns appellative are commonly added with a preposition to verbs
+which denote motion, as</p>
+
+<div class = "verse">
+<p>Interea ad templum non æquæ Palladis ibant</p>
+<p>Crinibus Iliades passis. &nbsp; <i>Virgil.</i></p>
+</div>
+
+<p class = "grammar">
+In the mean time the Trojan woman went to the temple of unfriendly
+Pallas with their hair about their ears.</p>
+
+<p>How odd they must have looked. Here we take occasion to remind
+schoolboys never to lose an opportunity of giving a comic rendering to
+any word or phrase susceptible thereof, which they may meet with in the
+course of their reading. To say “crinibus passis”,&mdash;“with
+dishevelled hair” would be to give a very feeble and spiritless
+translation. Vir is literally construed <i>man</i>; some school-masters
+will have it called <i>hero</i>,&mdash;we propose to translate it
+<i>cove</i>. So dapes may be rendered <i>grub</i>, or perhaps
+<i>prog</i>; aspera Juno, <i>crusty Juno</i>; animam efflare, to <i>kick
+the bucket</i>; capere fugam, to <i>cut one’s stick</i>, or
+<i>lucky</i>; confectus, <i>knocked up</i>; fraudatus, <i>choused</i>;
+contundere, <i>to whop</i>, &amp;c.&nbsp;&amp;c.</p>
+
+
+<h5>The Ablative Case after the Verb.</h5>
+
+<p>Every verb admits an ablative case, signifying the instrument, or the
+cause, or the manner of an action, as</p>
+
+<div class = "grammar">
+<p>Pulvere nitrato Catilina senatum subruere voluit:</p>
+
+<p>Catiline wished to blow up the Parliament. Catiline was a regular
+Guy.</p>
+</div>
+
+<span class = "pagenum">115</span>
+<p>A noun of price is put after some words in the ablative case, as</p>
+
+<div class = "grammar">
+<p>Ovidius solidis duobus fibulas siphonem ascendere fecit:</p>
+
+<p>Ovid pawned his buckles for two shillings.</p>
+</div>
+
+<p>The <i>sipho</i> was a tube, pipe, or spout, projecting from the
+shops of pawnbrokers, of whom there is every reason to believe that
+there were a great many in ancient Rome. Into this <i>sipho</i> the
+pledges <ins class = "correction" title = "text reads ‘where’">were</ins> placed in order to be conveyed to the <i>adytum</i>
+or secret recess of the dwelling. <i>Vide</i> Casaubon de Avunc:
+Roman.</p>
+
+<p>Vili, at a low rate, paulo, for little, minimo, for very little,
+magno, for much, nimio, for too much, plurimo, for very much, dimidio,
+for half, duplo, for twice as much, are often put by themselves, the
+word, pretio, price, being understood, as</p>
+
+<div class = "grammar">
+<p>Vili venit cibus caninus:</p>
+
+<p>Dog’s meat is sold at a low rate.</p>
+</div>
+
+<p>These genitive cases put without substantives are excepted, tanti,
+for so much, quanti, for how much, pluris, for more, minoris, for less,
+quantivis, for as much as you please, tantidem, for just so much,
+quantilibet, for what you will, quanticunque for how much soever, as</p>
+
+<p class = "grammar">
+Non es tanti: You’re no great shakes.</p>
+
+<p>Flocci, of a lock of wool, nauci, of a nut-shell, nihili, of nothing,
+assis, of a penny, pili, of a hair,
+<span class = "pagenum">116</span>
+hujus, of this, teruncii, of a farthing, are added very properly to
+verbs of esteeming, as</p>
+
+<div class = "grammar">
+<p>Nec verberationem flocci pendo, nec ferulâ percussionem pili
+æstimo:</p>
+
+<p>I don’t value a flogging a straw, nor do I regard a spatting a
+hair.</p>
+</div>
+
+<p>A boy who can say this, must have a brazen front, and an iron back,
+and be altogether a lad of <i>mettle</i>.</p>
+
+<p>Verbs of abounding, of filling, of loading, and their contraries, are
+joined to an ablative case, as</p>
+
+<div class = "grammar">
+<p>Tauris abundat Hibernia:</p>
+
+<p>Ireland aboundeth in bulls.</p>
+</div>
+
+<p>This circumstance it most probably was which gave rise to the
+<i>Tales</i> of the O’Hara family.</p>
+
+<p>We once heard a son of Erin, while undergoing the operation of
+bleeding from the arm, remark that that would be an easy way of
+<i>cutting one’s throat</i>.</p>
+
+<p>Some of these sometimes govern a genitive case, as</p>
+
+<div class = "grammar">
+<p>Optime ostrearum implebantur:</p>
+
+<p>They had a capital blow out of oysters.</p>
+</div>
+
+<p>We are sorry to remark that these are the only <i>native</i>
+productions patronized by great people.</p>
+
+<p>Fungor, to discharge, fruor, to enjoy, utor, to use, vescor, to live
+upon, dignor, to think one’s self
+<span class = "pagenum">117</span>
+worthy, muto, to change, communico, to communicate, supersedeo, to pass
+by, are joined to an ablative case, as</p>
+
+<div class = "grammar">
+<p>Qui adipisci cœnas optimas volet, leonis fungatur officiis.</p>
+
+<p>He who shall desire to obtain excellent dinners, should discharge the
+office of a lion.</p>
+</div>
+
+<p class = "figfloat">
+<img src = "images/pic117.png" width = "107" height = "302"
+alt = "man standing on pedestal of books"></p>
+
+<p>In which case he will come in for the “lion’s share.”</p>
+
+<p><i>Q.</i> Why is the lion of a party like one of the grand sources of
+prejudice mentioned by Lord Bacon?</p>
+
+<p><i>A.</i> Because he is the <i>Idol</i> of the <i>den</i>.</p>
+
+<span class = "pagenum">118</span>
+<p>Mereor, to deserve, with these adverbs, bene, well, satis, enough,
+male, ill, melius, better, pejus, worse, optime, very well, pessime,
+very ill, is joined to an ablative case with the preposition de, as</p>
+
+<div class = "grammar">
+<p>De libitinario medicus bene meretur:</p>
+
+<p>The doctor deserves well of the undertaker.</p>
+</div>
+
+<p>Notwithstanding it might at first sight appear, that the doctor, in
+<i>furnishing funerals</i>, invades the undertaker’s province.</p>
+
+<p>Some verbs of receiving, of being distant, and of taking away, are
+sometimes joined to a dative case, as</p>
+
+<div class = "grammar">
+<p>Augustus eripuit mihi nitorem:</p>
+
+<p>Augustus has taken the shine out of me.</p>
+
+<p class = "center">
+<i>Last Dying Speech of M. Antony.</i></p>
+</div>
+
+<p>An ablative case, taken absolutely, is added to some verbs, as</p>
+
+<div class = "grammar">
+<p>Porcis volentibus lætissime epulabimur:</p>
+
+<p>Please the pigs we’ll have a jolly good dinner.</p>
+</div>
+
+<p>The pig had divine honours paid to it by the ancient Greeks.
+&mdash;Jos. Scalig. de Myst. Eleusin.</p>
+
+<p>An ablative case of the part affected, and by the poets an accusative
+case, is added to some verbs, as</p>
+
+<div class = "grammar">
+<p>Qui animo ægrotat, eum aera risum moventem ducere oportet.</p>
+
+<p>He who is sick in mind should breathe the laughing gas.</p>
+</div>
+
+<span class = "pagenum">119</span>
+<p>Much learned controversy has been expended in endeavouring to
+determine whether this gas was the exhalation by which it is supposed
+that the ancient Pythonesses were affected.</p>
+
+<table class = "grammar" summary = "table of inflections">
+<tr>
+<td>Rubet nasum:<br>
+His nose is red.</td>
+<td>&nbsp;</td>
+<td>Candet genas:<br>
+His cheeks are pale.</td>
+</tr>
+</table>
+
+<p>Some of these words are used also with the genitive case, as</p>
+
+<div class = "grammar">
+<p>Angitur animi juvenis iste, et mundum indignatur.</p>
+
+<p>That young man is grieved in mind and disgusted with the world.</p>
+</div>
+
+<p>Such a man is called by the ladies an interesting young man.</p>
+
+
+<h5>Verbs Passive.</h5>
+
+<p>An ablative case of the doer (but with the preposition a or ab going
+before), and sometimes also a dative case, is added to verbs passive,
+as</p>
+
+<div class = "grammar">
+<p>Darius eleganter ab Alexandro victus est:</p>
+
+<p>Darius was elegantly licked by Alexander.</p>
+</div>
+
+<p>The other cases continue to belong to verbs passive which belonged to
+them as verbs active, as</p>
+
+<div class = "grammar">
+<p>Titanes læsæ majestatis accusati sunt:</p>
+
+<p>The Titans were indicted for high treason.</p>
+</div>
+
+<p>And being found guilty were <i>quartered</i> in a very uncomfortable
+manner, as well as <i>drawn</i> by various
+<span class = "pagenum">120</span>
+artists, whose skill in <i>execution</i> has been much commended.</p>
+
+<p>Vapulo, to be beaten, veneo, to be sold, liceo, to be prized, exulo,
+to be banished, fio, to be made, neuter passives, have a passive
+construction, as</p>
+
+<div class = "grammar">
+<p>A præceptore vapulabis. &nbsp; <i>Eton Gram.</i></p>
+
+<p>You will be beaten by the master.</p>
+</div>
+
+<p>It appears to us that vapulo, to be beaten, is here at all events
+more susceptible of a passive construction than a funny one.</p>
+
+<div class = "grammar">
+<p>Malo a cive spoliari quam ab hoste <ins class = "notation" title =
+"‘vēnire’ with long ‘e’">venire</ins>. &nbsp; <i>Eton Gram.</i></p>
+
+<p>I had rather be stripped by a citizen than sold by an enemy.</p>
+</div>
+
+<p>The Romans were regularly <i>sold</i> by the enemy for once, when
+they had to go under the yoke.</p>
+
+
+<h5>Verbs of the Infinitive Mood.</h5>
+
+<p>Verbs of the infinitive mood are put after some verbs, participles,
+and adjectives, and substantives also by the poets, as</p>
+
+<div class = "grammar">
+<p>Timotheus ursos saltare fecit:</p>
+
+<p>Timotheus made the bears dance.</p>
+</div>
+
+<p>This was done in ancient as it is in modern times, by playing the
+Pandean pipes.</p>
+
+<div class = "verse">
+<p>Inconcinnus erat cerni Telamonius Ajax;</p>
+<p>Ajax (ut referunt) vir bonus ire minor:</p>
+</div>
+
+<span class = "pagenum">121</span>
+<div class = "verse">
+<p>The Telamonian Ajax was a rum un to look at;</p>
+<p>The lesser Ajax (as they say) a good un to go.</p>
+</div>
+
+<p>The Grecians used to call Ajax senior, the <i>fighting cock</i>, and
+Ajax junior, the <i>running cock</i>.</p>
+
+<p>Verbs of the infinitive mood are sometimes placed alone by the figure
+ellipsis, as</p>
+
+<div class = "grammar">
+<p>Siphonum de more oculis demittere fluctus Dardanidæ:</p>
+
+<p>The Trojans (began understood) to pipe their eyes.</p>
+</div>
+
+<p>As for Æneas he might have been a town <i>crier</i>.</p>
+
+
+<h5>Gerunds and Supines</h5>
+
+<p>govern the cases of their own verbs, as</p>
+
+<div class = "grammar">
+<p>Efferor studio pulices industrios videndi:</p>
+
+<p>I am transported with the desire of seeing the industrious fleas.</p>
+</div>
+
+<p class = "illustration">
+<img src = "images/pic121.png" width = "284" height = "236"
+alt = "two women with two children"></p>
+
+
+<span class = "pagenum">122</span>
+<h5>Gerunds.</h5>
+
+<div class = "verse">
+<p>“When Dido found Æneas would not come,</p>
+<p>She mourned in silence, and was Di-do-dum.”</p>
+</div>
+
+<p>Gerunds in di have the same construction as genitive cases, and
+depend both on certain substantives and adjectives, as</p>
+
+<div class = "grammar">
+<p>Londinensem innatus amor civem urget edendi:</p>
+
+<p>An innate love of eating excites the London citizen.</p>
+</div>
+
+<p>People are accustomed to utter a great deal of cant about the
+intellectual poverty of civic magistrates, and common councilmen in
+general; but it must be allowed that those respectable individuals have
+often <i>a great deal in them</i>.</p>
+
+<table class = "figfloat" style = "width: 110px">
+<tr><td>
+<img src = "images/pic122.png" width = "105" height = "149"
+alt = "well-fed alderman"><br>
+TURTUR ALDERMANICUS.
+</td></tr>
+</table>
+
+<p>Gerunds in do have the same construction with ablative, and gerunds
+in dum with accusative cases, as</p>
+
+<div class = "grammar">
+<p>Scribendi ratio conjuncta cum loquendo est:</p>
+
+<p>The means of writing are joined with speaking.</p>
+</div>
+
+<span class = "pagenum">123</span>
+<p>Some things are written precisely after the writer’s way of speaking.
+We once, for example, saw the following notice posted in a gentleman’s
+preserve.</p>
+
+<p class = "box">
+Whear ’as Gins and Engens are Set on Thes Grouns for the Destruction Of
+Varmint, Any trespussing Will be prossy-&#x200B;Cuted a-cordin Too
+Law.</p>
+
+<div class = "grammar">
+<p>Locus ad agendum amplissimus:</p>
+
+<p>A place very honourable to plead in.</p>
+</div>
+
+<p>It may be questioned whether Cicero would have said this of the Old
+Bailey.</p>
+
+<p>When necessity is signified, the gerund in dum is used without a
+preposition, the verb est being added<ins class = "correction" title =
+"text has ,">.&nbsp;</ins></p>
+
+<div class = "grammar">
+<p>Cavendum est ne deprênsus sis:</p>
+
+<p>You must take care you ’re not caught out.</p>
+</div>
+
+<p class = "figfloat">
+<img src = "images/pic123.png" width = "154" height = "204"
+alt = "three boys smoking"></p>
+
+<span class = "pagenum">124</span>
+<p>A piece of advice of special importance to schoolboys on many
+occasions, such as the following: shirking down town; making devils, or
+letting off gunpowder behind the school, or in the yard; conducting a
+foray or predatory excursion in gardens and orchards; emulating Jupiter,
+à&nbsp;la Salmoneus,&mdash;in his attribute of Cloud-Compelling&mdash;by
+blowing a cloud, or to speak in the vernacular, indulging in a cigar;
+hoisting a frog; tailing a dog or cat, or in any other way acting
+contrary to the precepts of the Animals’ Friend Society; learning to
+construe on the Hamiltonian system; furtively denuding the birch-rods of
+their “budding honours.” Cum multis aliis quæ nunc perscribere longum
+est.</p>
+
+<p>Gerunds are also changed into nouns adjective, as</p>
+
+<div class = "grammar">
+<p>Ad faciendos versus molestum est:</p>
+
+<p>It is a bore to make verses.</p>
+</div>
+
+<p>This being a self-evident proposition, we shall not enlarge upon
+it.</p>
+
+<p>The supine in um signifies actively, and follows a verb expressing
+motion to a place, as</p>
+
+<div class = "grammar">
+<p>Spectatum veniunt, veniunt spectentur ut ipsæ:</p>
+
+<p>They come to see, they come that they themselves may be seen.</p>
+</div>
+
+<p>So said, or sung the poet Ovid. Was there an opera at Rome in his
+time?</p>
+
+<p>The supine in u signifies passively, and follows nouns adjective,
+as</p>
+
+<span class = "pagenum">125</span>
+<div class = "grammar">
+<p>Quod olfactu fœdum est, idem est et esu turpe:</p>
+
+<p>That which is foul to be smelled, is also nasty to be eaten.</p>
+</div>
+
+<p>Except venison, onions, and cheese.</p>
+
+
+<h5>Nouns of time and Place.<br>
+Time.</h5>
+
+<p>Tempus&mdash;time. There is a story, mentioned (we quote from memory)
+by the learned Joe Miller; of a fellow who seeing “Tempus Fugit”
+inscribed upon a clock, took it for the name of the artificer.</p>
+
+<p>Persons who have lived a long <i>time</i> in the world, are generally
+accounted <i>sage</i>; and are sometimes considered to have had a good
+<i>seasoning</i>.</p>
+
+<p>Nouns which signify a part of time are put more commonly in the
+ablative case, as</p>
+
+<div class = "grammar">
+<p>Nemo mortalium omnibus horis sapit:</p>
+
+<p>No mortal man is wise at all hours.</p>
+</div>
+
+<p>The excuse of a philosopher for getting married.</p>
+
+<p>But nouns which signify the duration of time are commonly put in the
+accusative case, as</p>
+
+<div class = "grammar">
+<p>Pugna inter juvenem Curtium et Titum Sabinum tres horas
+perduravit.</p>
+
+<p>The fight between young Curtius and Sabine Titus lasted three
+hours.</p>
+</div>
+
+<p>It is an error to suppose that Roman mills were only water-mills and
+wind-mills. The above mill
+<span class = "pagenum">126</span>
+must have been rather a “winder” though, and must have cost the
+combatants much <i>pains</i>.</p>
+
+<p>We say also: in paucis diebus, in a few days: de die, by day, de
+nocte, by night,&nbsp;&amp;c.</p>
+
+<p>A jest upon the nouns of <i>Time</i> would, perhaps, be somewhat ill
+timed: we hope, however, to have <i>Space</i> for one presently.</p>
+
+
+<h5>The Space of a Place.</h5>
+
+<p>The space of a place is put in the accusative, and sometimes also in
+the ablative, as</p>
+
+<div class = "grammar">
+<p>Cæsar jam mille passus processerat, summâ diligentiâ.</p>
+
+<p>Cæsar had now advanced a mile with the greatest diligence&mdash;</p>
+</div>
+
+<p>not on the top of the vehicle so named, as a young gentleman was once
+flogged for saying.</p>
+
+<div class = "grammar">
+<p>Qui non abest a scholâ centenis millibus passuum, balatronem
+novi.</p>
+
+<p>I know a blackguard who is not absent a hundred miles from the
+school.</p>
+</div>
+
+<p>“Cantare et apponere” to sing and apply, is the maxim we would here
+inculcate on our youthful readers.</p>
+
+<p>Every verb admits a genitive case of the name of a city or town in
+which any thing takes place, so that it be of the first or second
+declension, and of the singular number, as</p>
+
+<div class = "grammar">
+<p>Quid Romæ faciam? mentiri nescio:</p>
+
+<p>What shall I do at Rome? I know not how to lie.</p>
+</div>
+
+<span class = "pagenum">127</span>
+<p>What a bare-faced perversion of the truth that cock and bull story is
+of Curtius jumping into the hole in the forum. How the Romans managed to
+get <i>credit</i> from any body but the tailors is to us a mystery.</p>
+
+<p>These genitive cases, humi, on the ground, domi, at home, militiæ, in
+war, belli, in war, follow the construction of proper names, as</p>
+
+<div class = "grammar">
+<p>Parvi sunt foris arma nisi est consilium domi:</p>
+
+<p>Arms are of little worth abroad unless there be wisdom at home.</p>
+</div>
+
+<p>Cicero must have said this with a prospective eye to Canada.</p>
+
+<p>But if the name of a city or town shall be of the plural number only,
+or of the third declension, it is put in the ablative case, as</p>
+
+<div class = "grammar">
+<p>Aiunt centum portas Thebis fuisse:</p>
+
+<p>They say there were an hundred gates at Thebes.</p>
+</div>
+
+<p>You needn’t believe it unless you like.</p>
+
+<div class = "grammar">
+<p>Egregia Tibure facta videnda sunt:</p>
+
+<p>Fine doings are to be seen at Tivoli.</p>
+</div>
+
+<p>The name of a place is often put after verbs signifying motion to a
+place in the accusative case without a preposition, as</p>
+
+<div class = "grammar">
+<p>Concessi Cantabrigiam ad capiendum ingenii cultum:</p>
+
+<p>I went to Cambridge to become a fast man.</p>
+</div>
+
+<p>After this manner we use domus, a house, and
+<span class = "pagenum">128</span>
+rus, the country, as Rus ire jussus sum, I&nbsp;was rusticated. Domum
+missus eram, I&nbsp;was sent home.</p>
+
+<p>Going <i>too fast</i> at Cambridge sometimes necessitates, in two
+senses, a&nbsp;dose of country air.</p>
+
+<p>The name of a place is sometimes added to verbs signifying motion
+from a place, in the ablative case without a proposition, as</p>
+
+<div class = "grammar">
+<p>Arbitror te Virginiâ veteri venisse:</p>
+
+<p>I reckon you’ve come from old Virginny.</p>
+</div>
+
+
+<h5>Verbs Impersonal.</h5>
+
+<p>Verbs impersonal have no nominative case, as</p>
+
+<div class = "grammar">
+<p>Scenas post tragicas multum juvat ire sub umbras:</p>
+
+<p>After a tragedy it is very pleasant to go under the
+<i>Shades</i>.</p>
+</div>
+
+<p>The worst of these “Shades” is, that people are now and then apt to
+get rather “too much in the sun” there.</p>
+
+<p>These impersonals, interest, it concerns, and refert, it concerns,
+are joined to any genitive cases, except these ablative cases feminine,
+meâ, tuâ, suâ, nostrâ, vestrâ, and cujâ, as</p>
+
+<div class = "grammar">
+<p>Interest magistratûs tueri insulsos, animadvertere in acres.</p>
+
+<p>It concerns the magistrate to defend the flats; to punish the
+sharps.</p>
+</div>
+
+<p>These genitive cases also, are added, tanti, of so much, quanti, of
+how much, magni, of much,
+<span class = "pagenum">129</span>
+parvi, of little, quanticunque, of how much soever, tantidem, of just so
+much; as</p>
+
+<div class = "grammar">
+<p>Tanti refert honesta agere;</p>
+
+<p>Of such consequence is it to do honest things.</p>
+</div>
+
+<p class = "figfloat">
+<img src = "images/pic129.png" width = "81" height = "106"
+alt = "judge in wig"></p>
+
+<p>By this course of conduct, you certainly render yourself worthy of
+the protection of the magistrate; although whether you thereby
+constitute yourself a flat or not, is perhaps a doubtful question. Much
+may be said on both sides. Dishonesty, it is true, may lead to being
+taken up; but then honesty often leads to being taken <i>in</i>. Yet
+honesty is said to be the best policy. Policy is a branch of wisdom, and
+“wisdom” they say “is in the <i>wig</i><ins class = "correction" title =
+"close quote missing">.”</ins> Certain <i>wigs</i> are retained at the
+<i>head</i>&mdash;of affairs, by a good deal of <i>policy</i>; perhaps
+the <i>best</i> they could adopt&mdash;a&nbsp;fact that throws
+considerable doubt on the truth of the old maxim.</p>
+
+<p>Impersonal verbs which are put acquisitively, require a dative case;
+but those which are put transitively an accusative, as&mdash;</p>
+
+<span class = "pagenum">130</span>
+<div class = "grammar">
+<p>A ministris nobis benefit:</p>
+
+<p>We enjoy blessings from Ministers.</p>
+</div>
+
+<p>For instance&mdash;No&mdash;We cannot think of any just at
+present.</p>
+
+<div class = "grammar">
+<p>Me juvat per lunam errare, et “Isabellam” cantare:</p>
+
+<p>I like to wander by moonlight, and sing “Isabelle.”</p>
+</div>
+
+<p>The connexion between love and moonlight is as interesting as it is
+certain. We shrewdly suspect that the said planet has more to do with
+the tender passion than lovers are aware of.</p>
+
+<p>But the preposition <i>ad</i> is peculiarly <i>ad</i>ded to these
+verbs&mdash;attinet, it belongs, pertinet, it pertains, spectat, it
+concerns, as</p>
+
+<div class = "grammar">
+<p>Spectat ad omnes bene vivere:</p>
+
+<p>It concerns all to live well&mdash;</p>
+</div>
+
+<p>When they can afford it.</p>
+
+<p>An accusative case with a genitive is put after these verbs
+impersonal&mdash;pœnitet, it repents, tædet, it wearies, miseret,
+miserescit, it pities, pudet, it shames, piget, it grieves,
+as&mdash;</p>
+
+<div class = "grammar">
+<p>“Nihil me pœnitet hujus nasi”&mdash;Trist: Shand:</p>
+
+<p>“My nose has been the making of me.”</p>
+</div>
+
+<p>A verb impersonal of the passive voice may be elegantly taken for
+each person of both numbers; that is to say, by virtue of a case added
+to it.</p>
+
+<p>Thus statur is used for sto, stas, stat, stamus,
+<span class = "pagenum">131</span>
+statis, stant. Statur a me; it is stood by me, that is, I stand; statur
+ab illis: it is stood by them, or they stand.</p>
+
+<p>King George the Fourth’s statue at King’s Cross is a <i>standing
+joke</i>.</p>
+
+<p class = "illustration">
+<img src = "images/pic131.png" width = "245" height = "417"
+alt = "statue on large pedestal"
+title = "King’s Cross / WINKLES’s / Steel and Copper Plate Manufactory">
+</p>
+
+
+<span class = "pagenum">132</span>
+<h5>The Construction of Participles.</h5>
+
+<p>Participles govern the cases of the verbs from which they are
+derived, as&mdash;</p>
+
+<div class = "verse">
+<p class = "indent2">&emsp;Duplices tendens ad sidera palmas,</p>
+<p>Talia voce refert:</p>
+</div>
+
+<p class = "grammar">
+Stretching forth his hands to heaven, he utters <i>such</i> things.</p>
+
+<p class = "figfloat">
+<img src = "images/pic132.png" width = "123" height = "217"
+alt = "(opera singer as described)"></p>
+
+<p>This reminds us of the Italian opera.</p>
+
+<p>A dative case is sometimes added to participles of the passive voice,
+especially when they end in dus, as&mdash;</p>
+
+<div class = "grammar">
+<p>Sollicito nasus rutilans metuendus amanti est:</p>
+
+<p>A fiery nose is to be feared by an anxious lover.</p>
+</div>
+
+<p>Participles, when they become nouns, require a genitive case,
+as&mdash;</p>
+
+<span class = "pagenum">133</span>
+<div class = "grammar">
+<p>Vectigalis appetens, linguæ profusus:</p>
+
+<p>Greedy of <i>rint</i>, lavish of blarney.</p>
+</div>
+
+<p>Exosus, hating, perosus, utterly hating, pertæsus, weary of,
+signifying actively, require an accusative case, as&mdash;</p>
+
+<div class = "grammar">
+<p>Philosophus exosus ad unam mulieres:</p>
+
+<p>A philosopher hating women in general, <i>i.e.</i> a Malthusian.</p>
+</div>
+
+<p>Exosus, hated, and perosus, hated to death, signifying passively, are
+read with a dative case, as</p>
+
+<div class = "grammar">
+<p>Comœdi sanctis exosi sunt:</p>
+
+<p>The comedians are hated by the saints.</p>
+</div>
+
+<p>We mean the spiritual Quixotes, or Knights of the Rueful Countenance.
+We “calculate” that they will be the greatest patrons of rail roads,
+considering their dislike to the <i>stage</i>.</p>
+
+<p>Natus, born, prognatus, born, satus, sprung, cretus, descended,
+creatus, produced, ortus, risen, editus, brought forth, require an
+ablative case, and often with a preposition, as&mdash;</p>
+
+<div class = "grammar">
+<p>Taffius, bonis prognatus parentibus, cerevisiam haud tenuem de sese
+existimat:</p>
+
+<p>Taffy, sprung of good parents, thinks no small beer of himself.</p>
+
+<p>De Britannis Antiquis se jactat editum:</p>
+
+<p>He boasts of being descended from the Ancient Britons.</p>
+</div>
+
+<span class = "pagenum">134</span>
+<p><i>Q.</i> Why is the eldest son of a King of England like a
+Leviathan?</p>
+
+<p><i>A.</i> Because he is the Prince of <i>Wales</i>.</p>
+
+
+<h5>The Construction of Adverbs.</h5>
+
+<p>En and ecce, adverbs of showing, are joined most commonly to a
+nominative case, to an accusative case but seldom, as</p>
+
+<div class = "grammar">
+<p>En Romanus: See the Roman (q. rum-un.)</p>
+
+<p>Ecce Corinthium: Behold the Corinthian.</p>
+</div>
+
+<p>Modern Corinthians, we fear, know but little Greek, except that of
+the Ægidiac, or St. Giles’s dialect.</p>
+
+<p class = "figfloat">
+<img src = "images/pic134.png" width = "277" height = "198"
+alt = "boys laughing at well-dressed boy"></p>
+
+<p>En and ecce, adverbs of upbraiding, are joined most commonly to an
+accusative case only, as&mdash;</p>
+
+<div class = "grammar">
+<p>En togam squamosam!</p>
+
+<p>Look at his scaly toga!</p>
+
+<p>Ecce caudam! &nbsp; Twig his tail!</p>
+</div>
+
+<span class = "pagenum">135</span>
+<p>Certain adverbs of time, place, and quantity, admit a genitive case,
+as</p>
+
+<div class = "grammar">
+<p>Ubi gentium est Quadra Russelliana?</p>
+
+<p>Where in the world is Russell Square?</p>
+</div>
+
+<p>We must confess that this question is <i>exquisitely</i> absurd.</p>
+
+<div class = "grammar">
+<p>Nihil tunc temporis amplius quam flere poteram:</p>
+
+<p>I could do nothing more at that time than weep.</p>
+</div>
+
+<p>Talking of weeping&mdash;how odd it is that an affectionate wife
+should cry when her husband is <i>transported</i> for life.</p>
+
+<div class = "plate">
+<p class = "illustration">
+<a name = "plate6" id = "plate6">&nbsp;</a>
+<img src = "images/plate6.png" width = "385" height = "449"
+alt = "small boy spouting in a chair"></p>
+
+<p class = "caption">
+DOMESTIC ELOCUTION<br>
+“MY NAME IS NORVAL ON THE GRAMPIAN HILLS”</p>
+</div>
+
+<div class = "grammar">
+<p>Satis eloquentiæ, sapientiæ parum:</p>
+
+<p>Eloquence enough, wisdom little enough.</p>
+</div>
+
+<p>This quotation applies very forcibly to domestic oratory as practised
+by small boys at the instigation of their mamma, for the
+<i>amusement</i> of visitors. Those on whom “little bird with boothom
+wed,” <ins class = "correction" title = "open quote missing">“</ins>deep
+<i>in</i> the windingths <i>of</i> a whale,” or “my name is Nawval,” and
+the like recitations are inflicted, have “satis eloquentiæ”&mdash;enough
+of eloquence, in all conscience; and we cannot but think that “sapientiæ
+parum,” “wisdom little enough” is displayed by all the other parties
+concerned.</p>
+
+<p>Some adverbs admit the cases of the nouns from which they are
+derived, as</p>
+
+<div class = "grammar">
+<p>Juvenis benevolus sibi inutiliter vivit:</p>
+
+<p>The good-natured young man lives unprofitably to himself&mdash;</p>
+</div>
+
+<span class = "pagenum">136</span>
+<p>Especially if he have a large circle of female acquaintance.</p>
+
+<p>These adverbs of diversity, aliter, otherwise, and secus, otherwise;
+and these two, ante, before, and post, after, are often joined to an
+ablative case, as&mdash;</p>
+
+<div class = "grammar">
+<p>Plure aliter. &nbsp; More t’other.</p>
+
+<p>Multo ante. &nbsp; Much before.</p>
+
+<p>Paulo post. &nbsp; Little behind.</p>
+</div>
+
+<p class = "figfloat">
+<img src = "images/pic136.png" width = "168" height = "217"
+alt = "large-bellied man with wife"></p>
+
+<p>Those who are much <i>before</i>, are guilty of a great
+<i>waste</i>&mdash;of time<ins class = "correction" title = "text has superfluous close quote">; </ins>and those who are little behind should
+make it up by a <i>bustle</i>.</p>
+
+<p>Instar, like or equal to, and ergo, for the sake of, being taken as
+adverbs, have a genitive case after them, as&mdash;</p>
+
+<span class = "pagenum">137</span>
+<div class = "verse">
+<p>Instar montis equum divina <ins class = "correction" title = "text reads ‘Paladis’">Palladis</ins> arte</p>
+<p>Ædificant:</p>
+</div>
+
+<p class = "grammar">
+By the divine assistance of Pallas they build a <ins class =
+"correction" title = "text reads ‘house’">horse</ins> as big as a
+mountain.</p>
+
+<p>This may appear incredible; yet the learned Munchausenius relates
+prodigies much more astonishing.</p>
+
+<div class = "grammar">
+<p>Mentitur Virgilius leporis ergo:</p>
+
+<p>Virgil tells lies for fun.</p>
+</div>
+
+<p>As may be sufficiently seen in the example before the last, and also
+in the sixth book of the Æneid, passim.</p>
+
+
+<h5>The Construction of Conjunctions.</h5>
+
+<p>Conjunctions copulative and disjunctive, couple like cases, moods,
+and tenses, as</p>
+
+<div class = "grammar">
+<p>Socrates docuit Xenophontem et Platonem geographiam, astronomiam, et
+rationem globorum:</p>
+
+<p>Socrates taught Xenophon and Plato geography, astronomy, and the use
+of the globes.</p>
+</div>
+
+<p><i>Q.</i> How may a waterman answer the polite interrogation “Who are
+you?” correctly, and designate at the same time, an educational
+institution.</p>
+
+<p><i>A.</i> By saying A-cad-am-I.</p>
+
+<p>The foregoing rule (not riddle) holds good, unless the reason of a
+different construction requires it should be otherwise, as</p>
+
+<div class = "grammar">
+<p>Emi librum centussi et pluris:</p>
+
+<p>I bought a book for a hundred pence, and more,</p>
+
+<p class = "center">
+“100<i>d.</i> are 8<i>s.</i> 4<i>d.</i>” &mdash;Walkinghame.</p>
+</div>
+
+<span class = "pagenum">138</span>
+<p>The conjunction, quam, than, is often understood after amplius, more,
+plus, more, and minus, less, as</p>
+
+<div class = "grammar">
+<p>Amplius sunt sex menses:</p>
+
+<p>There are more than six months.</p>
+</div>
+
+<p>For this interesting piece of information we are indebted to Cicero.
+The author to whom reference has just been made, has somewhere, if we
+mistake not, a&nbsp;similar observation. In thus <i>ushering</i> the
+<i>Tutor’s</i> Assistant into notice, we feel that we are citing a work
+of which it is impossible to make too comical mention.</p>
+
+<p>Thank goodness there are not more than six months in a half year!</p>
+
+
+<h5>To what Moods of Verbs certain Adverbs<br>
+and Conjunctions do agree.</h5>
+
+<p>Ne, an, num, whether put doubtfully or indefinitely, are joined to a
+subjunctive mood, as&mdash;</p>
+
+<div class = "grammar">
+<p>Nihil refert fecerisne an persuaseris:</p>
+
+<p>It matters nothing whether you have done it or persuaded to
+it&mdash;</p>
+</div>
+
+<p>as the school-master said when he got hold of the wrong end of the
+cane.</p>
+
+<p>Here it may be remarked&mdash;First, that the young gentlemen who
+play tricks with <i>tallow</i> are likely to get more <i>whacks</i> than
+they like on their fingers. Secondly&mdash;That a master whose hand is
+in <i>Grease</i> cannot be expected to be at the same time in
+<i>A-merry-key</i>.</p>
+
+<span class = "pagenum">139</span>
+<p>Dum, for dummodo, so that, and quousque, until, requires a
+subjunctive mood, as&mdash;</p>
+
+<div class = "grammar">
+<p>Dum felix sis, quid refert?</p>
+
+<p>What’s the odds, so long as you’re happy.</p>
+</div>
+
+<p>Qui, signifying the cause, requires a subjunctive mood, as</p>
+
+<div class = "grammar">
+<p>Stultus es qui Ovidio credas:</p>
+
+<p>You are a fool for believing Ovid.</p>
+</div>
+
+<p>Ut, for, postquam<ins class = "correction" title = ", missing">,
+</ins>after that, sicut, as, and quomodo, how, is joined to an
+indicative mood; but when it signifies quanquam, although<ins class =
+"correction" title = ", missing">, </ins>utpote, forasmuch as, or the
+final cause, to a subjunctive mood, as</p>
+
+<div class = "grammar">
+<p>Ut sumus in Ponto ter frigore constitit Ister:</p>
+
+<p>Since that we are in Pontus the Danube has stood frozen three
+times.</p>
+</div>
+
+<p>Were skating and sliding classical accomplishments? Ambition, we
+know, led many of the Romans to tread on <i>slippery</i> ground: many of
+them struck out new paths, but none (that we have heard of) ever struck
+out a slide. Imagine Cato or Seneca “coming the cobbler’s knock.”</p>
+
+<div class = "grammar">
+<p>Te oro, domine, ut exeam:</p>
+
+<p>Please, sir, let me go out.</p>
+</div>
+
+<p>Lastly, all words put indefinitely, such as are these, quis, who,
+quantus, how great, quotus, how many, require a subjunctive mood, as</p>
+
+<span class = "pagenum">140</span>
+<div class = "grammar">
+<p>Cave cui incurras, inepte:</p>
+
+<p>Mind who you run against, stupid.</p>
+</div>
+
+<p class = "illustration">
+<img src = "images/pic140a.png" width = "203" height = "208"
+alt = "two shabbily dressed Romans"></p>
+
+<p>Such may have been the speech of a Roman cabman. A very curious
+specimen of the <i>tessera</i>, or badge, worn on the breast by this
+description of persons, has lately been discovered at Herculaneum.</p>
+
+<p class = "illustration">
+<img src = "images/pic140b.png" width = "139" height = "192"
+alt = "badge"></p>
+
+
+<span class = "pagenum">141</span>
+<h5>The construction of Prepositions.</h5>
+
+<p>A preposition being understood, sometimes causes an ablative case to
+be added, as</p>
+
+<div class = "grammar">
+<p>Habeo pigneratorem loco avunculi; <i>i.e.</i> in loco:</p>
+
+<p>I esteem a pawnbroker in the place of an uncle: that is, <i>in
+loco</i>.</p>
+</div>
+
+<p>A preposition in composition sometimes governs the same case which it
+also governed out of composition, as</p>
+
+<div class = "grammar">
+<p>Jupiter Olympo Vulcanum calce exegit:</p>
+
+<p>Jupiter kicked Vulcan out of Olympus.</p>
+</div>
+
+<p>This was not only an ungentlemanly, but also an <i>ungodly</i> act on
+Jupiter’s part. Reasoning à posteriori, one would think it must have
+been very unpleasant to Vulcan.</p>
+
+<div class = "grammar">
+<p>Præteriit me in Quadrante insalutatum:</p>
+
+<p>He cut me in the Quadrant.</p>
+</div>
+
+<p>Verbs compounded with a, ab, de, e, ex, in, sometimes repeat the same
+prepositions with their case out of composition, and that elegantly,
+as</p>
+
+<div class = "grammar">
+<p>Abstinuerunt a vino:</p>
+
+<p>They abstained from wine.</p>
+</div>
+
+<p>This properly is an allusion to the Tiber-totallers. It should be
+remembered that tea was unknown in Rome, except as the accusative case
+of a pronoun.</p>
+
+<p>In, for, erga, towards, contra, against, ad, to, and supra, above,
+requires an accusative case, as</p>
+
+<span class = "pagenum">142</span>
+<div class = "verse">
+<p class = "center">
+Quietum</p>
+<p>Accipit in pueros animum mentemque benignam:</p>
+</div>
+
+<p class = "grammar">
+He admits kind thoughts and inclinations towards the boys.</p>
+
+<p>The master does&mdash;when he gives them a half holiday or a blow
+out. Mr. Squeers (vide Nicholas Nick: illustriss. Boz.) was in the habit
+of <i>making much</i> of the young gentlemen intrusted to his care.</p>
+
+<p>Sub, when it relates to time, is commonly joined to an accusative
+case, as</p>
+
+<div class = "grammar">
+<p>Sub idem tempus&mdash;Isaaculus trans maria deportatus est<ins class
+= "correction" title = ": missing">:&nbsp;</ins></p>
+
+<p>About the same time&mdash;Ikey was transported beyond the seas.</p>
+</div>
+
+<p>We say <i>beyond the seas</i>, lest it should be questioned whether
+Mr.&nbsp;I. was <i>transported</i> as a necessary or contingent
+consequence of cheating.</p>
+
+<p>Super, for, ultra, beyond, is put with an accusative case, for de,
+concerning, with an ablative case, as</p>
+
+<div class = "verse">
+<p class = "center">
+Super et Garamantas et Indos</p>
+<p>Proferet imperium:</p>
+</div>
+
+<p class = "grammar">
+He will extend the empire both beyond the Africans and the Indians.</p>
+
+<p>A wide <i>rule</i> expressed in poetical <i>measure</i>.</p>
+
+<div class = "grammar">
+<p>Quid de domesticis Peruviorum rebus censeas?</p>
+
+<p>What may be your opinion concerning the domestic economy of the
+Peruvians?</p>
+</div>
+
+<span class = "pagenum">143</span>
+<p>Tenus, as far as, is joined to an ablative case, both in the singular
+and plural number, as</p>
+
+<div class = "grammar">
+<p>Cervice, auribusque tenus Marius in luto inveniebatur:</p>
+
+<p>Marius was found up to his neck and ears in mud.</p>
+</div>
+
+<p>What a lark! or rather a mud lark. But tenus is joined to a genitive
+only in the plural, and it always follows its case, as</p>
+
+<p class = "grammar">
+Crurum tenus: &nbsp; up to the <i>legs</i>.</p>
+
+<p>Which it is very necessary to be at Epsom and Ascot.</p>
+
+
+<h5>The Construction of Interjections.</h5>
+
+<p>Interjections are often put without a case, as</p>
+
+<div class = "grammar">
+<p>Spem gregis, ah! silice in nudâ connixa reliquit:</p>
+
+<p>Having <ins class = "notation" title = "archaic word">yeaned</ins>,
+she left the hope of the flock, alas! upon the bare flint stones.</p>
+</div>
+
+<p>And exposed to the <i>steely</i>-hearted world, which, as an Irishman
+remarked, was a dangerous situation for <i>tinder</i> infancy. It must
+have been, to say the least, a&nbsp;most uncomfortable <i>berth</i>.</p>
+
+<p>O! of one exclaiming, is joined to a nominative, accusative, and
+vocative case, as</p>
+
+<p class = "grammar">
+O lex! Oh law! &nbsp; O alaudas<ins class = "correction" title = "text has ,">! </ins>Oh larks! &nbsp; Oh meum! Oh my! &nbsp; O&nbsp;care! Oh
+dear!</p>
+
+<p>We cannot find out what is Latin for oh Crikey!</p>
+
+<span class = "pagenum">141</span>
+<p>Heu! and proh! alas! are joined, sometimes to a nominative, sometimes
+to an accusative, and occasionally to a vocative case, as&mdash;Heu
+bellis! Lack-a-<i>daisy</i>. Heu diem! Lack-a-<i>day</i>. Proh Clamor!
+Oh <i>cry</i>! Proh deos pisciculosque! Oh, ye gods and little
+fishes!</p>
+
+<div class = "grammar">
+<p>Heu miserande puer!</p>
+
+<p>Oh, boy, to be pitied!</p>
+</div>
+
+<p>What boy is more to be pitied than a junior boy? The <i>Fagin</i>
+system described in Oliver Twist is nothing compared to that adopted in
+public schools. People may say what they will of the beneficial effect
+which it produces on the minds of those who are subjected to it&mdash;we
+contend that to breed a gentleman’s son up like a <i>tiger</i> is the
+readiest way to make a <i>beast</i> of him.</p>
+
+<p>Hei! and væ! alas, are joined to a dative case, as</p>
+
+<div class = "grammar">
+<p>Hei mihi quod nullis amor est medicabilis herbis:</p>
+
+<p>Woe is me that love is curable by no herbs.</p>
+</div>
+
+<div class = "plate">
+<p class = "illustration">
+<a name = "plate7" id = "plate7">&nbsp;</a>
+<img src = "images/plate7.png" width = "366" height = "541"
+alt = "boy tossed in a blanket"></p>
+
+<p class = "caption">
+HEU! MISERANDE PUER!</p>
+</div>
+
+<p>Ovid never would have said that, if he had smoked a cigar or chewed
+tobacco. The ancients believed that love might be excited by certain
+articles taken from the vegetable kingdom. Why then should it be
+considered impossible to allay the same feeling in a similar manner<ins
+class = "correction" title = "text has .">? </ins>Every bane has its
+corresponding antidote; if so, there may be physic even for a philter.
+And for the pangs which a <i>virgin</i> has
+<span class = "pagenum">145</span>
+inflicted, what remedy could be prescribed more reasonable than the
+<i>Virginian</i> weed;&mdash;besides, love generally ends in smoke.</p>
+
+<p class = "illustration">
+<img src = "images/pic145.png" width = "267" height = "340"
+alt = "man with feet on mantelpiece"></p>
+
+<p class = "caption">
+A CURE FOR THE HEARTACHE.</p>
+
+<div class = "verse">
+<p>Væ misero capiti, madefacto, sæpe fenestræ</p>
+<p>Imbribus immundis, Lydia cara, tuæ:</p>
+</div>
+
+<div class = "verse">
+<p>Woe to my wretched head, often wetted, dear</p>
+<p>Lydia, by the unclean showers of your window.</p>
+</div>
+
+<span class = "pagenum">146</span>
+<p>This would be a proper place for introducing a few remarks on the
+ancient mode of serenading; which we are prevented from doing by the
+very imperfect state of our present information on this interesting
+point. It is, however, pretty generally admitted that the Romans always
+took care to provide themselves with an umbrella on these occasions, and
+this for a reason which the above distich will have rendered
+sufficiently obvious. It appears to us that so salutary a precaution is
+well worthy of being sometimes adopted in these modern days&mdash;and
+with this hint we conclude the Syntax.</p>
+
+<hr class = "micro">
+
+<h4><a name = "prosody" id = "prosody">PROSODY.</a></h4>
+
+<div class = "verse">
+<p>All you that bards of note would be,</p>
+<p>Must study well your Prosody.</p>
+</div>
+
+<p>As Comparative Anatomy teaches what the sound of a cod-fish is; so
+Prosody teaches what is the sound of syllables.</p>
+
+<p>Sound and quantity mean the same thing; though how that fact is to be
+reconciled with the proverb, “great <i>cry</i> and little <i>wool</i>,”
+we do not know.</p>
+
+<p>Prosody is divided into three parts. Tone, Breathing, and Time. As to
+tone&mdash;boys are usually required to repeat it in a loud one, without
+stammering or drawling; and with as little breathing and time, or
+breathing-time, as possible.</p>
+
+<span class = "pagenum">147</span>
+<p>We shall leave tone to the consideration of pianoforte and
+fiddle-makers; and breathing to doctors and chemists, who can
+<i>analyze</i> it a great deal better than we can. In this place we
+think proper to treat only of Time.</p>
+
+<p>Now of Time a very great deal may be said, taking the word in all the
+senses in which it is capable of being used.</p>
+
+<p>In the first place, Time flies&mdash;but this we have had occasion to
+observe before; as also that Time is a very great eater.</p>
+
+<p>In the second, Time is a very ill-used personage; he is spent,
+wasted, lost, kicked down, and killed&mdash;the last as often as an
+Irishman is&mdash;but for all that he never complains.</p>
+
+<p>It is a question whether keeping Time, or losing Time, is the
+essential characteristic of dancing.</p>
+
+<p>Then we might expatiate largely about the value of Time, and of the
+propriety of taking him by the forelock&mdash;but for two reasons.</p>
+
+<p>One of them is, that all this has been said long ago; the other, that
+it is nothing at all to the purpose.</p>
+
+<p>We might also quote extensively from Dr. Culpeper’s Herbal, and from
+Linnæus and Jussieu; but the <i>time</i> we speak of, (although we hope
+it will be <i>twigged</i> by the reader,) is no <i>plant</i>;
+nevertheless it is a necessary ingredient in grammatical
+<i>stuffing</i>.</p>
+
+<span class = "pagenum">148</span>
+<p>Time in prosody is the measure of the pronouncing of a syllable.</p>
+
+<p>Like whist, it is divided into Long and Short. A long time is marked
+thus, as sūmēns, taking: a&nbsp;short time thus; as pĭlŭlă,
+a&nbsp;pill.</p>
+
+<p>A foot is the placing together of two or more syllables, according to
+the certain observation of their <i>time</i>, the organ of which should
+be well developed for that purpose.</p>
+
+<p>Ordinary feet are long feet, short feet, broad feet, splay feet, club
+feet, and bumble feet, to which may be added cloven feet in the case of
+certain animals, and an “old gentleman.”</p>
+
+<p>There are several kinds of Latin feet; here, however, we shall only
+notice spondees and dactyls.</p>
+
+<p>A spondee is a foot of two syllables, as īnfāns, an infant.</p>
+
+<p>A dactyl is a foot of three syllables, as āngĕlŭs, an angel,
+pōrcŭlŭs, a&nbsp;little pig.</p>
+
+<p>Scanning is measuring a verse as you are measured by your
+tailor&mdash;by the <i>foot</i>, according to <i>rule</i>. To scanning
+there belong the figures called Synalœpha, Ecthlipsis<ins class =
+"correction" title = ", missing">, </ins>Synæresis, Diæresis, and
+Cæsura.</p>
+
+<p>Synalœpha is the cutting off a vowel at the end of a word, before
+another at the beginning of the next; as</p>
+
+<span class = "pagenum">149</span>
+<div class = "grammar">
+<p>Ōcclūsīs ēvāsi ŏcŭlīs <ins class = "correction" title = "text reads ‘nāsōqŭe’">nāsōquĕ</ins> cruēntō:</p>
+
+<p>I came off with my eyes bunged up and a bloody nose.</p>
+</div>
+
+<p>We have here <i>knocked out an i</i> in evasi, on the strength of a
+synalœpha.</p>
+
+<p>But heu and o are never cut off&mdash;at least there are no cases on
+record in which this operation has been performed.</p>
+
+<p>Ecthlipsis is as often as the letter m is cut off with its vowel; the
+next word beginning with a vowel, as</p>
+
+<div class = "grammar">
+<p>Mōnstrum hōrrēndum īnfōrme īngēns&mdash;spectāvĭmŭs hōrtīs:</p>
+
+<p>We saw a horrible, ugly, great monster in the gardens.</p>
+</div>
+
+<p>If every <i>bear</i> and <i>boar</i> were kept in a den&mdash;what a
+fine world this would be.</p>
+
+<p>Synæresis is the contraction of two syllables into one, as in
+alvearia, pronounced alvaria.</p>
+
+<div class = "grammar">
+<p>Strāvĭt hŭmī dēmēns cōnfērta ālveārĭă Jūnō:</p>
+
+<p>Mad Juno threw the crowded beehives on the ground.</p>
+</div>
+
+<p>Hydrophobia occurring in a queen bee from the bite of a dog would be
+an interesting case to the faculty.</p>
+
+<p>Diæresis is the separation of one syllable into two, as evoluisse for
+evolvisse. Thus Ovid says, alluding probably to the <i>padding</i>
+system adopted by dandies and theatrical artists<ins class =
+"correction" title = "text has .">,&nbsp;</ins></p>
+
+<span class = "pagenum">150</span>
+<div class = "grammar">
+<p>Dēbŭĕrant fūsōs ēvŏlŭīssĕ sŭōs:</p>
+
+<p>They ought to have unwound their <i>spindles</i>.</p>
+</div>
+
+<p>Cæsura is when after a perfect foot (though not one like Taglioni’s),
+a&nbsp;short syllable is made long at the end of a word, as</p>
+
+<div class = "grammar">
+<p>Pēctŏrĭbūs ĭnhĭāns&mdash;mōllēs, ēn, dēsĕrĭt ālās:</p>
+
+<p>Intent upon the breasts (of the fowls) lo! he deserts the tender
+wings.</p>
+</div>
+
+
+<h5>Of the Kinds of Verses.</h5>
+
+<p>Should any one seek here for an account of every kind of verse used
+by the Latin poets, all we can say is&mdash;we wish he may get it. As it
+behoveth no one to be wiser than the law, so it behoveth not us to be
+wiser than the Eton Grammar.</p>
+
+<p>The verses which boys are commonly taught to make are hexameters and
+pentameters.</p>
+
+<p>An hexameter verse consists of six feet. As the ancient heroes were
+at least six feet high, this is probably the reason why it is also
+called an <i>heroic</i> verse.</p>
+
+<p>The fifth foot in this kind of verse should be a dactyl, the sixth a
+spondee; the other feet may be either dactyls or spondees; as</p>
+
+<div class = "grammar">
+<p>Ōbstāntī plŭvĭīs vēnīt cūm tēgmĭnĕ Sāmbō:</p>
+
+<p>Sambo came with his Macintosh.</p>
+</div>
+
+<p>The fifth foot also is sometimes a spondee, as</p>
+
+<span class = "pagenum">151</span>
+<div class = "grammar">
+<p><ins class = "correction" title = "text reads ‘Clāvigĕr’ with unmarked ‘i’">Clāvĭgĕr</ins> Ālcīdēs, māgnūm Jŏvĭs īncrēmēntūm.</p>
+
+<p>Hercules, king of clubs, great offspring of Jupiter.</p>
+</div>
+
+<p>The last syllable of every verse is a <i>common</i> affair.</p>
+
+<p>An elegiac, lack-a-daisical, or pentameter verse, consists of four
+feet and two long syllables, one of which is placed between the second
+and third foot, and the other at the end of the verse. The two first
+feet may be dactyls, spondees, or both; the two last are always dactyls,
+as</p>
+
+<div class = "grammar">
+<p>Rēs ēst <ins class = "correction" title = "text reads ‘īnfelīx’">īnfēlīx</ins>, plēnăquĕ frāudĭs ămōr:</p>
+
+<p>Love is an unlucky affair, and full of humbug.</p>
+</div>
+
+<p>We feel compelled, notwithstanding what has been before said, to make
+a few additions to what is contained in the Eton Grammar with respect to
+verses.</p>
+
+<p>The rhythm of Latin verses may be easily learned by practising (out
+of school), exercises on the principle of the examples
+following&mdash;</p>
+
+<div class = "verse">
+<p>Dūm dĭdlĕ, dī dūm, dūm dūm, dēedlĕdy, dēēdlĕ dĕ, dūm dum;</p>
+<p class = "indent">
+Dūm dĭdlĕ, dūm dum, dē, dēedlĕdy̆, dēedlĕdy̆, dūm.</p>
+</div>
+
+<p>N.B. The following familiar piece of poetry would not have been
+admitted into the Comic Latin Grammar, but that there being many various
+readings of it, we wished to transmit the right one to posterity.</p>
+
+<span class = "pagenum">152</span>
+<div class = "verse">
+<p>Patres conscripti&mdash;took a boat and went to Philippi.</p>
+<p>Trumpeter unus erat qui coatum scarlet habebat,</p>
+<p>Stormum surgebat, et boatum overset&ndash;ebat,</p>
+<p>Omnes drownerunt, quia swimaway non potuerunt,</p>
+<p>Excipe John Periwig tied up to the tail of a dead pig.</p>
+</div>
+
+<p>Here, also, this poetical curiosity may perhaps be properly
+introduced.</p>
+
+<div class = "verse">
+<p>Conturbabantur Constantinopolitani,</p>
+<p class = "indent">
+Innumerabilibus sollicitudinibus.</p>
+</div>
+
+<h5 class = "smallcaps">Of the Quantity of the <ins class = "notation"
+title = "i.e. non-final">first</ins> Syllable.</h5>
+
+<p>There is a river in Macedon and a river in Monmouth: in like manner
+there are positions in dancing and positions in Prosody.</p>
+
+<p>The following vowels are long by position.</p>
+
+<p>1. A vowel before two consonants, or before a double consonant in the
+same word&mdash;as pīnguis, fat, īngens, great<ins class = "correction"
+title = ", missing">, </ins>Ājax, the name of a hero.</p>
+
+<p>2. A vowel coming before one consonant at the end of a word, and
+another at the beginning of the next, as</p>
+
+<div class = "grammar">
+<p>Majōr sūm quām cui possīt tua virga nocere:</p>
+
+<p>I’m a bigger boy than your rod is able to hurt.</p>
+</div>
+
+<p>The syllables <i>jor</i>, <i>sum</i>, <i>quam</i>, and <i>sit</i>,
+are long by position.</p>
+
+<div class = "plate">
+<p class = "illustration">
+<a name = "plate8" id = "plate8">&nbsp;</a>
+<img src = "images/plate8.png" width = "533" height = "297"
+alt = "men in a boat"></p>
+
+<p class = "caption">
+PATRES CONSCRIPTI TOOK A BOAT AND WENT TO PHILIPPI<br>
+TRUMPETER UNUS ERAT QUI COATUM SCARLET HABEBAT.</p>
+</div>
+
+<span class = "pagenum">153</span>
+<p>3. Sometimes, but seldom, a short vowel at the end of a word placed
+before two consonants at the beginning of the next; as</p>
+
+<div class = "grammar">
+<p>Occultā spolia hi Croceo de Colle ferebant:</p>
+
+<p>These persons brought the secret spoils from Saffron Hill.</p>
+</div>
+
+<p>A <i>short</i> vowel before a mute, a liquid following, is rendered
+common, as in the word <i>patris</i>.</p>
+
+<div class = "grammar">
+<p>Sunt quibus ornatur Jenkins femoralia pātris:</p>
+
+<p>The breeches that Jenkins is rigged out in are his father’s.</p>
+</div>
+
+<p>A vowel before another is always short, as tŭa, thy, memorĭa,
+memory.</p>
+
+<p>Except the genitive cases of pronouns in ius, where the i is a common
+i, although alterĭus has always a short <i>i</i> and alīus a long
+<i>i</i>.</p>
+
+<p class = "figfloat">
+<img src = "images/pic153.png" width = "82" height = "165"
+alt = "Punch with large red nose"></p>
+
+<p>Except, likewise, those genitive and dative cases of the fifth
+declension where the vowel <i>e</i>, like Punch’s nose, is made long
+between two <i>i</i>’s, as faciēi, of a face.</p>
+
+<span class = "pagenum">154</span>
+<p>The syllable <i>fi</i> also in fīo is long, except e and r follow
+together, as fĭerem, fĭeri.</p>
+
+<div class = "grammar">
+<p>Fīent quæ “Fĭeri Facias” mandata vocantur:</p>
+
+<p>The writ which is called “Fieri Facias” will be made.</p>
+</div>
+
+<p>Fi. fa. is a legal instrument that deprives a poor man of his
+mattress that a rich one may lounge on his ottoman. Ca. Sa. is a similar
+benevolent contrivance for punishing misfortune as felony.</p>
+
+<p>Dīus, heavenly, has the first syllable long;&mdash;Diana, common: and
+so has the interjection Ohe!</p>
+
+<div class = "verse">
+<p>Thus there’s a common medium of connexion,</p>
+<p>Between a goddess and an interjection.</p>
+</div>
+
+<p>A vowel before another in Greek words is sometimes long, as</p>
+
+<div class = "grammar">
+<p>Cærula, Pīerides, sunt vobis tegmina crurum:</p>
+
+<p>Oh, Muses, your stockings are blue.</p>
+</div>
+
+<p>Also in Greek possessives, as</p>
+
+<div class = "grammar">
+<p>Somniculosa fuit, pinguisque Ænēia nutrix:</p>
+
+<p>Æneas’s nurse was sleepy and fat.</p>
+</div>
+
+<p>Æneas has often enough been represented in <i>arms</i>.</p>
+
+<div class = "verse">
+<p>In Latin mark, that every <ins class = "correction" title = "spelling unchanged: may be intentional for rhyme">dipthong</ins></p>
+<p>’S as long as any stage-coach whip-thong;</p>
+<p>Except before a vowel it goes,</p>
+<p>When ’tis as short as Elsler’s clothes.</p>
+</div>
+
+<p>Words derived from others are tarred with the same stick, that is,
+are assigned the same quantity as those which they are derived from,
+with some
+<span class = "pagenum">155</span>
+few exceptions, which we must trouble the student to fish for.</p>
+
+<p>Compounds follow the quantity of their simple words, as from lĕgo
+lĕgis, to read, comes perlĕgo, to read through.</p>
+
+<p>By the way, <i>reading</i> does not always induce <i>reading
+through</i>; though we hope it may in the case of the
+C.&nbsp;L.&nbsp;G.</p>
+
+<div class = "verse">
+<p>If to a preterperfect tense belong</p>
+<p>Two only syllables, the first is long;</p>
+<p>As vēni, vīdi, vīci, speech so cool.</p>
+<p>Which Cæsar made to illustrate our rule;</p>
+<p>To which we need not cite exceptions small.</p>
+<p>Look in your Gradus and you’ll find them all.</p>
+</div>
+
+<p>Consult also the Eton Grammar, and works of the poets, passim, as
+well for exceptions to the above as to the two following rules:</p>
+
+<p>1. Words that double the first syllable of the preterperfect tense
+have the first syllable short&mdash;as cĕcĭdī from
+cădŏ,&nbsp;&amp;c.</p>
+
+<div class = "grammar">
+<p>Fortis Higinbottom cĕcidit terramque mŏmordit:</p>
+
+<p>Brave Higinbottom fell and bit the ground.</p>
+</div>
+
+<p>2. A supine of two syllables has the first syllable long&mdash;</p>
+
+<div class = "grammar">
+<p>As vīsum lātum lōtum mōtum:</p>
+
+<p>And many more if we could quote ’em.</p>
+</div>
+
+
+<span class = "pagenum">156</span>
+<h5>Of the Quantity of the last Syllable.</h5>
+
+<p>We have had a poetical fit gradually growing upon us for some
+time&mdash;’tis of no use to resist&mdash;so here goes&mdash;</p>
+
+<div class = "verse">
+<p>Oh! Muse, thine aid afford to me,</p>
+<p>Inspire my Ideality;</p>
+<p>Thou who, benign, in days of yore,</p>
+<p>Didst heavenly inspiration pour</p>
+<p>On him, who luckily for us</p>
+<p>Sang Propria Quæ Maribus;</p>
+<p>Teach me to sound on quiv’ring lyre,</p>
+<p>Prosodial strains in notes of fire;</p>
+<p>Words’ ends shall be my theme sublime,</p>
+<p>Now first descanted on in rhyme.</p>
+
+<p class = "stanza indent">
+Come, little boys, attention lend,</p>
+<p>All words are long in a that end:</p>
+<p>(In proof of which I’ll bet a quart,)</p>
+<p>Excepting those which must be short&mdash;</p>
+<p>As pută, ită, posteă, quiă,</p>
+<p>Ejă, and every case in iă;</p>
+<p>Or <i>a</i>, save such as we must class</p>
+<p>With Grecian vocatives in as,</p>
+<p>And ablatives of first declension&mdash;</p>
+<p>Besides the aforesaid, we may mention</p>
+<p>Nouns numeral that end in ginta,</p>
+<p>Which common, as a bit of flint are.</p>
+
+<p class = "stanza indent">
+Some terminate in <i>b</i>, <i>d</i>, <i>t</i>;</p>
+<p>All these are short; but those in <i>c</i></p>
+<span class = "pagenum">157</span>
+<p>Form toes&mdash;I mean, form ends of feet</p>
+<p>As long&mdash;as long as Oxford Street.</p>
+<p>Though nĕc and donĕc every bard</p>
+<p>Hath written short as Hanway yard,</p>
+<p>Fac, hic, and hoc are common, though</p>
+<p>Th’ ablative hōc is long you know.</p>
+
+<p class = "stanza indent">
+Now “<i>e</i> finita” short are reckon’d,</p>
+<p>Like to a jiffey or a second,</p>
+<p>Though we must call the <i>Gradus</i> wrong,</p>
+<p>Or these, of fifth declension, long.</p>
+<p>As also particles that come</p>
+<p>In mode derivative therefrom.</p>
+<p>Long second persons singular</p>
+<p>Of second conjugation are,</p>
+<p>And monosyllables in <i>e</i>.</p>
+<p>Take, for example, mē, tē, sē,</p>
+<p>Then, too, adverbial adjectives</p>
+<p>Are long as rich old women’s lives&mdash;</p>
+<p>If from the second declination</p>
+<p>Of adjectives they’ve derivation:</p>
+<p>Pulchrē and doctē, are the kind</p>
+<p>Of adverbs that I have in mind.</p>
+<p>Fermē is long, and ferē also&mdash;</p>
+<p>Benĕ, and malĕ, not at all so.</p>
+<p>Lastly, each final <i>eta</i> Greek,</p>
+<p>Is long on all days of the week&mdash;</p>
+<p>To wit&mdash;(for thus we render nempe)</p>
+<p>Lethē, Anchisē, cetē, Tempē.</p>
+<span class = "pagenum">158</span>
+
+<p class = "stanza indent">
+Those words as long we classify</p>
+<p>Which end, like <i>egotists</i>, in <i>i</i>,</p>
+<p>Rememb’ring mihi, tibi, sibi</p>
+<p>Are common, so are ubi, ibi;</p>
+<p>Nisĭ is always short, and quasĭ’s</p>
+<p>Short also, so are certain cases</p>
+<p>In i&mdash;Greek vocatives and datives</p>
+<p>(At least if we may trust the natives;)</p>
+<p>Making their genitives in os,</p>
+<p>For instance&mdash;Phyllis, Phyllidos.</p>
+<p>(A name oft utter’d with a sigh,)</p>
+<p>Whereof the dative ends in ĭ.</p>
+
+<p class = "stanza indent">
+Words in <i>l</i> ending short are all,</p>
+<p>Save nīl for nihil, sāl, and sōl,</p>
+<p>And some few Hebrew words t’were well</p>
+<p>To cite; as Michaēl, Raphaēl.</p>
+
+<p class = "stanza indent">
+Your n’s are long, save forsităn</p>
+<p><ins class = "correction" title = "text reads ‘In̆’">Ĭn</ins>,
+tamĕn<ins class = "correction" title = ", missing">, </ins>attamĕn, and
+ăn</p>
+<p>Veruntamĕn and forsăn, which</p>
+<p>Are short as any tailor’s stitch;</p>
+<p>These, therefore, we except, and then</p>
+<p>Contractions “per apocopen”&mdash;</p>
+<p>As vidĕn’? mĕn’? and audĭn?&mdash;so in</p>
+<p>Exĭn’ and subĭn’, deĭn’, <ins class = "correction" title = "text reads ‘proĭ’n’">proĭn’</ins>.</p>
+<p><i>An</i>, from a nominative in <i>a</i></p>
+<p>Ending a word is short, they say,</p>
+<p>But every <i>an</i> for long must pass</p>
+<p>Derived from nominative in as.</p>
+<span class = "pagenum">159</span>
+<p>Nouns, too, in en are short whose finis</p>
+<p>Doth in the genitive make <i>inis</i>.</p>
+<p>And so are n’s that do <ins class = "correction" title = "text reads ‘dĕlight in’">delight ĭn</ins></p>
+<p>An <i>i</i> and <i>y</i>&mdash;Alexĭn, Ity̆n.</p>
+
+<p class = "stanza indent">
+Greek words are short I’d have you know,</p>
+<p>That end in <i>on</i> with little <i>o</i>,</p>
+<p>Common are terminating o’s,</p>
+<p>Cases oblique except from those,</p>
+<p>Adverbial adjectives as falsō</p>
+<p>Are long,&mdash;take tantō,&mdash;quantō also;</p>
+<p>Save mutuo, sedulo, and crebro.</p>
+<p>Common as vestment vending Hebrew.</p>
+<p>Modŏ and quomodŏ among</p>
+<p>Short o’s we rank&mdash;nor to be long.</p>
+<p>Nor citŏ, egŏ, duŏ; no nor</p>
+<p>Ambŏ and Homŏ ever prone are;</p>
+<p>But monosyllables in <i>o</i>,</p>
+<p>Are counted long. Example&mdash;stō.</p>
+<p>And omega, the whole world over,</p>
+<p>’S as long as ’tis from here to Dover.</p>
+
+<p class = "stanza indent">
+If <i>r</i> should chance a word to wind up,</p>
+<p>’Tis short in general, make your mind up;</p>
+<p>But fār, lār, nār, and vīr, and fūr</p>
+<p>Pār, compār, impār, dispār, cūr,</p>
+<p>As long must needs be cited here,</p>
+<p>With words from Greek that end in er;</p>
+<p>Though ’mong the Latins from this fate are</p>
+<p>These two exempted&mdash;patĕr, matĕr;</p>
+<span class = "pagenum">160</span>
+<p>Short in the final <i>er</i> we state <ins class = "correction" title
+= "apostrophe missing">’em</ins>,</p>
+<p>Namely, “auctoritate vatum.”</p>
+
+<p class = "stanza indent">
+Now, s, the Eton Grammar says,</p>
+<p>Ends words in just as many ways</p>
+<p>As there are vowels&mdash;five&mdash;as thus</p>
+<p>In order, <i>as</i>, <i>es</i>, <i>is</i>, <i>os</i>, <i>us</i>.</p>
+
+<p class = "stanza indent">
+As, in a general way appears</p>
+<p>Long unto all but <ins class = "correction" title = "apostrophe missing">asses’</ins> ears,</p>
+<p>But some Greek words take care to mark as</p>
+<p>Short,&mdash;for example&mdash;Pallăs, Arcăs&mdash;</p>
+<p>And nouns increasing plural sport</p>
+<p>An <i>as</i> accusative that’s short.</p>
+
+<p class = "stanza indent">
+Es in the main’s a long affair,</p>
+<p>Anchisēs, such, and patrēs are,</p>
+<p>Though of the third declension you</p>
+<p>As short such substantives must view,</p>
+<p>The genitives of which increase,</p>
+<p>Derived from nominatives in es,</p>
+<p>And have an accent short upon</p>
+<p>The syllable that’s last but one.</p>
+<p>As milĕs, segĕs, divĕs, (which</p>
+<p>Means what a Poet is n’t,)&mdash;rich:</p>
+<p>But pēs is long, with bipēs, tripēs,</p>
+<p>Like to a hermit munching dry pease.</p>
+<p>To these add Cerēs, Saturn’s cub,</p>
+<p>(Name of a goddess, and for grub</p>
+<p>The figure Metonymy through,)</p>
+<p>And ariēs, abiēs, pariēs, too.</p>
+<span class = "pagenum">161</span>
+<table class = "bracket">
+<tr>
+<td class = "bracket">
+<p>Sum with its compounds forming ĕs,</p>
+<p>Are short, join penĕs, if you please,</p>
+<p>Item Cyclopĕs Naiadĕs.</p>
+</td>
+</tr>
+</table>
+<p>Greek nominatives and plural neuters,</p>
+<p>For lists of which consult your tutors.</p>
+
+<p class = "stanza indent">
+Is, we call short, as Parĭs, tristĭs,</p>
+<p>Save all such words as mensīs, istīs.</p>
+<p>Plurals oblique that end in <i>is</i>,</p>
+<p>Adding thereto for quibus quīs.</p>
+<p>The <i>is</i> in Samnīs long by right is</p>
+<p>Because its genitive’s Samnītis<ins class = "correction" title =
+"text has .">, </ins></p>
+<p>Where you observe a lengthened state</p>
+<p>Of syllable penultimate.</p>
+<p>The same to all such words applies,</p>
+<p>And īs contracted, meaning <i>eis</i>,</p>
+<p>Long too,&mdash;and pray remember this</p>
+<p>Are monosyllables in <i>is</i>.</p>
+<p>Save ĭs the nominative pronoun,</p>
+<p>And <ins class = "correction" title = "text reads ‘qŭis’">quĭs</ins>,
+and bĭs, which last is no noun.</p>
+
+<p class = "stanza indent">
+When verbs by <i>is</i> concluded are,</p>
+<p>In second person singular;</p>
+<p>But in the plural <i>itis</i> make,</p>
+<p>The <i>is</i> is long, and no mistake&mdash;</p>
+<p>Provided always that the pe-</p>
+<p>Nultimate plural long shall be.</p>
+
+<p class = "stanza indent">
+Os, saving compŏs, impŏs, ŏs</p>
+<p>Is long&mdash;as honōs dominōs.</p>
+<span class = "pagenum">162</span>
+<p>The Greek omicron&nbsp;’s short, and that in</p>
+<p>All conscience must be so in Latin.</p>
+
+<p class = "stanza indent">
+Words should be short in <i>us</i>, unless</p>
+<p>Authority has laid a stress</p>
+<p>On the penultimate of any</p>
+<p>Word that increases in the geni-</p>
+<p>Tive case when us is long, the same</p>
+<p>Pronunciation nouns may claim&mdash;</p>
+<p>Declined like gradūs or like manūs</p>
+<p>Though here exceptions still detain us.</p>
+<p>The first case and the fifth are those</p>
+<p>Singular; short as monkey’s nose.</p>
+<p>Long are mūs, crūs, and thūs and sūs</p>
+<p>All monosyllables in ūs,</p>
+<p>And Grecian nouns by diphthong <i>ous</i>,</p>
+<p>Translated <i>us</i> by men of <i>nous</i>.</p>
+
+<p class = "stanza indent">
+Lastly, all words in <i>u</i> are long,</p>
+<p>And so we end our classic song.</p>
+</div>
+
+<p>And not our song only, but our work&mdash;the companion of our
+solitude&mdash;the object of our cares&mdash;for which alone we live,
+for which we consumed our midnight oil; and not only that, but also
+burnt a great deal of daylight.&mdash;Our work, we say, is
+ended&mdash;and such as it is we commit it to the world. Horace says
+Carm. Lib. iii, Ode XXX. (an ode which by some strange association of
+ideas, is always connected in our mind with the visionary image of a jug
+of ale,) “Exegi
+<span class = "pagenum">163</span>
+monumentum ære perennius,” I&nbsp;have perfected a work more durable
+than brass. Whether our production is characterized by the
+<i>durability</i> of that metal or not, is a question which we leave to
+the decision of posterity; we cannot, however, help thinking that,
+considering the boldness of our attempt, it possesses figuratively at
+least, something in common with the substance in question&mdash;and we
+would fain hope that that something does not consist in
+<i>hardness</i>.</p>
+
+<p>And now farewell to the reader&mdash;farewell, “a&nbsp;word that must
+be and hath been”&mdash;said a great many times when once would have
+been quite sufficient. We need not, therefore, repeat it; nor need we
+say how much we hope that we have amused, instructed him, and so forth;
+that being as much an understood thing to put at the end of a book, as
+“Love to papa, mamma, brothers and sisters,” in a holiday letter.</p>
+
+<p>Nothing, then, remains for us now to do, but to kick up our hat and
+cry</p>
+
+<h6>“ALL OVER.”</h6>
+
+<p>&nbsp;</p>
+
+<h5 class = "extended">FINIS.</h5>
+
+<p>&nbsp;</p>
+
+<span class = "pagenum">164</span>
+<h4><a name = "list" id = "list">LIST OF ETCHINGS.</a></h4>
+
+<table>
+<tr>
+<td class = "number"><a href = "#plate1">1.</a></td>
+<td>Vocative case (schoolmaster spatting a boy) <i>to face page</i></td>
+<td class = "number">2<i>2</i></td>
+</tr>
+<tr>
+<td class = "number"><a href = "#plate2">2.</a></td>
+<td>Schoolmaster beating a drum, and boys singing in ch<i>orus</i></td>
+<td class = "number"><i>52</i></td>
+</tr>
+<tr>
+<td class = "number"><a href = "#plate3">3.</a></td>
+<td>Ingenuas pugni didicisse fideliter artes (fight)</td>
+<td class = "number"><i>64</i></td>
+</tr>
+<tr>
+<td class = "number"><a href = "#plate4">4.</a></td>
+<td>Prometheus Vinctus (vagabond in the stocks)</td>
+<td class = "number">72</td>
+</tr>
+<tr>
+<td class = "number"><a href = "#plate5">5.</a></td>
+<td>Smelling a Pig (boys at supper in the bed room)</td>
+<td class = "number">74</td>
+</tr>
+<tr>
+<td class = "number"><a href = "#plate6">6.</a></td>
+<td>Domestic Oratory (small boy spouting in a chair)</td>
+<td class = "number">135</td>
+</tr>
+<tr>
+<td class = "number"><a href = "#plate7">7.</a></td>
+<td>Heu miserande Puer (boy tossed in a blanket)</td>
+<td class = "number">144</td>
+</tr>
+<tr>
+<td class = "number"><a href = "#plate8">8.</a></td>
+<td>Patres conscripti</td>
+<td class = "number">152</td>
+</tr>
+</table>
+
+
+<p class = "center smaller">COE, PRINTER, 27, OLD CHANGE, ST.
+<i>PAUL’S.</i></p>
+
+<p class = "mynote">
+Except for the words “to face page”, all text shown in <i>italics</i>
+was damaged in the original; content was supplied from elsewhere in the
+book.</p>
+
+</div>
+
+<div class = "pub_ads">
+
+<span class = "pagenum">ads<br>01</span>
+
+<a name = "ads" id = "ads">&nbsp;</a>
+
+<h3>CHARLES TILT’S<br>
+<span class = "smaller">LIST OF NEW AND POPULAR</span><br>
+<span class = "cursive">Books,</span><br>
+<span class = "smallest">FOR PRESENTS, THE DRAWING-ROOM TABLE,
+&amp;c.</span></h3>
+
+<p class = "double">&nbsp;</p>
+
+<h4>ELIZA COOK’S POETICAL WORKS;</h4>
+
+<h5>BEAUTIFULLY ILLUSTRATED EDITION.</h5>
+
+<p class = "center">
+Post 8vo, bound in cloth, 16<i>s.</i>; morocco elegant, 20<i>s.</i></p>
+
+<p>“Miss Cook is a writer of great promise. Her book contains a great
+number of lyrical and other poems, many of which are extremely
+beautiful.” &mdash;<i>United Service Gazette</i>.</p>
+
+<hr class = "tiny">
+
+<h4>A GIFT FROM FAIRY LAND;</h4>
+
+<h5>A SERIES OF FAIRY LEGENDS.</h5>
+
+<p class = "center">
+Profusely embellished with One Hundred fanciful and illustrative
+Etchings. Small 8vo, very neatly bound, price 12<i>s.</i></p>
+
+<hr class = "tiny">
+
+<h5>SIR WALTER SCOTT’S</h5>
+
+<h4>LADY OF THE LAKE.</h4>
+
+<h5>TILT’S BEAUTIFULLY ILLUSTRATED EDITION.</h5>
+
+<p class = "center">
+Foolscap 8vo, price 7<i>s.</i> cloth; 10<i>s.</i> 6<i>d.</i> morocco,
+very elegant.</p>
+
+<p class = "center">
+Also, same size and price,</p>
+
+<table>
+<tr>
+<td class = "center sideline">
+<span class = "sans"><ins class = "correction" title = "damaged text supplied from ad page 7">MAR</ins>MION;<br>
+<ins class = "correction" title = "as above">A TALE OF FL</ins>ODDEN
+FIELD.</span><br>
+<ins class = "correction" title = "as above">En</ins>gravings.</td>
+<td class = "center">
+<span class = "sans">LAY<br>
+OF THE LAST MINSTREL.</span><br>
+Twelve Engravings.</td>
+</tr>
+</table>
+
+<hr class = "tiny">
+
+<h5>FINDEN’S</h5>
+
+<h4>PORTS AND HARBOURS OF GREAT BRITAIN.</h4>
+
+<p class = "center">
+Fifty large Plates, engraved in the first style of art, from Drawings by
+<span class = "smallcaps">Harding</span>, <span class =
+"smallcaps">Balmer</span>, &amp;c. &amp;c. Morocco elegant, 1<i>l.</i>
+11<i>s.</i> 6<i>d.</i></p>
+
+<hr class = "tiny">
+
+<h5>FINDEN’S</h5>
+
+<h4>ILLUSTRATIONS OF THE BIBLE.</h4>
+
+<p class = "center">
+Ninety-six Views of the most interesting Places mentioned in the Old and
+New Testament, with Descriptions by the Rev. <span class =
+"smallcaps">T. Hartwell Horne</span>.</p>
+
+<p class = "center">
+Three vols, demy 8vo, morocco, 3<i>l.</i> 3<i>s.</i>; or in two vols,
+super-royal 8vo, neatly half-bound in morocco, gilt edges, 3<i>l.</i>
+10<i>s.</i>; morocco, 3<i>l.</i> 16<i>s.</i></p>
+
+<hr class = "tiny">
+
+<h5>FINDEN’S</h5>
+
+<h4>ILLUSTRATIONS OF LORD BYRON’S WORKS.</h4>
+
+<p class = "center">
+One Hundred and Twenty-six Plates in the highest style of art.</p>
+
+<p class = "center">
+In two vols, large 8vo, beautifully bound in morocco, 3<i>l.</i>
+3<i>s.</i></p>
+
+<hr class = "tiny">
+
+<h4>THE AUTHORS OF ENGLAND,</h4>
+
+<h5 class = "smallcaps">
+OR, BIOGRAPHICAL NOTICES OF MODERN LITERARY CHARACTERS.<br>
+By HENRY F. CHORLEY.</h5>
+
+<p class = "center">
+Fourteen splendid medallion Portraits. Imperial 4to, 1<i>l.</i>
+11<i>s.</i> 6<i>d.</i></p>
+
+<hr class = "mid">
+
+<span class = "pagenum">ads<br>02</span>
+
+<h3>NEW AND INTERESTING WORKS.</h3>
+
+<p class = "double">&nbsp;</p>
+
+<h4>THE POETS OF AMERICA;</h4>
+
+<h5>ILLUSTRATED BY ONE OF HER PAINTERS,</h5>
+
+<p class = "center">
+With many beautiful Embellishments engraved on Steel, in an entirely new
+style.</p>
+
+<p class = "center">
+Post 8vo, cloth, 14<i>s.</i>; morocco elegant, 18<i>s.</i></p>
+
+<hr class = "tiny">
+
+<h4>TRAVELS IN SOUTH-EASTERN ASIA;</h4>
+
+<h6>INCLUDING</h6>
+
+<h5>BURMAH, MALAYA, SIAM, CHINA, AND HINDUSTAN;</h5>
+
+<h6>WITH A FULL ACCOUNT OF THE</h6>
+
+<h5>MANNERS, CUSTOMS, AND COMMERCE OF THE BURMESE,
+&amp;c.&nbsp;&amp;c.</h5>
+
+<h5 class = "smallcaps">By HOWARD MALCOM.</h5>
+
+<p class = "center">
+Two volumes post 8vo, with a Map and many Illustrations, 16<i>s.</i>
+cloth.</p>
+
+<hr class = "tiny">
+
+<h4>THE LYRE; THE LAUREL;</h4>
+
+<h5>A CHOICE COLLECTION OF THE FUGITIVE POETRY OF THE<br>
+<ins class = "correction" title = "text reads ‘NINETEETH’">NINETEENTH</ins> CENTURY.</h5>
+
+<h6>NEATLY PRINTED BY WHITTINGHAM.</h6>
+
+<p class = "center">
+Each 4<i>s.</i> cloth; 6<i>s.</i> 6<i>d.</i> morocco.</p>
+
+<hr class = "tiny">
+
+<h4>TILT’S CABINET LIBRARY,</h4>
+
+<h5>BEAUTIFULLY PRINTED IN FOOLSCAP 8vo.</h5>
+
+<p class = "center">
+The following are now ready:&mdash;</p>
+
+<table>
+<tr><td>
+<p>1. <span class = "sans">JOHNSON’S LIVES OF THE POETS.</span> Many
+Portraits.</p>
+
+<p>2. <span class = "sans">BOSWELL’S LIFE OF JOHNSON.</span></p>
+
+<p>3. <span class = "sans">HERVEY’S MEDITATIONS.</span></p>
+
+<p>4. <span class = "sans">GOLDSMITH’S MISCELLANEOUS WORKS.</span></p>
+</td></tr>
+</table>
+
+<p class = "center">
+Each volume will contain a complete work of the Author, at an extremely
+moderate price; while care will be taken that the Edition shall be neat,
+correct, and elegant. Price 6<i>s.</i> cloth; 8<i>s.</i> 6<i>d.</i>
+morocco.</p>
+
+<hr class = "tiny">
+
+<h4>THE COMIC LATIN GRAMMAR;</h4>
+
+<h6>A NEW AND FACETIOUS INTRODUCTION TO THE</h6>
+
+<h5>LATIN TONGUE.</h5>
+
+<p class = "center">
+With numerous Illustrations. Crown 8vo, 8<i>s.</i> cloth.</p>
+
+<hr class = "mid">
+
+<span class = "pagenum">ads<br>03</span>
+
+<h3><span class = "cursive">Illustrated Works,</span><br>
+<span class = "smallest">WITH PLATES,<br>
+<b>ELABORATELY COLOURED,</b></span><br>
+<span class = "smaller">AFTER THE ORIGINAL PAINTINGS</span>.</h3>
+
+<hr class = "tiny">
+
+<p class = "firstline">
+1. <span class = "sans larger boldf">FINDEN’S TABLEAUX;</span> or <span
+class = "smallcaps">Prose</span>, <span class =
+"smallcaps">Poetry</span>, and <span class = "smallcaps">Art</span> for
+1840. Embellished in a new and unique style, 3<i>l.</i> 3<i>s.</i>; or
+plain, 2<i>l.</i> 2<i>s.</i></p>
+
+<p class = "firstline">
+2. <span class = "sans larger boldf">HEATH’S SHAKSPEARE GALLERY;</span>
+consisting of Forty-five Portraits of the Female Characters of
+Shakspeare’s Plays, from Drawings by <span class =
+"smallcaps">A.&nbsp;E. Chalon</span>, <span class =
+"smallcaps">R.&nbsp;A. Stephanoff</span>, <span class =
+"smallcaps">Bostock</span>, <span class = "smallcaps">Meadows</span>,
+&amp;c. 3<i>l.</i> 13<i>s.</i>. 6<i>d.</i>; or plain, 2<i>l.</i>
+2<i>s.</i></p>
+
+<p class = "firstline">
+3. <span class = "sans larger boldf">THE AGES OF FEMALE BEAUTY:</span>
+PICTORIAL ILLUSTRATIONS OF WOMAN’S LIFE, from Drawings by the most
+eminent Artists. With Prose and Poetical Illustrations, by <span class =
+"smallcaps">Barry Cornwall</span>, Mrs. <span class =
+"smallcaps">Norton</span>, Miss <span class = "smallcaps">Jane
+Porter</span>, &amp;c. 31<i>s.</i> 6<i>d.</i>; or plain, 21<i>s.</i></p>
+
+<p class = "firstline">
+4. <span class = "sans larger boldf">LE BYRON DES DAMES;</span> or,
+Portraits of the principal Female Characters in Lord Byron’s Poems.
+Containing Thirty-nine highly-finished Plates, each illustrated by
+Critical Remarks and Poetical Extracts. 3<i>l.</i>, or plain, 1<i>l.</i>
+11<i>s.</i> 6<i>d.</i></p>
+
+<p class = "firstline">
+5. <span class = "sans larger boldf">FLORA’S GEMS;</span> or, <span
+class = "smallcaps">The Treasures of the Parterre</span>. In Twelve
+splendid Groups of Flowers drawn and coloured by <span class =
+"smallcaps">James Andrews</span>. The Plates of this work are all
+coloured in the most finished style, so as to equal first-rate Drawings,
+and are accompanied with Poetical Illustrations. By <span class =
+"smallcaps">Louisa Twamley</span>. 2<i>l.</i> 2<i>s.</i></p>
+
+<p class = "firstline">
+6. <span class = "sans larger boldf">THE GALLERY OF THE GRACES.</span>
+Thirty-six Beautiful Female Heads, illustrating celebrated Passages in
+Modern British Poets, with accompanying Extracts. 3<i>l.</i>; or plain,
+31<i>s.</i> 6<i>d.</i></p>
+
+<p class = "firstline">
+7. <span class = "sans larger boldf">THE ROMANCE OF NATURE:</span> or,
+The Flower Seasons Illustrated. By <span class = "smallcaps">L.&nbsp;A.
+Twamley</span>. 3d edition, 8vo, 31<i>s.</i> 6<i>d.</i></p>
+
+<p>“This is a book of singular beauty and taste. Twenty-seven exquisite
+coloured drawings of favourite flowers are accompanied by graceful
+quotations from the various authors who have felt their ‘sweetest
+inspiration,’ and some charming original poems. Whether for tasteful
+decoration, originality, or grace, we have seen no superior to this most
+beautiful volume.” &mdash;Literary Gazette.</p>
+
+<p class = "firstline">
+8. <span class = "sans larger boldf">PEARLS OF THE EAST;</span> or
+Beauties from “LALLA ROOKH.” Twelve large-sized Portraits of the
+Principal Female Characters in this celebrated Poem. Designed by <span
+class = "smallcaps">Fanny Corbaux</span>. 2<i>l.</i> 12<i>s.</i>
+6<i>d.</i>; or printed with tint, 31<i>s.</i> 6<i>d.</i></p>
+
+<p class = "firstline">
+9. <span class = "sans larger boldf">HARDING’S PORTFOLIO.</span>&mdash;
+Twenty-four highly-finished Views, coloured under Mr. Harding’s
+directions. Imp. 4to, 31<i>s.</i> 6<i>d.</i>; or printed with tint,
+21<i>s.</i></p>
+
+<p class = "firstline">
+10. <span class = "sans larger boldf">OUR WILD FLOWERS:</span> a Popular
+and Descriptive Account of the Wild Flowers of England. By <span class =
+"smallcaps">L.&nbsp;A. Twamley</span>, Author of “The Romance of
+Nature.” Many Coloured Plates, 21<i>s.</i></p>
+
+<p>⁂ All the above works are <i>very handsomely bound and ornamented</i>
+at the prices mentioned, and have been expressly prepared for Presents,
+Souvenirs, the Drawing-Room Table,&nbsp;&amp;c.</p>
+
+<hr class = "mid">
+
+<span class = "pagenum">ads<br>04</span>
+
+<h3><span class = "smaller">POPULAR JUVENILE WORKS,</span><br>
+<span class = "smallest">JUST PUBLISHED.</span></h3>
+
+<p class = "double">&nbsp;</p>
+
+<h4>THE LITTLE FORGET-ME-NOT;</h4>
+
+<h5>A LOVE-TOKEN FOR CHILDREN.</h5>
+
+<p class = "center">
+Prettily illustrated with Twelve interesting Engravings. Handsomely
+bound, 2<i>s.</i> 6<i>d.</i>; or <i>with Coloured Plates</i>,
+4<i>s.</i></p>
+
+<hr class = "tiny">
+
+<p class = "center">
+Third Edition. Price 4<i>s.</i> neatly bound,</p>
+
+<h4>BINGLEY’S STORIES ABOUT DOGS;</h4>
+
+<h6>ILLUSTRATIVE OF THEIR INSTINCT, SAGACITY, AND FIDELITY.</h6>
+
+<p class = "center">
+With Plates by <span class = "smallcaps">Landseer</span>.</p>
+
+<hr class = "micro">
+
+<p class = "center">
+Also, same Size and Price,</p>
+
+<table>
+<tr>
+<td class = "sideline">
+<p class = "center">
+BINGLEY’S<br>
+<b>STORIES ABOUT HORSES</b></p>
+<p class = "center">
+BINGLEY’S<br>
+<b>STORIES ABOUT INSTINCT</b></p>
+</td>
+<td>
+<p class = "center">
+BINGLEY’S<br>
+<b>TALES ABOUT BIRDS</b></p>
+<p class = "center">
+BINGLEY’S<br>
+<b>TALES OF SHIPWRECKS</b></p>
+</td>
+</tr>
+</table>
+
+<hr class = "tiny">
+
+<h4>TILT’S HAND-BOOKS FOR CHILDREN;</h4>
+
+<p class = "center">
+Each containing 48 pretty Plates, price 1<i>s.</i> 6<i>d.</i> neatly
+bound.</p>
+
+<table>
+<tr>
+<td class = "center sideline">
+MRS. CHILD’S<br>
+<span class = "sans">LITTLE PICTURE BIBLE.</span>
+<hr class = "tiny">
+MRS. CHILD’S<br>
+<span class = "sans">LITTLE PICTURE TESTAMENT.</span>
+<hr class = "tiny">
+WILLIAMS’<br>
+<span class = "sans">ZOOLOGICAL GARDENS,</span><br>
+<span class = "smaller">
+REGENT’S PARK.</span>
+</td>
+<td class = "center">
+MAY’S LITTLE<br>
+<span class = "sans">BOOK OF BRITISH BIRDS.</span>
+<hr class = "tiny">
+MAY’S LITTLE<br>
+<span class = "sans">BOOK OF QUADRUPEDS.</span>
+<hr class = "tiny">
+WILLIAMS’ SURREY<br>
+<span class = "sans">ZOOLOGICAL GARDENS.</span>
+</td>
+</tr>
+</table>
+
+<p class = "center">
+Others in Preparation.</p>
+
+<hr class = "tiny">
+
+<h4>BIBLE QUADRUPEDS;</h4>
+
+<h5>THE NATURAL HISTORY OF THE ANIMALS MENTIONED IN SCRIPTURE.</h5>
+
+<p class = "center">
+With Sixteen Engravings, price 5<i>s.</i> neatly bound.</p>
+
+<hr class = "tiny">
+
+<h4>TALES OF ENTERPRISE,</h4>
+
+<h5>FOR THE AMUSEMENT OF YOUTH.</h5>
+
+<p class = "center">
+Four Steel Plates, 2<i>s.</i> 6<i>d.</i></p>
+
+<hr class = "tiny">
+
+<p class = "center">
+Price 1<i>s.</i> 6<i>d.</i> each, neatly bound,</p>
+
+<table>
+<tr>
+<td class = "center sideline">
+<span class = "sans">BOB THE TERRIER;</span><br>
+<span class = "smaller">OR,<br>
+MEMOIRS OF A DOG OF KNOWLEDGE.</span>
+</td>
+<td class = "center">
+<span class = "sans">DICK THE PONY;</span><br>
+<span class = "smaller">SUPPOSED TO BE WRITTEN BY<br>
+HIMSELF.</span>
+</td>
+</tr>
+</table>
+
+<hr class = "mid">
+
+<span class = "pagenum">ads<br>05</span>
+
+<h3><b>NEW AND POPULAR WORKS.</b></h3>
+
+<p class = "double">&nbsp;</p>
+
+<h4>PICTORIAL FRENCH DICTIONARY,</h4>
+
+<p class = "center">
+Illustrated with Seven Hundred and Sixty Characteristic Engravings on
+Wood. A large 8vo volume, 12<i>s.</i> cloth.</p>
+
+<hr class = "tiny">
+
+<h5>CHEAP EDITION.</h5>
+
+<h4>THE PILGRIMS OF THE RHINE.</h4>
+
+<h6>By Sir <span class = "smallcaps">E. <ins class = "correction" title
+= "unchanged">Lytton Bulwer</ins></span>,</h6>
+
+<p class = "center">
+Author of “<span class = "smallcaps">Pelham</span>,” “<span class =
+"smallcaps">Eugene Aram</span>,” &amp;c. With Twenty-seven Engravings,
+from Drawings by McClise, Roberts, &amp;c.&nbsp;&amp;c.</p>
+
+<p class = "center">
+In medium 8vo, uniform with Campbell, Rogers, &amp;c. <i>Nearly
+ready.</i></p>
+
+<hr class = "tiny">
+
+<h4>MEANS AND ENDS;</h4>
+
+<p class = "center">
+Or <span class = "smallcaps">Self-Training</span>, by <span class =
+"smallcaps">Miss Sedgwick</span>, author of “<span class =
+"smallcaps">Hope Leslie</span>,”&nbsp;&amp;c.</p>
+
+<p class = "center">
+18mo, 3<i>s.</i> 6<i>d.</i> cloth.</p>
+
+<hr class = "tiny">
+
+<h4>LACONICS;</h4>
+
+<h5>OR THE BEST WORDS OF THE BEST AUTHORS.</h5>
+
+<p class = "center">
+Three volumes, embellished with Thirty small Portraits,</p>
+
+<p class = "center">
+<i>New and very cheap Edition, price 8s., cloth.</i></p>
+
+<p>“There is a world of wit and wisdom in these three little volumes.”
+&mdash;<i>Lit. Gaz.</i></p>
+
+<hr class = "tiny">
+
+<h4>ILLUSTRATIONS OF THE BIBLE.</h4>
+
+<h5 class = "smallcaps">From the Monuments of Egypt, by W. C. Taylor,
+LL.D.,</h5>
+
+<p class = "center">
+Ninety-Three Engravings, price 6<i>s.</i> 6<i>d.</i>, cloth.</p>
+
+<hr class = "tiny">
+
+<h4>THE REDEEMER,</h4>
+
+<h5>A POEM,</h5>
+
+<p class = "center">
+By <span class = "smallcaps">William Howorth</span>, author of the
+“<span class = "smallcaps">Cry of the Poor</span>.”</p>
+
+<p class = "center">
+Octavo, 8<i>s.</i>, cloth.</p>
+
+<p>“We may venture to predict that this Poem is not doomed to sink
+unnoticed, but will be hailed with a very wide share of popularity, as
+soon as its quality is known by a religious public.” &mdash;<i>Court
+Magazine</i>.</p>
+
+<hr class = "mid">
+
+<span class = "pagenum">ads<br>06</span>
+
+<h3><b>TILT’S MINIATURE CLASSICS.</b></h3>
+
+<p class = "double">&nbsp;</p>
+
+<h5>A CHOICE COLLECTION OF THE WORKS OF THE BEST AUTHORS, COMPLETE,</h5>
+
+<h4>IN HANDSOME SATIN-WOOD BOOK-CASE,</h4>
+
+<p class = "center">
+<i>With Glass Door, and Lock and Key.</i></p>
+
+<p>Each volume of this admirable series of Standard Works is printed on
+the finest paper, and is illustrated with an elegant Frontispiece. The
+binding is executed in a superior manner, very tastefully
+ornamented.</p>
+
+<table class = "nospace">
+<tr>
+<td>The series,</td>
+<td>bound</td>
+<td>in embossed cloth</td>
+<td> &nbsp; </td>
+<td class = "number">£5</td>
+<td>10<i>s.</i></td>
+</tr>
+<tr>
+<td>Ditto</td>
+<td>ditto</td>
+<td>in silk</td>
+<td> &nbsp; </td>
+<td class = "number">8</td>
+<td>&nbsp; 0</td>
+</tr>
+<tr>
+<td>Ditto</td>
+<td></td>
+<td>in morocco, very elegant</td>
+<td> &nbsp; </td>
+<td class = "number">11</td>
+<td>&nbsp; 0</td>
+</tr>
+</table>
+
+<h4>THE BOOK-CASE ALONE, 24s.</h4>
+
+<p class = "center">
+Any work may be purchased separately. The prices per volume
+are:&mdash;</p>
+
+<table class = "nospace">
+<tr>
+<td>Ornamented cloth, gilt edges</td>
+<td> &nbsp; </td>
+<td>1<i>s.</i></td>
+<td>6<i>d.</i></td>
+</tr>
+<tr>
+<td>Prettily bound in silk</td>
+<td> &nbsp; </td>
+<td>2</td>
+<td>0</td>
+</tr>
+<tr>
+<td>Very handsome in Morocco</td>
+<td> &nbsp; </td>
+<td>3</td>
+<td>0</td>
+</tr>
+</table>
+
+<p class = "center">
+<i>Those to which a star is prefixed, being much thicker than the
+others, are Sixpence per Volume extra.</i></p>
+
+<table class = "nospace">
+<tr>
+<td></td>
+<td>BACON’S ESSAYS, Moral and Economical.</td>
+</tr>
+<tr>
+<td></td>
+<td>BEATTIE’S MINSTREL, a Poem.</td>
+</tr>
+<tr>
+<td></td>
+<td>CHANNING’S ESSAYS. 2 vols.</td>
+</tr>
+<tr>
+<td></td>
+<td>CHAPONE’S LETTERS ON THE MIND.</td>
+</tr>
+<tr>
+<td></td>
+<td>COLERIDGE’S ANCIENT MARINER, &amp;c.</td>
+</tr>
+<tr>
+<td></td>
+<td>COTTIN’S ELIZABETH, OR THE EXILES OF SIBERIA.</td>
+</tr>
+<tr>
+<td>*</td>
+<td>COWPER’S POEMS. 2 vols.</td>
+</tr>
+<tr>
+<td></td>
+<td>FALCONER’S SHIPWRECK.</td>
+</tr>
+<tr>
+<td></td>
+<td>FENELON’S REFLECTIONS AND THOUGHTS.</td>
+</tr>
+<tr>
+<td>*</td>
+<td>GEMS OF ANECDOTE. Original and Selected.</td>
+</tr>
+<tr>
+<td>*</td>
+<td>GEMS OF WIT AND HUMOUR.</td>
+</tr>
+<tr>
+<td>*</td>
+<td>GEMS FROM AMERICAN POETS.</td>
+</tr>
+<tr>
+<td>*</td>
+<td>GEMS OF AMERICAN WIT AND ANECDOTE.</td>
+</tr>
+<tr>
+<td>*</td>
+<td>GEMS OF BRITISH POETS&mdash;Chaucer to Goldsmith.</td>
+</tr>
+<tr>
+<td>*</td>
+<td><span class = "invisible">GEMS OF BRITISH
+POETS</span>&mdash;Falconer to Campbell.</td>
+</tr>
+<tr>
+<td>*</td>
+<td><span class = "invisible">GEMS OF BRITISH POETS</span>&mdash;Living
+Authors.</td>
+</tr>
+<tr>
+<td>*</td>
+<td><span class = "invisible">GEMS OF BRITISH
+POETS</span>&mdash;Sacred.</td>
+</tr>
+<tr>
+<td></td>
+<td>GILES’S GUIDE TO DOMESTIC HAPPINESS.</td>
+</tr>
+<tr>
+<td>*</td>
+<td>GOLDSMITH’S VICAR OF WAKEFIELD.</td>
+</tr>
+<tr>
+<td></td>
+<td>GOLDSMITH’S ESSAYS.</td>
+</tr>
+<tr>
+<td></td>
+<td>GOLDSMITH’S POETICAL WORKS.</td>
+</tr>
+<tr>
+<td></td>
+<td>GRAY’S POETICAL WORKS.</td>
+</tr>
+<tr>
+<td></td>
+<td><span class = "pagenum">ads<br>07</span>
+GREGORY’S LEGACY TO HIS DAUGHTERS.</td>
+</tr>
+<tr>
+<td>*</td>
+<td>HAMILTON’S COTTAGERS OF GLENBURNIE.</td>
+</tr>
+<tr>
+<td>*</td>
+<td>HAMILTON’S LETTERS ON EDUCATION. 2 vols.</td>
+</tr>
+<tr>
+<td></td>
+<td>LAMB’S TALES FROM SHAKSPEARE. 2 vols.</td>
+</tr>
+<tr>
+<td></td>
+<td><span class = "invisible">LAMB’S</span> ROSAMUND GRAY, a Tale.</td>
+</tr>
+<tr>
+<td>*</td>
+<td>IRVING’S ESSAYS AND SKETCHES.</td>
+</tr>
+<tr>
+<td></td>
+<td>JOHNSON’S RASSELAS, Prince of Abyssinia.</td>
+</tr>
+<tr>
+<td></td>
+<td>LEWIS’S TALES OF WONDER.</td>
+</tr>
+<tr>
+<td></td>
+<td>MASON’S TREATISE ON SELF KNOWLEDGE.</td>
+</tr>
+<tr>
+<td></td>
+<td>MILTON’S PARADISE LOST. 2 vols.</td>
+</tr>
+<tr>
+<td>*</td>
+<td>MORE’S CŒLEBS IN SEARCH OF A WIFE. 2 vols.</td>
+</tr>
+<tr>
+<td></td>
+<td>MORE’S PRACTICAL PIETY. 2 vols.</td>
+</tr>
+<tr>
+<td></td>
+<td>PURE GOLD FROM THE RIVERS OF WISDOM.</td>
+</tr>
+<tr>
+<td>*</td>
+<td>SACRED HARP.&mdash;A Collection of Sacred Poetry.</td>
+</tr>
+<tr>
+<td></td>
+<td>ST. PIERRE’S PAUL AND VIRGINIA.</td>
+</tr>
+<tr>
+<td></td>
+<td>SCOTT’S BALLADS AND LYRICAL PIECES.</td>
+</tr>
+<tr>
+<td>*</td>
+<td>SCOTT’S LADY OF THE LAKE, a Poem.</td>
+</tr>
+<tr>
+<td></td>
+<td>SCOTT’S LAY OF THE LAST MINSTREL.</td>
+</tr>
+<tr>
+<td>*</td>
+<td>SCOTT’S MARMION, a Tale of Flodden Field.</td>
+</tr>
+<tr>
+<td>*</td>
+<td>SHAKSPEARE’S WORKS. 8 vols., 53 Plates.</td>
+</tr>
+<tr>
+<td>*</td>
+<td>GEMS FROM SHAKSPEARE.</td>
+</tr>
+<tr>
+<td></td>
+<td>THOMSON’S SEASONS.</td>
+</tr>
+<tr>
+<td></td>
+<td>TALBOT’S REFLECTIONS AND ESSAYS.</td>
+</tr>
+<tr>
+<td></td>
+<td>TOKEN OF AFFECTION.</td>
+</tr>
+<tr>
+<td></td>
+<td><span class = "invisible">TOKEN</span> OF FRIENDSHIP.</td>
+</tr>
+<tr>
+<td></td>
+<td><span class = "invisible">TOKEN</span> OF REMEMBRANCE.</td>
+</tr>
+<tr>
+<td></td>
+<td>WALTON’S COMPLETE ANGLER. 2 vols.</td>
+</tr>
+<tr>
+<td></td>
+<td>WARWICK’S SPARE MINUTES.</td>
+</tr>
+<tr>
+<td></td>
+<td>YOUNG’S NIGHT THOUGHTS. 2 vols.</td>
+</tr>
+</table>
+
+<hr class = "tiny">
+
+<p class = "center">
+<i>Morocco Case, with Glass Door, holding Ten or Twelve Volumes, neatly
+ornamented, Price&nbsp;6</i>s.<i></i></p>
+
+<p class = "center">
+As there are several imitations of this beautiful series, it is
+necessary to specify</p>
+
+<h5 class = "largest"><b>“TILT’S EDITION.”</b></h5>
+
+<hr class = "tiny">
+
+<h6>ALSO, UNIFORM IN SIZE,</h6>
+
+<h4>SCOTT’S POETICAL WORKS,</h4>
+
+<h6>COMPRISING</h6>
+
+<p class = "center">
+<span class = "smallcaps">Lady of the Lake</span>, <span class =
+"smallcaps">Marmion</span>, <span class = "smallcaps">Lay of the Last
+Minstrel</span>, <span class = "smallcaps">Eve of St. John</span>, <span
+class = "smallcaps">Glenfinlas</span>, and other romantic Ballads; very
+tastefully bound in Three miniature Volumes,</p>
+
+<h5 class = "extended">WITH ILLUMINATED TITLE-PAGES.</h5>
+
+<p class = "center">
+Cloth, 7<i>s.</i> 6<i>d.</i>; silk, 9<i>s.</i>; morocco, 12<i>s.</i></p>
+
+
+<hr class = "mid">
+
+<span class = "pagenum">ads<br>08</span>
+
+<h3><b>GEORGE CRUIKSHANK’S WORKS.</b></h3>
+
+<p class = "double">&nbsp;</p>
+
+<h4>THE COMIC ALMANACK</h4>
+
+<p class = "center">
+For Six Years. Neatly bound, in Two vols, 17<i>s.</i> Containing
+Seventy-two large Plates on steel and many hundred Woodcuts.</p>
+
+<p class = "center">
+⁂ Any year separately may be had, price 2<i>s.</i> 6<i>d.</i></p>
+
+<hr class = "tiny">
+
+<h4>THE LOVING BALLAD OF LORD BATEMAN,</h4>
+
+<p class = "center">
+With Twelve Humorous Plates, neatly bound in cloth, Price 2<i>s.</i></p>
+
+<hr class = "tiny">
+
+<h4>MY SKETCH BOOK;</h4>
+
+<p class = "center">
+Containing Two Hundred Groups. Cloth, 15<i>s.</i> plain; 21<i>s.</i>
+coloured.</p>
+
+<p class = "center">
+⁂ The Work may also be had in Numbers, each containing Four Sheets of
+Plates, 2<i>s.</i> 6<i>d.</i> plain; 3<i>s.</i> 6<i>d.</i> coloured.
+&mdash;Nine Numbers have appeared.</p>
+
+<hr class = "tiny">
+
+<h4>MORE HINTS ON ETIQUETTE,</h4>
+
+<p class = "center">
+With Humorous Cuts. 2<i>s.</i> 6<i>d.</i></p>
+
+<hr class = "tiny">
+
+<h4>THE COMIC ALPHABET:</h4>
+
+<p class = "center">
+24 Plates. Done up on a novel and ingenious plan. 2<i>s.</i> 6<i>d.</i>
+plain; 4<i>s.</i> coloured.</p>
+
+<hr class = "tiny">
+
+<h4>SCRAPS AND SKETCHES:</h4>
+
+<h5>IN FOUR PARTS.</h5>
+
+<h4>ILLUSTRATIONS OF PHRENOLOGY.</h4>
+
+<h4>ILLUSTRATIONS OF TIME.</h4>
+
+<p class = "center">
+8<i>s.</i> each, plain; 12<i>s.</i> coloured.</p>
+
+<hr class = "tiny">
+
+<h4>DEMONOLOGY AND WITCHCRAFT;</h4>
+
+<p class = "center">
+In Twelve Plates. 2<i>s.</i> sewed.</p>
+
+<hr class = "tiny">
+
+<h4>ILLUSTRATIONS OF THE ENGLISH NOVELISTS;</h4>
+
+<p>Containing Humorous Scenes from Humphrey Clinker, Roderick Random,
+Peregrine Pickle, Tom Jones, Joseph Andrews, Vicar of Wakefield, &amp;c.
+&amp;c. Forty-one Plates, with Descriptive Extracts. 7<i>s.</i>
+cloth.</p>
+
+<hr class = "tiny">
+
+<h4>THE BEE AND THE WASP;</h4>
+
+<p class = "center">
+A Comic Tale. Four Plates, 1<i>s.</i></p>
+
+<hr class = "tiny">
+
+<h4>HOOD’S EPPING HUNT.</h4>
+
+<p class = "center">
+Six Engravings, by <span class = "smallcaps">G. Cruikshank</span>. New
+and Cheap Edition, price 1<i>s.</i> 6<i>d.</i></p>
+
+<hr class = "tiny">
+
+<h4>COWPER’S JOHN GILPIN;</h4>
+
+<p class = "center">
+With Six Engravings. Price 1<i>s.</i></p>
+
+<hr class = "mid">
+
+<span class = "pagenum">ads<br>09</span>
+
+<h3><b>USEFUL WORKS.</b></h3>
+
+<p class = "double">&nbsp;</p>
+
+<p class = "center">
+In a handsome volume, foolscap 8vo, price 5<i>s.</i>,</p>
+
+<h4>THE YEAR-BOOK OF FACTS, 1840.</h4>
+
+<p class = "center">
+Exhibiting the most important Discoveries and Improvements in Science
+and Art of the present Year, in</p>
+
+<table>
+<tr>
+<td class = "sideline">
+MECHANICS.<br>
+NATURAL PHILOSOPHY.<br>
+ELECTRICITY.<br>
+CHEMISTRY.<br>
+ZOOLOGY.<br>
+BOTANY.
+</td>
+<td>
+GEOLOGY.<br>
+MINERALOGY.<br>
+ASTRONOMY.<br>
+METEOROLOGY.<br>
+GEOGRAPHY.<br>
+ETC. ETC.<br>
+</td>
+</tr>
+</table>
+
+<p class = "center">
+By the Editor of “The Arcana of Science.”</p>
+
+<p>“To bring <i>Facts</i> together, so as to enable us to grasp with new
+and gr<ins class = "correction" title = "damaged text">eater</ins>
+generalisations.” &mdash;<i>Professor Sedgwick</i>.</p>
+
+<p class = "center">
+(<i>Will appear early in January.</i>)</p>
+
+<hr class = "tiny">
+
+<h4>GLOSSARY OF ARCHITECTURE;</h4>
+
+<p class = "center">
+Containing Explanations of the Terms used in Grecian, Roman, Italian,
+and Gothic Architecture. Exemplified by many hundred Woodcuts. Third
+edition, greatly enlarged.</p>
+
+<hr class = "tiny">
+
+<h5>STUART’S ATHENS.</h5>
+
+<h4>THE ANTIQUITIES OF ATHENS,</h4>
+
+<h5>AND OTHER MONUMENTS OF GREECE;</h5>
+
+<p class = "center">
+Abridged from the great work of <span class = "smallcaps">Stuart</span>
+and <span class = "smallcaps">Revett</span>, with accurately reduced
+copies of Seventy of the Plates, forming a valuable Introduction to
+Grecian Architecture, price 10<i>s.</i> 6<i>d.</i> bound in cloth.</p>
+
+<hr class = "tiny">
+
+<h4>ETIQUETTE FOR THE LADIES;</h4>
+
+<p class = "center">
+Eighty Maxims on Dress, Manners, and Accomplishments. Seventeenth
+Edition. Price 1<i>s.</i> cloth, lettered in gold.</p>
+
+<hr class = "tiny">
+
+<h4>ETIQUETTE FOR GENTLEMEN;</h4>
+
+<p class = "center">
+With Hints on the Art of Conversation. Tenth Edition. Price 1<i>s.</i>
+cloth, lettered.</p>
+
+<hr class = "tiny">
+
+<h4>THE HAND-BOOK OF PHRENOLOGY;</h4>
+
+<p class = "center">
+Familiarly explaining its Principles, with a Map of the Organs, and
+Instructions on the best mode of Study. Price 1<i>s.</i> cloth.</p>
+
+<hr class = "tiny">
+
+<h4>700 DOMESTIC HINTS</h4>
+
+<h5>IN EVERY BRANCH OF FAMILY MANAGEMENT.</h5>
+
+<p class = "center">
+By <span class = "smallcaps">A Lady</span>. Foolscap 8vo, 2<i>s.</i>
+6<i>d.</i> cloth.</p>
+
+<hr class = "tiny">
+
+<h4>A TREATISE ON DIET AND REGIMEN;</h4>
+
+<p class = "center">
+Intended as a Text Book for the Invalid and Dyspeptic. By <span class =
+"smallcaps">W.&nbsp;H. Robertson, M.D.</span> New edition, much enlarged
+and improved, 4<i>s.</i> 6<i>d.</i> cloth.</p>
+
+<p>“As a family book, Dr. Robertson’s ‘Treatise’ is unequalled in the
+language.”</p>
+
+<hr class = "mid">
+
+<span class = "pagenum">ads<br>10</span>
+
+<h3>VALUABLE BOOKS,<br>
+<b>AT GREATLY REDUCED PRICES.</b></h3>
+
+<p class = "double">&nbsp;</p>
+
+<h4>WINKLES’S BRITISH CATHEDRALS.</h4>
+
+<h5 class = "smallcaps">Architectural &amp; Picturesque Illustrations of
+the Cathedral Churches of England&nbsp;and&nbsp;Wales,</h5>
+
+<p>From Drawings by <span class = "smallcaps">Robert Garland</span>,
+Architect, with descriptions by <span class = "smallcaps">Thomas
+Moule</span>; containing One Hundred and Twenty Plates, beautifully
+engraved by <span class = "smallcaps">B. Winkles</span>. In two handsome
+volumes, imperial 8vo, very neatly bound in cloth.</p>
+
+<p class = "center">
+Originally published at 2<i>l.</i> 2<i>s.</i>; reduced to
+24<i>s.</i></p>
+
+<p class = "center">
+Royal 4to, India Proofs (very few left), published at 4<i>l.</i>
+4<i>s.</i>; reduced to 48<i>s.</i></p>
+
+<hr class = "tiny">
+
+<h4>WINKLES’S FRENCH CATHEDRALS.</h4>
+
+<h5>ILLUSTRATIONS OF THE PRINCIPAL CATHEDRALS OF FRANCE,</h5>
+
+<p>From Drawings by <span class = "smallcaps">R. Garland</span>, with
+Historical and Descriptive accounts, containing Fifty large 4to Plates,
+engraved by <span class = "smallcaps">Winkles</span> and others. In a
+handsome volume, bound in cloth.</p>
+
+<p class = "center">
+Originally published at 1<i>l.</i> 10<i>s.</i>; reduced to
+21<i>s.</i></p>
+
+<p class = "center">
+Royal 4to India Proofs, published at 3<i>l.</i>; reduced to
+42<i>s.</i></p>
+
+<hr class = "tiny">
+
+<h4>MUSEUM OF PAINTING AND SCULPTURE;</h4>
+
+<p>A collection of the principal Pictures, Statues, and Bas Reliefs in
+the Public and Private Galleries of Europe, drawn and engraved by <span
+class = "smallcaps">Reveil</span>, with Critical and Historical Notices.
+This splendid work, which contains engravings of all the chief works in
+the Italian, German, Dutch, French, and English Schools, includes <span
+class = "smallcaps">Twelve Hundred Plates</span>, and is an
+indispensable <i>vade mecum</i> to the Artist or Collector. In seventeen
+handsome volumes small 8vo, neatly bound, with gilt tops.</p>
+
+<p class = "center">
+Originally published at 17<i>l.</i> 17<i>s.</i>; reduced to 6<i>l.</i>
+6<i>s.</i></p>
+
+<hr class = "tiny">
+
+<h4>THE ENGLISH SCHOOL;</h4>
+
+<p>A series of Engravings of the most admired works in Painting and
+Sculpture, executed by British Artists from the days of <span class =
+"smallcaps">Hogarth</span>; with descriptive and explanatory Notices, by
+<span class = "smallcaps">G. Hamilton</span>. In four vols, small 8vo,
+containing nearly <span class = "smallcaps">Three Hundred Plates</span>,
+neatly bound, with gilt tops.</p>
+
+<p class = "center">
+Originally published at 3<i>l.</i> 12<i>s.</i>; reduced to 1<i>l.</i>
+16<i>s.</i></p>
+
+<hr class = "tiny">
+
+<h4>WATER-COLOUR GALLERY;</h4>
+
+<p>Containing large and highly-finished Engravings of the most
+distinguished Painters in Water-colours; including <span class =
+"smallcaps">Prout</span>, <span class = "smallcaps">Stephanoff</span>,
+<span class = "smallcaps">Cox</span>, <span class =
+"smallcaps">Dewint</span>, <span class = "smallcaps">Harding</span>,
+<span class = "smallcaps">Cattermole</span>, <span class =
+"smallcaps">Fielding</span>, &amp;c. &amp;c. Eighteen Plates, imperial
+4to, cloth.</p>
+
+<p class = "center">
+Originally published at 3<i>l.</i> 3<i>s.</i>; reduced to
+21<i>s.</i></p>
+
+<hr class = "tiny">
+
+<span class = "pagenum">ads<br>11</span>
+
+<h4>ILLUSTRATIONS OF SCOTT’S WORKS.</h4>
+
+<p class = "center">
+1.&mdash;<span class = "sans">LANDSCAPE ILLUSTRATIONS OF THE WAVERLEY
+NOVELS.</span></p>
+
+<p>Eighty fine Views of real Scenes described in these popular Tales,
+engraved by <span class = "smallcaps">Finden</span>, &amp;c., from
+Drawings by <span class = "smallcaps">Roberts</span>, <span class =
+"smallcaps">Harding</span>, <span class = "smallcaps">Stanfield</span>,
+&amp;c. &amp;c. Two handsome volumes super-royal 8vo, originally
+published at 4<i>l.</i> 4<i>s.</i>; or India Proofs, royal 4to,
+7<i>l.</i> 7<i>s.</i></p>
+
+<p class = "center">
+Now reduced to 28<i>s.</i> in 8vo, and 3<i>l.</i> 3<i>s.</i> in 4to.<br>
+&nbsp;</p>
+
+<p class = "center">
+2.&mdash;<span class = "sans">PORTRAIT ILLUSTRATIONS OF THE
+SAME.</span></p>
+
+<p>Forty Plates from Drawings by <span class =
+"smallcaps">Parris</span>, <span class = "smallcaps">Inskipp</span>,
+<span class = "smallcaps">Landseer</span>, &amp;c. Super-royal 8vo,
+published at 1<i>l.</i> 13<i>s.</i>; India Proofs, royal 4to,
+3<i>l.</i></p>
+
+<p class = "center">
+Now reduced to 14<i>s.</i> in 8vo, and 31<i>s.</i> 6<i>d.</i> in
+4to.<br>
+&nbsp;</p>
+
+<p class = "center">
+3.&mdash;<span class = "sans">LANDSCAPE ILLUSTRATIONS OF THE
+POEMS.</span></p>
+
+<p>Forty Plates from Drawings by <span class =
+"smallcaps">Turner</span>, <span class = "smallcaps">Calcott</span>,
+<span class = "smallcaps">Fielding</span>, &amp;c; with ample
+descriptive Polices. In a handsome volume super-royal 8vo, published at
+30<i>s.</i>; India Proofs royal 4to, 2<i>l.</i> 8<i>s.</i></p>
+
+<p class = "center">
+Now reduced to 14<i>s.</i> in 8vo, and 31<i>s.</i> 6<i>d.</i> in
+4to.<br>
+&nbsp;</p>
+
+<p>⁂ The complete Series of these valuable Illustrations are kept,
+<i>very handsomely and appropriately bound in morocco, price only Four
+Guineas</i>; forming one of the cheapest and most elegant books ever
+offered.</p>
+
+<hr class = "tiny">
+
+<h4>LIBRARY OF ANECDOTE;</h4>
+
+<p>Containing Remarkable Sayings, Efforts of Wit and Humour,
+Eccentricities of Conduct, Private Reminiscences of Celebrated Persons,
+&amp;c. &amp;c. With five Engravings, small 8vo, cloth.</p>
+
+<p class = "center">
+Published at 5<i>s.</i>; reduced to 2<i>s.</i> 6<i>d.</i></p>
+
+<hr class = "tiny">
+
+<h4>MARTIN’S ILLUSTRATIONS OF THE BIBLE.</h4>
+
+<p>Consisting of Twenty large and magnificent Plates, designed and
+engraved by <span class = "smallcaps">John Martin</span>, author of
+“Belshazzar’s Feast,” &amp;c. In a large folio volume, cloth.</p>
+
+<p class = "center">
+Originally published at 10<i>l.</i> 10<i>s.</i>; reduced to 3<i>l.</i>
+3<i>s.</i></p>
+
+<p class = "center">
+Proof impressions (very few left), published at 21<i>s.</i>; reduced to
+4<i>s.</i> 4<i>d.</i></p>
+
+<hr class = "tiny">
+
+<h4>MILTON’S PARADISE LOST;</h4>
+
+<h5>ILLUSTRATED BY JOHN MARTIN.</h5>
+
+<p class = "center">
+Imperial 8vo. Twenty large mezzotinto Plates, published at Six Guineas,
+reduced to 2<i>l.</i> 2<i>s.</i> cloth; 2<i>l.</i> 15<i>s.</i> very
+neat, in morocco.</p>
+
+<hr class = "tiny">
+
+<span class = "pagenum">ads<br>12</span>
+
+<h4>SINGER’S EDITION OF SHAKSPEARE,</h4>
+
+<p>Beautifully printed by Whittingham, with a Life of the Poet, and
+illustrative Notes. Embellished with many Engravings by <span class =
+"smallcaps">Stothard</span>, <span class = "smallcaps">Harvey</span>,
+&amp;c. In ten vols. small 8vo, neatly bound in cloth, gilt.</p>
+
+<p class = "center">
+Originally published at 4<i>l.</i> 4<i>s.</i>; reduced to 2<i>l.</i></p>
+
+<hr class = "tiny">
+
+<h4>WILD’S ENGLISH CATHEDRALS;</h4>
+
+<p>Twelve select Examples of the Ecclesiastical Architecture of the
+Middle Ages, beautifully coloured after the Original Drawings by Charles
+Wild, Esq. Each Plate is mounted on Tinted Card-board, in imitation of
+the original.</p>
+
+<p class = "center">
+Originally published at 12<i>l.</i> 12<i>s.</i>; reduced to 5<i>l.</i>
+5<i>s.</i></p>
+
+<hr class = "tiny">
+
+<h4>LEKEUX’S ILLUSTRATIONS OF NATURAL HISTORY;</h4>
+
+<p>Containing One Hundred and Fourteen Engravings, with descriptive
+accounts of the most popular and interesting Genera and Species of the
+Animal World, drawn by <span class = "smallcaps">Landseer</span>, <span
+class = "smallcaps">Lekeux</span>, &amp;c. &amp;c. Large 8vo, bound in
+cloth.</p>
+
+<p class = "center">
+Originally published at 1<i>l.</i> 1<i>s.</i>; reduced to 9<i>s.</i>
+6<i>d.</i></p>
+
+<hr class = "tiny">
+
+<h4><span class = "extended">PUCKLE’S CLUB;</span><br>
+OR, A GREY CAP FOR A GREEN HEAD.</h4>
+
+<p class = "center">
+Many first-rate Wood Engravings, cloth. Published at 7<i>s.</i>
+6<i>d.</i>; reduced to 3<i>s.</i> 6<i>d.</i></p>
+
+<p>⁂ This very curious book is illustrated with numerous and
+characteristic designs by the celebrated Thurston. It was published
+originally in 4to, at One Guinea. &mdash;<i>See&nbsp;Jackson on Wood
+Engraving</i>.</p>
+
+<hr class = "tiny">
+
+<h4>ADDISON’S ESSAYS;</h4>
+
+<h5>FROM THE SPECTATOR.</h5>
+
+<p class = "center">
+Two neat volumes, cloth. Published at 8<i>s.</i>; reduced to 4<i>s.</i>
+6<i>d.</i></p>
+
+<hr class = "tiny">
+
+<h4>CARICATURE SCRAP-BOOK,</h4>
+
+<h5>BY H. HEATH.</h5>
+
+<p>Containing many Hundred laughable and amusing Groups, illustrative of
+Life and Character, on Fifty sheets imperial 4to, neatly and strongly
+bound; forming a never-failing source of amusement for Visitors.</p>
+
+<p class = "center">
+Published at 28<i>s.</i>; reduced to 18<i>s.</i></p>
+
+<hr class = "mid">
+
+<table>
+<tr>
+<td class = "center" colspan = "3">
+CHARLES TILT, 86, FLEET STREET.</td>
+</tr>
+<tr>
+<td>Bradbury &amp; Evans,]</td>
+<td width = "33%">&nbsp;</td>
+<td class = "right">[Printers, Whitefriars</td>
+</tr>
+</table>
+
+</div>
+
+<!-- end div pub_ads -->
+
+<div class = "endnote">
+<h4><a name = "endnotes" id = "endnotes">
+Transcriber’s Notes</a></h4>
+
+<p>The <i>Eton Grammar</i> began in the first half of the 16th century
+as the <i>Brevissima Institutio</i>, later <i>Rudimenta Grammatices</i>,
+by William Lily, Lilly or Lilye (d. 1522). A 1758 revision acquired the
+name <i>Eton Latin Grammar</i>. The headers <i>Propria quae maribus</i>
+and <i>As in Præsenti</i> are from this book, as is the line “Cum multis
+aliis quæ nunc perscribere longum est”.</p>
+
+<div class = "inset">
+<p><b>īngens, great, Ājax, the name of a hero</b> (p. 152)<br>
+Both syllables in “Ajax” are long. Here, the “j” is to be pronounced as
+a “double letter” (technically an affricate) as in English.</p>
+
+<p><b>alterĭus has always a short <i>i</i> and alīus a long <i>i</i></b>
+(p. 153)<br>
+The “i” in “alterius” is conventionally shortened in poetry to
+accommodate the metre.</p>
+</div>
+
+</div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's The Comic Latin Grammar, by Percival Leigh
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE COMIC LATIN GRAMMAR ***
+
+***** This file should be named 29456-h.htm or 29456-h.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/9/4/5/29456/
+
+Produced by Louise Hope
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+
+</pre>
+
+</body>
+</html>
+
diff --git a/29456-h/images/bracket3.gif b/29456-h/images/bracket3.gif
new file mode 100644
index 0000000..9d3c0d0
--- /dev/null
+++ b/29456-h/images/bracket3.gif
diff --git a/29456-h/images/frontis.png b/29456-h/images/frontis.png
new file mode 100644
index 0000000..1c08b87
--- /dev/null
+++ b/29456-h/images/frontis.png
diff --git a/29456-h/images/pic101.png b/29456-h/images/pic101.png
new file mode 100644
index 0000000..4c3cc0c
--- /dev/null
+++ b/29456-h/images/pic101.png
diff --git a/29456-h/images/pic103.png b/29456-h/images/pic103.png
new file mode 100644
index 0000000..e6e94f1
--- /dev/null
+++ b/29456-h/images/pic103.png
diff --git a/29456-h/images/pic106.png b/29456-h/images/pic106.png
new file mode 100644
index 0000000..c9a55c8
--- /dev/null
+++ b/29456-h/images/pic106.png
diff --git a/29456-h/images/pic107.png b/29456-h/images/pic107.png
new file mode 100644
index 0000000..7216d96
--- /dev/null
+++ b/29456-h/images/pic107.png
diff --git a/29456-h/images/pic108.png b/29456-h/images/pic108.png
new file mode 100644
index 0000000..2cc2244
--- /dev/null
+++ b/29456-h/images/pic108.png
diff --git a/29456-h/images/pic109.png b/29456-h/images/pic109.png
new file mode 100644
index 0000000..8961fd3
--- /dev/null
+++ b/29456-h/images/pic109.png
diff --git a/29456-h/images/pic111.png b/29456-h/images/pic111.png
new file mode 100644
index 0000000..ba348b9
--- /dev/null
+++ b/29456-h/images/pic111.png
diff --git a/29456-h/images/pic113.png b/29456-h/images/pic113.png
new file mode 100644
index 0000000..9f7f5df
--- /dev/null
+++ b/29456-h/images/pic113.png
diff --git a/29456-h/images/pic117.png b/29456-h/images/pic117.png
new file mode 100644
index 0000000..a4c7798
--- /dev/null
+++ b/29456-h/images/pic117.png
diff --git a/29456-h/images/pic121.png b/29456-h/images/pic121.png
new file mode 100644
index 0000000..521030a
--- /dev/null
+++ b/29456-h/images/pic121.png
diff --git a/29456-h/images/pic122.png b/29456-h/images/pic122.png
new file mode 100644
index 0000000..7eb40e3
--- /dev/null
+++ b/29456-h/images/pic122.png
diff --git a/29456-h/images/pic123.png b/29456-h/images/pic123.png
new file mode 100644
index 0000000..647fbf5
--- /dev/null
+++ b/29456-h/images/pic123.png
diff --git a/29456-h/images/pic129.png b/29456-h/images/pic129.png
new file mode 100644
index 0000000..49f06b5
--- /dev/null
+++ b/29456-h/images/pic129.png
diff --git a/29456-h/images/pic131.png b/29456-h/images/pic131.png
new file mode 100644
index 0000000..32726d3
--- /dev/null
+++ b/29456-h/images/pic131.png
diff --git a/29456-h/images/pic132.png b/29456-h/images/pic132.png
new file mode 100644
index 0000000..70ff03b
--- /dev/null
+++ b/29456-h/images/pic132.png
diff --git a/29456-h/images/pic134.png b/29456-h/images/pic134.png
new file mode 100644
index 0000000..51b6015
--- /dev/null
+++ b/29456-h/images/pic134.png
diff --git a/29456-h/images/pic136.png b/29456-h/images/pic136.png
new file mode 100644
index 0000000..733f618
--- /dev/null
+++ b/29456-h/images/pic136.png
diff --git a/29456-h/images/pic14.png b/29456-h/images/pic14.png
new file mode 100644
index 0000000..aa86b41
--- /dev/null
+++ b/29456-h/images/pic14.png
diff --git a/29456-h/images/pic140a.png b/29456-h/images/pic140a.png
new file mode 100644
index 0000000..f89b813
--- /dev/null
+++ b/29456-h/images/pic140a.png
diff --git a/29456-h/images/pic140b.png b/29456-h/images/pic140b.png
new file mode 100644
index 0000000..ced4339
--- /dev/null
+++ b/29456-h/images/pic140b.png
diff --git a/29456-h/images/pic145.png b/29456-h/images/pic145.png
new file mode 100644
index 0000000..73b0a49
--- /dev/null
+++ b/29456-h/images/pic145.png
diff --git a/29456-h/images/pic153.png b/29456-h/images/pic153.png
new file mode 100644
index 0000000..12fcaae
--- /dev/null
+++ b/29456-h/images/pic153.png
diff --git a/29456-h/images/pic16.png b/29456-h/images/pic16.png
new file mode 100644
index 0000000..4cb609f
--- /dev/null
+++ b/29456-h/images/pic16.png
diff --git a/29456-h/images/pic17.png b/29456-h/images/pic17.png
new file mode 100644
index 0000000..d38a1fb
--- /dev/null
+++ b/29456-h/images/pic17.png
diff --git a/29456-h/images/pic19.png b/29456-h/images/pic19.png
new file mode 100644
index 0000000..0b9f4e6
--- /dev/null
+++ b/29456-h/images/pic19.png
diff --git a/29456-h/images/pic20a.png b/29456-h/images/pic20a.png
new file mode 100644
index 0000000..f6e198c
--- /dev/null
+++ b/29456-h/images/pic20a.png
diff --git a/29456-h/images/pic20b.png b/29456-h/images/pic20b.png
new file mode 100644
index 0000000..a44f511
--- /dev/null
+++ b/29456-h/images/pic20b.png
diff --git a/29456-h/images/pic24.png b/29456-h/images/pic24.png
new file mode 100644
index 0000000..ff8cb10
--- /dev/null
+++ b/29456-h/images/pic24.png
diff --git a/29456-h/images/pic27.png b/29456-h/images/pic27.png
new file mode 100644
index 0000000..1c688c4
--- /dev/null
+++ b/29456-h/images/pic27.png
diff --git a/29456-h/images/pic31.png b/29456-h/images/pic31.png
new file mode 100644
index 0000000..28e7681
--- /dev/null
+++ b/29456-h/images/pic31.png
diff --git a/29456-h/images/pic32.png b/29456-h/images/pic32.png
new file mode 100644
index 0000000..26d9a1a
--- /dev/null
+++ b/29456-h/images/pic32.png
diff --git a/29456-h/images/pic37.png b/29456-h/images/pic37.png
new file mode 100644
index 0000000..d7332a4
--- /dev/null
+++ b/29456-h/images/pic37.png
diff --git a/29456-h/images/pic40.png b/29456-h/images/pic40.png
new file mode 100644
index 0000000..995bab6
--- /dev/null
+++ b/29456-h/images/pic40.png
diff --git a/29456-h/images/pic43.png b/29456-h/images/pic43.png
new file mode 100644
index 0000000..85a4e64
--- /dev/null
+++ b/29456-h/images/pic43.png
diff --git a/29456-h/images/pic44.png b/29456-h/images/pic44.png
new file mode 100644
index 0000000..ab8dbb1
--- /dev/null
+++ b/29456-h/images/pic44.png
diff --git a/29456-h/images/pic54.png b/29456-h/images/pic54.png
new file mode 100644
index 0000000..f031ba0
--- /dev/null
+++ b/29456-h/images/pic54.png
diff --git a/29456-h/images/pic57.png b/29456-h/images/pic57.png
new file mode 100644
index 0000000..1a0ec10
--- /dev/null
+++ b/29456-h/images/pic57.png
diff --git a/29456-h/images/pic58.png b/29456-h/images/pic58.png
new file mode 100644
index 0000000..2c8ac18
--- /dev/null
+++ b/29456-h/images/pic58.png
diff --git a/29456-h/images/pic64a.png b/29456-h/images/pic64a.png
new file mode 100644
index 0000000..7eca1bd
--- /dev/null
+++ b/29456-h/images/pic64a.png
diff --git a/29456-h/images/pic64b.png b/29456-h/images/pic64b.png
new file mode 100644
index 0000000..3134839
--- /dev/null
+++ b/29456-h/images/pic64b.png
diff --git a/29456-h/images/pic67.png b/29456-h/images/pic67.png
new file mode 100644
index 0000000..c889f1e
--- /dev/null
+++ b/29456-h/images/pic67.png
diff --git a/29456-h/images/pic68.png b/29456-h/images/pic68.png
new file mode 100644
index 0000000..960e2ec
--- /dev/null
+++ b/29456-h/images/pic68.png
diff --git a/29456-h/images/pic69.png b/29456-h/images/pic69.png
new file mode 100644
index 0000000..97d3132
--- /dev/null
+++ b/29456-h/images/pic69.png
diff --git a/29456-h/images/pic70.png b/29456-h/images/pic70.png
new file mode 100644
index 0000000..ba9a976
--- /dev/null
+++ b/29456-h/images/pic70.png
diff --git a/29456-h/images/pic71.png b/29456-h/images/pic71.png
new file mode 100644
index 0000000..5068dc5
--- /dev/null
+++ b/29456-h/images/pic71.png
diff --git a/29456-h/images/pic72.png b/29456-h/images/pic72.png
new file mode 100644
index 0000000..f0fa672
--- /dev/null
+++ b/29456-h/images/pic72.png
diff --git a/29456-h/images/pic75.png b/29456-h/images/pic75.png
new file mode 100644
index 0000000..69ed989
--- /dev/null
+++ b/29456-h/images/pic75.png
diff --git a/29456-h/images/pic80.png b/29456-h/images/pic80.png
new file mode 100644
index 0000000..056dc8e
--- /dev/null
+++ b/29456-h/images/pic80.png
diff --git a/29456-h/images/pic81.png b/29456-h/images/pic81.png
new file mode 100644
index 0000000..6dd2887
--- /dev/null
+++ b/29456-h/images/pic81.png
diff --git a/29456-h/images/pic83.png b/29456-h/images/pic83.png
new file mode 100644
index 0000000..efe8d6d
--- /dev/null
+++ b/29456-h/images/pic83.png
diff --git a/29456-h/images/pic85.png b/29456-h/images/pic85.png
new file mode 100644
index 0000000..05e9a77
--- /dev/null
+++ b/29456-h/images/pic85.png
diff --git a/29456-h/images/pic89.png b/29456-h/images/pic89.png
new file mode 100644
index 0000000..8ee31ff
--- /dev/null
+++ b/29456-h/images/pic89.png
diff --git a/29456-h/images/pic92.png b/29456-h/images/pic92.png
new file mode 100644
index 0000000..77dbe1d
--- /dev/null
+++ b/29456-h/images/pic92.png
diff --git a/29456-h/images/pic94.png b/29456-h/images/pic94.png
new file mode 100644
index 0000000..3a0e021
--- /dev/null
+++ b/29456-h/images/pic94.png
diff --git a/29456-h/images/pic96.png b/29456-h/images/pic96.png
new file mode 100644
index 0000000..0ed0ff8
--- /dev/null
+++ b/29456-h/images/pic96.png
diff --git a/29456-h/images/pic97.png b/29456-h/images/pic97.png
new file mode 100644
index 0000000..1314900
--- /dev/null
+++ b/29456-h/images/pic97.png
diff --git a/29456-h/images/plate1.png b/29456-h/images/plate1.png
new file mode 100644
index 0000000..58d217c
--- /dev/null
+++ b/29456-h/images/plate1.png
diff --git a/29456-h/images/plate2.png b/29456-h/images/plate2.png
new file mode 100644
index 0000000..c63fafa
--- /dev/null
+++ b/29456-h/images/plate2.png
diff --git a/29456-h/images/plate3.png b/29456-h/images/plate3.png
new file mode 100644
index 0000000..959b5d4
--- /dev/null
+++ b/29456-h/images/plate3.png
diff --git a/29456-h/images/plate4.png b/29456-h/images/plate4.png
new file mode 100644
index 0000000..61c9e78
--- /dev/null
+++ b/29456-h/images/plate4.png
diff --git a/29456-h/images/plate5.png b/29456-h/images/plate5.png
new file mode 100644
index 0000000..f3efb2f
--- /dev/null
+++ b/29456-h/images/plate5.png
diff --git a/29456-h/images/plate6.png b/29456-h/images/plate6.png
new file mode 100644
index 0000000..90cbf5f
--- /dev/null
+++ b/29456-h/images/plate6.png
diff --git a/29456-h/images/plate7.png b/29456-h/images/plate7.png
new file mode 100644
index 0000000..dacbfb8
--- /dev/null
+++ b/29456-h/images/plate7.png
diff --git a/29456-h/images/plate8.png b/29456-h/images/plate8.png
new file mode 100644
index 0000000..6825d07
--- /dev/null
+++ b/29456-h/images/plate8.png
diff --git a/29456.txt b/29456.txt
new file mode 100644
index 0000000..bc1b2a1
--- /dev/null
+++ b/29456.txt
@@ -0,0 +1,5744 @@
+The Project Gutenberg EBook of The Comic Latin Grammar, by Percival Leigh
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Comic Latin Grammar
+       A new and facetious introduction to the Latin tongue
+
+Author: Percival Leigh
+
+Illustrator: John Leech
+
+Release Date: July 19, 2009 [EBook #29456]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE COMIC LATIN GRAMMAR ***
+
+
+
+
+Produced by Louise Hope
+
+
+
+
+[Transcriber's Note:
+
+This text is intended for users whose text readers cannot use the "real"
+(Unicode/UTF-8) version. In the Latin text, the "oe" diphthong is shown
+as [oe] to distinguish it from the two-vowel sequence "oe" ("coeuntia").
+The asterism used in the advertising section is shown as ***.
+
+The Prosody section uses letters with macrons and breves ("long" and
+"short" marks). In _this section only_, vowels with macron are shown
+as CAPITALS, while vowels with breve are shown in {braces}. Long vowels
+that are already capitalized (very rare) are shown in [brackets].
+
+This book was written in 1840. It includes material that may be
+offensive to some readers. Students should be cautioned that the book
+predates "New Style" (classical) pronunciation. Note in particular
+the pronunciation of "j" ("Never jam today") and of all vowels ("Yes,
+you Can-u-leia").
+
+In the main text, boldface type is shown in +marks+. In the advertising
+section at the end, the same +marks+ represent sans-serif type.
+
+Typographical errors are listed at the end of the text, along with some
+general notes.]
+
+
+
+
+    [Frontispiece:
+    "Painted and Engraved by John Leech, R.C.A."]
+
+
+
+
+                   THE COMIC
+
+                 LATIN GRAMMAR;
+
+        A new and facetious Introduction
+
+                     to the
+
+                  LATIN TONGUE.
+
+          With Numerous Illustrations.
+
+
+              The Second Edition.
+
+
+                    London:
+          CHARLES TILT, FLEET STREET.
+                    MDCCCXL.
+
+
+
+
+  Coe, Printer, 27, Old Change, St. Paul's.
+
+
+
+
+  ADVERTISEMENT
+
+  TO THE SECOND EDITION.
+
+
+The Author of this little work cannot allow a second edition of it to go
+forth to the world, unaccompanied by a few words of apology, he being
+desirous of imitating, in every respect, the example of distinguished
+writers.
+
+He begs that so much as the consciousness of being answerable for a
+great deal of nonsense, usually prompts a man to say, in the hope of
+disarming criticism, may be considered to have been said already. But he
+particularly requests that the want of additions to his book may be
+excused; and pleads, in arrest of judgment, his numerous and absorbing
+avocations.
+
+Wishing to atone as much as possible for this deficiency, and prevailed
+upon by the importunity of his friends, he has allowed a portrait of
+himself, by that eminent artist, Mr. John Leech, to whom he is indebted
+for the embellishments, and very probably for the sale of the book, to
+be presented, facing the title-page, to the public.
+
+Here again he has been influenced by the wish to comply with the
+requisitions of custom, and the disinclination to appear odd, whimsical,
+or peculiar.
+
+On the admirable sketch itself, bare justice requires that he should
+speak somewhat in detail. The likeness he is told, he fears by too
+partial admirers, is excellent. The principle on which it has been
+executed, that of investing with an ideal magnitude, the proportions of
+nature, is plainly, from what we observe in heroic poetry, painting, and
+sculpture, the soul itself of the superhuman and sublime. Of the
+justness of the metaphorical compliment implied in the delineation of
+the head, it is not for the author to speak; of its exquisiteness and
+delicacy, his sense is too strong for expression. The habitual
+pensiveness of the elevated eyebrows, mingled with the momentary gaiety
+of the rest of the countenance, is one of the most successful points in
+the picture, and is as true to nature as it is indicative of art.
+
+The Author's tailor, though there are certain reasons why his name
+should not appear in print, desires to express his obligation to the
+talented artist for the very favourable impression which, without
+prejudice to truth, has been given to the public of his skill. The ease
+so conspicuous in the management of the surtout, and the thought so
+remarkable in the treatment of the trousers, fully warrant his
+admiration and gratitude.
+
+Too great praise cannot be bestowed on the boots, considered with
+reference to art, though in this respect the Author is quite sensible
+that both himself and the maker of their originals have been greatly
+flattered. He is also perfectly aware that there is a degree of
+neatness, elegance, and spirit in the tie of the cravat, to which he has
+in reality never yet been able to attain.
+
+In conclusion, he is much gratified by the taste displayed in furnishing
+him with so handsome a walking stick; and he assures all whom it may
+concern, that the hint thus bestowed will not be lost upon him; for he
+intends immediately to relinquish the large oaken cudgel which he has
+hitherto been accustomed to carry, and to appear, in every respect, to
+the present generation, such as he will descend to posterity.
+
+
+
+
+  PREFACE.
+
+
+A great book, says an old proverb, is a great evil; and a great preface,
+says a new one, is a great bore. It is not, therefore, our intention to
+expatiate largely on the present occasion; especially since a long
+discourse prefixed to a small volume, is like a forty-eight pounder at
+the door of a pig-stye. We should as soon think of erecting the Nelson
+Memorial in front of Buckingham Palace. Indeed, were it not necessary to
+show some kind of respect to fashion, we should hasten at once into the
+midst of things, instead of trespassing on the patience of our readers,
+and possibly, trifling with their time. We should not like to be kept
+waiting at a Lord Mayor's feast by a long description of the bill of
+fare. Our preface, however, shall at least have the merit of novelty;
+it shall be candid.
+
+This book, like the razors in Dr. Wolcot's story, is made to _sell_.
+This last word has a rather equivocal meaning-- but we scorn to blot,
+otherwise we should say to be sold. An article offered for sale may,
+nevertheless, be worth buying; and it is hoped that the resemblance
+between the aforesaid razors, and this our production, does not extend
+to the respective _sharpness_ of the commodities. The razors proved
+scarcely worth a farthing to the clown who bought them for
+eighteen-pence, and were fit to shave nothing but the beard of an
+oyster. We trust that the "Comic Latin Grammar" will be found to _cut_,
+now and then, rather better, at least, than that comes to; and that it
+will reward the purchaser, at any rate, with his pennyworth for his
+penny, by its genuine bona fide contents. There are many works, the
+pages of which contain a good deal of useful matter-- sometimes in the
+shape of an ounce of tea or a pound of butter: we venture to indulge the
+expectation, that these latter additions to the value of our own, will
+be considered unnecessary.
+
+Perhaps we should have adopted the title of "Latin in sport made
+learning in earnest"-- which would give a tolerable idea of the nature
+of our undertaking. The doctrine, it is true, may bear the same relation
+to the lighter matter, that the bread in Falstaff's private account did
+to the liquor; though if we have given our reader "a deal of sack," we
+wish it may not be altogether "intolerable." Latin, however, is a great
+deal less like bread, to most boys, than it is like physic; especially
+_antimony_, _ipecacuanha_, and similar medicines. It ought, therefore,
+to be given in something palatable, and capable of causing it to be
+retained by the-- mind-- in what physicians call a pleasant vehicle.
+This we have endeavoured to invent-- and if we have disguised the
+flavour of the drugs without destroying their virtues, we shall have
+entirely accomplished our design. There are a few particularly nasty
+pills, draughts, and boluses, which we could find no means of
+sweetening; and with which, on that account, we have not attempted to
+meddle. For these omissions we must request some little indulgence. Our
+performance is confessedly imperfect, but be it remembered, that
+
+  "Men rather do their broken weapons use,
+  Than their bare hands."
+
+The "Comic Latin Grammar" can, certainly, never be called an
+_imposition_, as another Latin Grammar frequently is. We remember having
+had the whole of it to learn at school, besides being-- no matter what--
+for pinning a cracker to the master's coat-tail. The above hint is
+worthy the attention of boys; nor will the following, probably, be
+thrown away upon school-masters, particularly such as reside in the
+north of England. "Laugh and grow fat," is an ancient and a true maxim.
+Now, will not the "Comic Latin Grammar," (like Scotch marmalade and
+Yarmouth bloaters) form a "desirable addition" to the breakfast of the
+young gentlemen entrusted to their care? We dare not say much of its
+superseding the use of the cane, as we hold all old established customs
+in the utmost reverence and respect; and, besides, have no wish to
+deprive any one of innocent amusement. We would only suggest, that
+flagellation is now _sometimes_ necessary, and that whatever tends to
+render it _optional_ may, now and then, save trouble.
+
+One word in conclusion. The march of intellect is not confined to the
+male sex; the fairer part of the creation are now augmenting by their
+numbers, and adorning by their countenance, the scientific and literary
+train. But the path of learning is sometimes too rugged for their tender
+feet. We pretend not to strew it for them with roses; we are not
+poetically given-- nay, we cannot even promise them a Brussels carpet;--
+but if a plain Kidderminster will serve their turn, we here display one
+for their accommodation, that thus smoothly and pleasantly they may make
+their safe ascent to the temple of Minerva and the Muses.
+
+
+
+
+  INTRODUCTION.
+
+
+Very little introductory matter would probably be sufficient to place
+the rising generation on terms of the most perfect familiarity with a
+"Comic Latin Grammar." To the elder and middle-aged portion of the
+community, however, the very notion of such a work may seem in the
+highest degree preposterous; if not indicative of a degree of
+presumptuous irreverence on the part of the author little short of
+literary high treason, if not commensurate, in point of moral
+delinquency, with the same crime as defined by the common law of
+England. It is out of consideration for the praiseworthy, though perhaps
+erroneous, feelings of such respectable personages, that we proceed to
+make the following preliminary remarks; wherein it will be our object,
+by demonstrating the necessity which exists for such a publication as
+the present, to exonerate ourselves from all blame on the score of its
+production.
+
+When we consider the progress of civilization and refinement, we find
+that all ages have in turn been characterized by some one distinctive
+peculiarity or other. To say nothing of the Golden Age, the Silver Age,
+the Iron Age, and so forth, which, with all possible respect for the
+poets, can scarcely be said to be worth much in a grave argument; it is
+quite clear that the Augustan Age, the Middle Ages, the Elizabethan Age,
+and the Age of Queen Anne, were all of them very different, one from the
+other, in regard to the peculiar tone of feeling which distinguished the
+public mind in each of them. In like manner, the present (which will
+hereafter probably be called the Victorian Age) is very unlike all that
+have preceded it. It may be termed the Age of Comicality. Not but that
+some traces of comic feeling, inherent as it is in the very nature of
+man, have not at all times been more or less observable; but it is only
+of late years that the ludicrous capabilities of the human mind have
+expanded in their fullest vigour. Comicality has heretofore been evinced
+only, as it were, in isolated sparks and flashes, instead of that full
+blaze of meridian splendour which now pervades the entire mechanism of
+society, and illuminates all the transactions of life. Thus in the
+Golden Age, there was something very comical in human creatures eating
+acorns, like pigs. The Augustan Age was comical enough, if we may trust
+some of Horace's satires. Much comicality was displayed in the Middle
+Ages, in the proceedings of the knights errant, the doings in Palestine,
+and the mode adopted by the priests of inculcating religion on the minds
+of the people. In the Elizabethan Age several comic incidents occurred
+at court; particularly when any of the courtiers were guilty of personal
+impertinence to their virgin queen. It must have been very comical to
+see Shakspere holding stirrups like an ostler, or performing the part of
+the Ghost, in his own play of Hamlet. The dress worn in Queen Anne's
+time, and that of the first Georges, was very comical indeed-- but
+enough of this. Our concern is with the present time-- the funniest
+epoch, beyond all comparison, in the history of the world. Some few
+years back, the minds of nations, convulsed with the great political
+revolutions then taking place, were in a mood by no means apt to be
+gratified by whimsicality and merriment. Furthermore, certain poets of
+the lack-a-daisical school, such as Byron, Shelley, Goethe, and others,
+writing in conformity with the prevailing taste of the day, threw a wet
+blanket on the spirits of men, which all but extinguished the feeble
+embers of mirth, upon which 'shocking events' had exercised so
+pernicious an influence already: or, to change a vulgar for a scientific
+metaphor, they placed such a pressure of sentimental atmosphere on the
+common stock of laughing gas, as to convert it into a mere fluid, and
+almost to solidify it altogether. It is now exhibiting the amazing
+amount of expansive force, which under favourable circumstances it is
+capable of exerting. Many causes have combined to bring about the happy
+state of things under which we now live. Amongst these, the exertions of
+individuals hold the first rank; of whom the veteran Liston, the late
+lamented Mr. John Reeve, the facetious Keeley, and the inimitable
+Buckstone, are deserving of our highest commendation. And more
+especially is praise due to the talented author of the Pickwick Papers,
+whose genius has convulsed the sides of thousands, has revolutionized
+the republic of letters (making, no doubt, a great many _sovereigns_)
+and has become, as it were, a mirror, which will reflect to all
+posterity the laughter-loving spirit of his age.
+
+But it is not (as we have before remarked) in literature alone, that the
+tendency to the ludicrous is shewn. In many recent scientific
+speculations it is strikingly and abundantly obvious-- some of those on
+geology may be quoted as examples. The offspring of the sciences-- those
+pledges of affection which they present to art, almost all of them, come
+into the world with a caricature-like smirk upon their faces.
+Air-balloons and rail-roads have something funny about them; and
+photogenic drawings are, to say the least, very curious. The learned
+professions are all tinged with drollery. The law is confessedly
+ridiculous from beginning to end, and what is very strange, is that no
+one should attempt to make it otherwise. Medicine is comical-- or rather
+tragi-comical-- the disparity of opinion among its professors, the
+chaotic state of its principles, and the conduct of its students being
+considered. No one can deny that the distribution of church property is
+somewhat _odd_, or can assert that the doings-- at least of those who
+are destined for the clerical office, are now and then of rather a
+strange character. Political meetings are very laughable things, when we
+reflect upon the strong asseverations of patriotism there made and
+believed. The wisdom of the legislature is by no means of the gravest
+class, particularly when it offers municipal reforms as a substitute for
+bread. The debates in a certain House must be of a very humourous
+character, if we may judge from the frequent "hear hear, and a laugh,"
+by which the proceedings there are interrupted. Our risible faculties
+are continually called into action at public lectures of all kinds; and
+indeed, no lecturer, however learned he may be, has much chance
+now-a-days of instructing, unless he can also amuse his audience. Nor
+can the various public and even private buildings, which are daily
+springing up around us, like so many mushrooms, be contemplated without
+considerable emotions of mirthfulness. The new style of ecclesiastical
+architecture, entitled the Cockney-Gothic, affords a good illustration
+of this remark; but the comic Temple of the Fine Arts, in Trafalgar
+Square, is what Lord Bacon would have called a "glaring instance" of its
+correctness. The occurrences of the day bear all of them the stamp of
+facetiousness. The vote of approbation, lately passed on a certain
+course of policy, is a capital joke; the tricks that are constantly
+played off upon John Bull by the Russians, French, Yankees, and others,
+though somewhat impertinent to the aforesaid John, must seem very
+diverting to lookers on. The state of the Drama may also be brought
+forward in proof of our position. Tragedies are at a discount; farces
+are at a premium; lions, nay goats and monkeys, are pressed into the
+service of Momus. Even the various institutions for the advancement of
+morals have not escaped the influence of the prevailing taste. To
+mention that respectable body of men, the Teetotallers, is sufficient of
+itself to excite a smile. In short, look wherever you will, you will
+find it a matter of the greatest difficulty to keep your countenance.
+
+The truth is, that people are tired of crying, and find it much more
+agreeable to laugh. The sublime is out of fashion; the ridiculous is in
+vogue. A turn-up nose is now a more interesting object than a turn-down
+collar; and if it should be urged that the flowing locks of our young
+men are indicative of sentimentality by their _length_, let it be
+remembered that they are in general quite unaccompanied by a
+corresponding quality of face. It has been said that the schoolmaster is
+abroad:-- true; but he is walking arm and arm with the Merry-Andrew; and
+the members, presidents, and secretaries of mechanics' institutions, and
+associations for the advancement of everything, follow in his train.
+Nothing can be taught that is not palatable, and nothing is now
+palatable but what is funny. That boys should be instructed in the Latin
+language will be denied by few (although by some eccentric persons this
+has been done); that they can be expected to learn what they cannot
+laugh at will, to all reflecting minds, especially on perusing the
+foregoing considerations, appear in the highest degree unreasonable. To
+conclude:-- let all such as are disposed to stare at the title of our
+work, ponder attentively on what we have said above; let them, in the
+language of the farce, "put this and that together," and they will at
+once perceive the beneficial effect, which holding up the Latin Grammar
+to ridicule is likely to produce in the minds of youth. So much for the
+satisfaction of our senior readers. And now, no longer to detain our
+juvenile friends, let us proceed to business, or pleasure, or both:-- we
+will not stand upon ceremony with respect to terms.
+
+    [Illustration: THE SCHOOLMASTER ABROAD.]
+
+
+
+
+  THE
+
+  COMIC LATIN GRAMMAR.
+
+
+Of Latin there are three kinds: Latin Proper, or good Latin; Dog Latin;
+and Thieves' Latin, Latin Proper, or good Latin, is the language which
+was spoken by the ancient Romans. Dog Latin is the Latin in which boys
+compose their first verses and themes, and which is occasionally
+employed at the Universities of Oxford and Cambridge, but much more
+frequently at Edinburgh, Aberdeen, and Glasgow. It includes Medical
+Latin, and Law Latin; though these, to the unlearned, generally appear
+Greek. Mens tuus ego-- mind your eye; Illic vadis cum oculo tuo ex--
+there you go with your eye out; Quomodo est mater tua?-- how's your
+mother? Fiat haustus ter die capiendus-- let a draught be made, to be
+taken three times a day; Bona et catalla-- goods and chattels-- are
+examples.
+
+Thieves' Latin, more commonly known by the name of slang, is much in use
+among a certain class of _conveyancers_, who disregard the distinctions
+of meum and tuum. Furthermore, it constitutes a great part of the
+familiar discourse of most young men in modern times, particularly
+lawyers' clerks and medical students. It bears a very close affinity to
+Law Latin, with which, indeed, it is sometimes confounded. Examples:--
+to prig a wipe-- to steal a handkerchief. A rum start-- a curious
+occurrence. A plant-- an imposition. Flummoxed-- undone. Sold--
+deceived. A heavy swell-- a great dandy. Quibus, tin, dibs, mopuses,
+stumpy-- money. Grub, prog, tuck-- victuals. A stiff-'un-- a dead body--
+properly, a subject. To be scragged-- to suffer the last penalty of the
+law, &c.
+
+    [Illustration: A HEAVY SWELL.]
+
+All these kinds of Latin are to be taught in the Comic Latin Grammar.
+
+
+    [Illustration: TOBY, THE LEARNED PIG.]
+
+If Toby, the learned pig, had been desired to say his alphabet in Latin,
+he would have done it by taking away the W from the English alphabet.
+Indeed, this is what he is said to have actually done. The Latin
+letters, therefore, remind us of the greatest age that a fashionable
+lady ever confesses she has attained to,-- being between twenty and
+thirty.
+
+Six of these letters are called what Dutchmen, speaking English, call
+fowls-- vowels; namely, a, e, i, o, u, y.
+
+A vowel is like an AEolian harp; it makes a full and perfect sound of
+itself. A consonant cannot sound without a vowel, any more than a horn
+(except such an one as Baron Munchausen's) can play a tune without a
+performer.
+
+Consonants are divided into mutes, liquids and double letters; although
+they have nothing in particular to do with funerals, hydrostatics, or
+the General post office. The liquids are, l, m, n, r; the double
+letters, j, x, z; the other letters are mutes.
+
+  "Hye dum, dye dum, fiddle _dumb_--c." --STERNE.
+
+A syllable is a distinct sound of one or more letters pronounced in a
+breath, or, as we say in the classics, in a jiffey.
+
+A diphthong is the sound of two vowels in one syllable. Taken
+collectively they resemble a closed fist-- i.e. a bunch of _fives_. The
+diphthongs are au, eu, ei, ae, and [oe]. Of the two first of these, au and
+eu, the sound is _intermediate_ between that of the two vowels of which
+each is formed. This fact may perhaps be impressed upon the mind, on the
+principles of artificial memory, by a reference to a familiar beverage,
+known by the name of half-and-half. In like manner, ei, which is
+generally pronounced i, and ae and [oe], sounded like e, may be said to
+exhibit something like an analogy to a married couple. The human
+diphthong, Smith female + Brown male, is called Brown only.
+
+    [Illustration: A HUMAN DIPHTHONG.]
+
+The reason, says the fool in King Lear, why the seven stars are no more
+than seven-- is a pretty reason-- because they are not eight. This is a
+fool's reason; but we (like many other commentators) cannot give a
+better one, why the Parts of Speech are no more than eight-- because
+they are not nine. They are as follow:
+
+1. Noun, Pronoun, Verb, Participle-- declined.
+
+2. Adverb, Preposition, Conjunction, Interjection-- undeclined. Most
+schoolboys would like to decline them altogether.
+
+
++OF A NOUN.+
+
+A noun is a name,-- whether it be a Christian name, or a sur-name-- the
+name of a prince, a pig, a pancake, or a post. Whatever is-- is a noun.
+
+Nouns are divided into substantives and adjectives.
+
+A noun substantive is its own trumpeter, and speaks for itself without
+assistance from any other word-- brassica, a cabbage; sartor, a tailor;
+medicus, a physician; vetula, an old woman; venenum, poison; are
+examples of substantives.
+
+An adjective is like an infant in leading strings-- it cannot go alone.
+It always requires to be joined to a substantive, of which it shows the
+nature or quality-- as lectio longa, a long lesson; magnus aper, a great
+_boar_; pinguis puer, a fat boy; macer puer, a lean boy. In making love
+(as you will find one of these days) or in abusing a cab-man, your
+success will depend in no small degree in your choice of adjectives.
+
+    [Illustration: MACER PUER.]
+
+    [Illustration: PINGUIS PUER.]
+
+
++NUMBERS OF NOUNS.+
+
+Be not alarmed, boys, at the above heading. There are numbers of nouns,
+it is true, that is to say, lots; or, as we say in the schools,
+"a precious sight" of nouns in the dictionary; but we are not now going
+to enumerate, and make you learn them. The numbers of nouns here spoken
+of are two only; the singular and the plural.
+
+The singular speaks but of one-- as later, a brick; faba, a bean; tuba,
+a trump (or trumpet); flamma, a blaze; aethiops, a nigger (or negro);
+cornix, a crow.
+
+The plural speaks of more than one-- as lateres, bricks; fabae, beans;
+tubae, trumps; flammae, blazes; aethiopes, niggers; cornices, crows.
+
+Here it may be remarked that the cynic philosophers were very _singular_
+fellows.
+
+Also that prize-poems are sometimes composed in very _singular numbers_.
+
+
++CASES OF NOUNS.+
+
+Nouns have six cases in each number, (that is, six of one and half a
+dozen of the other) but can only be put in one of them at a time. They
+are thus ticketed-- nominative, genitive, dative, accusative, vocative,
+and ablative.
+
+The nominative case comes before the verb, as the horse does before the
+cart, the "lieutenant before the ancient," and the superintendant of
+police before the inspector. It answers to the question, who or what;
+as, Who jaws? magister jurgatur, the master jaws.
+
+The genitive case is known by the sign of, and answers to the question,
+whose, or whereof; as, Whose breeches? Femoralia magistri-- the breeches
+of the master, or the master's breeches.
+
+The dative case is known by the signs to or for, and answers to the
+question, to whom, or to or for what; as, To whom do I hold out my
+hands? Protendo manus magistro-- I hold out my hands to the master.
+
+In this place we are called upon to consider, whether it be more
+agreeable to have Latin or the ferula at our _fingers' ends_.
+
+Observe that _dative_ means _giving_. Schoolmasters are very often in
+the dative case-- but their generosity is chiefly exercised in bestowing
+what is termed monkey's allowance; that is, if not more kicks, more
+boxes on the ear, more spats, more canings, birchings, and impositions,
+than halfpence.
+
+    [Plate:
+    A DATIVE AND A VOCATIVE CASE.]
+
+The accusative case follows the verb, as a bailiff follows a debtor,
+a bull-dog a butcher, or a round of applause a supernatural squall at
+the Italian Opera. It answers to the question Whom? or What? as, Whom do
+you laugh at? (behind his back) Derideo magistrum-- I laugh at the
+master.
+
+The vocative case is known by calling, or speaking to; as, O magister--
+O master; an exclamation which is frequently the consequence of shirking
+out, making false concords or quantities, obstreperous conduct in
+school, &c.
+
+The ablative case is known by certain prepositions, expressed or
+understood; as Deprensus magistro-- caught out by the master. Coram
+_rostro_-- before the _beak_. The prepositions, in, with, from, by, and
+the word, than, after the comparative degree, are signs of the ablative
+case. In angustia-- in a fix. Cum indigena-- with a native. Ab arbore--
+from a tree. A rictu-- by a grin. Adipe lubricior-- slicker than grease.
+
+
++GENDERS AND ARTICLES.+
+
+The genders of nouns, which are three, the masculine, the feminine, and
+the neuter, are denoted in Latin by articles. We have articles, also, in
+English, which distinguish the masculine from the feminine, but they are
+articles of dress; such as petticoats and breeches, mantillas and
+mackintoshes. But as there are many things in Latin, called masculine
+and feminine, which are nevertheless not male and female, the articles
+attached to them are not parts of dress, but parts of speech.
+
+    [Illustration: MASC. FEM.]
+
+We will now, with our readers' permission, initiate them into a new mode
+of declining the article hic, haec, hoc. And we take this opportunity of
+protesting against the old and short-sighted system of teaching a boy
+only one thing at a time, which originated, no doubt, from the general
+ignorance of everything but the dead languages which prevailed in the
+monkish ages. We propose to make declensions, conjugations, &c.,
+a vehicle for imparting something more than the mere dry facts of the
+immediate subject. And if we can occasionally inculcate an original
+remark, a scientific principle, or a moral aphorism, we shall, of
+course, think ourselves sufficiently rewarded by the consciousness-- et
+caetera, et caetera, et caetera.
+
+  Masc. hic.  Fem. haec.  Neut. hoc, &c.
+
+  The nominative singular's hic, haec, and hoc,--
+  Which to learn, has cost school boys full many a knock;
+  The genitive 's hujus, the dative makes huic,
+  (A fact Mr. Squeers never mentioned to Smike);
+  Then hunc, hanc, and hoc, the accusative makes,
+  The vocative-- caret-- no very great shakes;
+  The ablative case maketh hoc, hac, and hoc,
+  A cock is a fowl-- but a fowl 's not a cock.
+  The nominative plural is hi, hae, and haec,
+  The Roman young ladies were dressed a la Grecque;
+  The genitive case horum, harum, and horum,
+  Silenus and Bacchus were fond of a jorum;
+  The dative in all the three genders is his,
+  At Actium his tip did Mark Antony miss:
+  The accusative 's hos, has, and haec in all grammars,
+  Herodotus told some American crammers;
+  The vocative here also-- caret-- 's no go,
+  As Milo found rending an oak-tree, you know;
+  And his, like the dative the ablative case is,
+  The Furies had most disagreeable faces.
+
+Nouns declined with two articles, are called common. This word common
+requires explanation-- it is not used in the same sense as that in which
+we say, that quackery is common in medicine, knavery in the law, and
+humbug everywhere-- pigeons at Crockford's, lame ducks at the Stock
+Exchange, Jews at the ditto, and Royal ditto, and foreigners in
+Leicester Square-- No; a common noun is one that is both masculine and
+feminine; in one sense of the word therefore it is _uncommon_. Parens,
+a parent, which may be declined both with hic, and haec, is, for obvious
+reasons, a noun of this class; and so is fur, a thief; likewise miles,
+a soldier, which will appear strange to those of our readers, who do not
+call to mind the existence of the ancient amazons; the dashing white
+sergeant being the only female soldier known in modern times. Nor have
+we more than one authenticated instance of a female sailor, if we except
+the heroine commemorated in the somewhat apocryphal narrative-- Billy
+Taylor.
+
+Nouns are called doubtful when declined with the article hic or haec--
+whichever you please, as the showman said of the Duke of Wellington and
+Napoleon Bonaparte. Anguis, a snake, is a doubtful noun. At all events
+he is a doubtful customer.
+
+    [Illustration]
+
+Epicene nouns are those which, though declined with one article only,
+represent both sexes, as hic passer, a sparrow, haec aquila, an eagle,--
+cock and hen. A sparrow, however, to say nothing of an eagle, must
+appear a doubtful noun with regard to gender, to a cockney sportsman.
+
+After all, there is no rule in the Latin language about gender so
+comprehensive as that observed in Hampshire, where they call every thing
+_he_ but a tom-cat, and that _she_.
+
+
++DECLENSION OF NOUNS SUBSTANTIVE.+
+
+There are five declensions of substantives. As a pig is known by his
+tail, so are declensions of substantives distinguished by the ending of
+the genitive case. Our fear of outraging the comic feelings of humanity,
+prevents us from saying quite so much about them as our love of learning
+would otherwise induce us to do. We therefore refer the student to that
+clever little book, the Eton Latin Grammar, strongly recommending him to
+decline the following substantives, by way of an exercise, after the
+manner of the examples there set down. First declension, Genitivo ae.
+Virga, a rod. --Second, i. Puer, a boy. Stultus, a fool. Tergum, a back.
+--Third, is. Vulpes, a fox. Procurator, an attorney. Cliens, a client.
+--Fourth, us-- here you may have, Risus, a laugh at. --Fifth, ei.
+Effigies, an effigy, image, or Guy.
+
+The substantive face, facies, _makes faces_, facies, in the plural.
+
+Although we are precluded from going through the whole of the
+declensions, we cannot refrain from proposing "for the use of schools,"
+a model upon which all substantives may be declined in a mode somewhat
+more agreeable, if not more instructive, than that heretofore adopted.
+
+  _Exempli Gratia._
+
+    Musa mus_ae_,
+  The Gods were at tea,
+    Musae mus_am_.
+  Eating raspberry jam,
+    Musa mus_a_,
+  Made by Cupid's mamma,
+    Musae mus_arum_,
+  Thou "Diva Dearum."
+    Musis mus_as_,
+  Said Jove to his lass,
+    Musae mus_is_.
+  Can ambrosia beat this?
+
+
++DECLENSIONS OF NOUNS ADJECTIVE.+
+
+Some nouns adjective are declined with three terminations-- as a pacha
+of three tails would be, if he were to make a proposal to an English
+heiress-- as bonus, _good_-- tener, _tender_. Sweet epithets! how
+forcibly they remind us of young Love and a leg of mutton.
+
+  Bonus, bona, bonum,
+  Thou little lambkin dumb,
+  Boni, bonae, boni,
+  For those sweet chops I sigh,
+  Bono, bonae, bono,
+  Have pity on my woe,
+  Bonum, bonam, bonum,
+  Thou speak'st though thou art mum,
+  Bone, bona, bonum,
+  "O come and eat me, come,"
+  Bono, bonae, bono,
+  The butcher lays thee low,
+  Boni, bonae, bona,
+  Those chops are a picture,-- ah!
+  Bonorum, bonarum, bonorum,
+  To put lots of Tomata sauce o'er 'em
+  Bonis-- Don't, miss,
+  Bonos, bonas, bona,
+  Thou art sweeter than thy mamma,
+  Boni, bonae, bona,
+  And fatter than thy papa.
+  Bonis,-- What bliss!
+
+In like manner decline tener, tenera, tenerum.
+
+Unus, one; solus, alone; totus, the whole; nullus, none; alter, the
+other; uter, whether of the two-- make the genitive case singular in
+_ius_ and the dative in i.
+
+RIDDLES.
+
+_Q._ In what case will a grain of barley joined to an adjective stand
+for the name of an animal?
+
+_A._ In the dative case of unus-- uni-corn.
+
+  _Uni_ nimirum tibi recte semper erunt res.
+
+    _Hor. Sat. lib. ii._ 2. 106.
+
+_Q._ Why is the above verse like all nature?
+
+_A._ Because it is an _uni_-verse.
+
+The word alius, another, is declined like the above-named adjectives,
+except that it makes ali_ud_, not ali_um_, in the neuter singular.
+
+The difference of unus from alius, say the London commentators, like
+that of a humming-top from a peg-top, consists of the _'um_.
+
+N.B. Tu es unus alius, is not good Latin for "You're another," a phrase
+more elegantly expressed by "Tu quoque."
+
+    [Illustration: TU QUOQUE.]
+
+There are some adjectives that remind us of lawyer's clerks, and, by
+courtesy, of linen-drapers' apprentices. These may be termed _articled_
+adjectives; being declined with the articles hic, haec, hoc, after the
+third declension of substantives-- as tristis, sad, melior, better,
+felix, happy.
+
+It is not very easy to conceive any thing in which sadness and
+comicality are united, except Tristis Amator, a sad lover.
+
+    [Illustration: TRISTIS AMATOR.]
+
+Melior is not _better_ for comic purposes. Felix affords no room for a
+_happy_ joke.
+
+Decline these three adjectives, and others of the same class, according
+to the following rules:
+
+  If the nominative endeth in _is_ or _er_, why, sir,
+  The ablative singular endeth in _i_, sir;
+  The first, fourth, and fifth case, their neuter make _e_,
+  But the same in the plural in _ia_ must be.
+  _E_, or _i_, are the ablative's ends,-- mark my song,
+  While _or_ to the nominative case doth belong;
+  For the neuter aforesaid we settle it thus:
+  The plural is _ora_; the singular _us_.
+  If than _is_, _er_, and _or_, it hath many more enders,
+  The nominative serves to express the three genders;
+  But the plural for _ia_ hath _icia_ and _itia_,
+  As Felix, felicia-- Dives, divitia.
+
+
++COMPARISONS OF ADJECTIVES.+
+
+Comparisons are odious--
+
+Adjectives have three degrees of comparison. This is perhaps the reason
+why they are so disagreeable to learn.
+
+The first degree of comparison is the positive, which denotes the
+quality of a thing absolutely. Thus, the Eton Latin Grammar is lepidus,
+funny.
+
+The second is the comparative, which increases or lessens the quality,
+formed by adding _or_ to the first case of the positive ending in _i_.
+Thus the Charter House Grammar, is lepidor-- funnier, or more funny.
+--The third is the superlative, which increases or diminishes the
+signification to the greatest degree, formed from the same case by
+adding thereto, _ssimus_. Thus the Comic Latin Grammar is lepidissimus,
+funniest, or most funny. A Londoner is acutus, sharp, or 'cute,--
+a Yorkshireman acutior, sharper, or more sharp, 'cuter or more 'cute--
+but a Yankee is acutissimus-- sharpest, or most sharp, 'cutest or most
+'cute, or tarnation 'cute.
+
+Enumerate, in the manner following, with substantives, the exceptions to
+this rule, mentioned in the Eton Grammar.
+
+  Bonus, good.
+  A plain pudding.
+
+    Melior, better.
+    A suet pudding.
+
+      Optimus, best.
+      A plum pudding.
+
+  Malus, bad.
+  A caning.
+
+    Pejor, worse.
+    A spatting.
+
+      Pessimus, worst.
+      A flogging.
+                    &c. &c.
+
+Adjectives ending in _er_, form the superlative in _errimus_. The taste
+of vinegar is acer, sour; that of verjuice acrior, more sour; the visage
+of a tee-totaller, acerrimus, sourest, or most sour.
+
+Agilis, docilis, gracilis, facilis, humilis, similis, change _is_ into
+_llimus_, in the superlative degree.
+
+  Agilis, nimble.-- Madlle. Taglioni.
+  Agilior, more nimble.-- Jim Crow.
+  Agillimus, most nimble.-- Mr. Wieland.
+
+  Docilis, docile.-- Learned Pig.
+  Docilior, more docile.-- Ourang-outang.
+  Docillimus, most docile.-- Man Friday.
+
+  Gracilis, slender.-- A whipping post.
+  Gracilior, more slender.-- A fashionable waist.
+  Gracillimus, most slender.-- A dustman's leg.
+      &c. &c.
+
+If a vowel comes before _us_ in the nominative case of an adjective, the
+comparison is made by magis, _more_, and maxime, _most_.
+
+  Pius, pious.-- Dr. Cantwell.
+  Magis pius, more pious.-- Mr. Maw-worm.
+  Maxime pius, most pious.-- Mr. Stiggins.
+
+Sancho Panza called Don Quixote, Quixottissimus. This was not good
+Latin, but it evinced a knowledge on Sancho's part, of the nature of the
+superlative degree.
+
+
++OF A PRONOUN.+
+
+A pronoun is a substitute, or (as we once heard a lady of the Malaprop
+family say), a _subterfuge_ for a noun.
+
+There are fifteen Pronouns.
+
+  Ego, tu, ille,
+  I, thou, and Billy,
+  Is, sui, ipse,
+  Got very tipsy.
+  Iste, hic, meus,
+  The governor did not see us.
+  Tuus, suus, noster,
+  We knock'd down a coster-
+  Vester, noster, vestras.
+  monger for daring to pester us.
+
+To these may be added, egomet, I myself; tute, thou thyself, idem the
+same, qui, who or what, and cujas, of what country.
+
+
++DECLENSION OF PRONOUNS.+
+
+Pronouns concern _ourselves_ so much, that we cannot altogether pass
+over them; though a hint or two with regard to the mode of learning
+their declension is all that we can here afford to give. We are
+constrained now and then to leave out a good deal of valuable matter,
+for the reason that induced the Dublin manager to omit the part of
+Hamlet in the play of that name-- the length of the performance.
+
+Pronouns may be thus agreeably declined:
+
+  Ego, mei, mihi,
+  Hoist the frog up sky-high.
+  Tu, tui, tibi,
+  In Chancery they fib ye.
+  Ille, illa, illud,
+  Cows chew the cud.
+  Is, ea, id,
+  Always do as you're bid.
+  Qui, quae, quod,
+  Or else you'll taste the rod.
+
+Every donkey can decline is, ea, id. We heard one the other day on
+Hampstead Heath, repeat distinctly
+
+  E--o! e--a! e--o!
+
+    [Illustration: THE FIRST LESSON IN LATIN.]
+
+When you decline quis quae _quid_, beware of any temptation to indulge in
+dirty habits. _Es_chew pig-tail instead of chewing it. Never have any
+_quid_ in your mouth, but a quid pro quo.
+
+
++OF A VERB.+
+
+A verb is the chief word in every _sentence_, as _Suspendatur_ per
+collum, let him be hanged by the neck.
+
+It expresses the action or being of a thing. Ego _sum_ sapiens, I am a
+wise man. Tu _es_ stultus, thou art a fool. Non hic amice, _pernoctas_,
+you don't lodge here, Mr. Ferguson.
+
+Verbs have two voices, like the gentleman who was singing, a short time
+since, at the St. James's Theatre.
+
+The active ending in _o_-- as amo, I love.
+
+The passive ending in _or_-- as amor, I am loved.
+
+In these two words is contained the terrestrial summum bonum-- In short,
+love beats everything-- cock-fighting not excepted. Amo! amor! How happy
+every human being, from the peer to the pot-boy, from the duchess to the
+dairy-maid, would be to be able to say so.
+
+They would _conjugate_ immediately. Except, however, certain modern
+political economists of the Malthusian school, who, albeit they are
+great advocates for the diffusion of learning, are violently opposed to
+unlimited conjugations.
+
+Of verbs ending in _o_ some are actives transitive. A verb is called
+transitive when the action passes on to the following noun, as Seco
+baculum meum, I cut my stick.
+
+Numerous examples of this kind of cutting, which may be called a _comic
+section_, are recorded in history, both ancient and modern. Even Hector
+cut his stick (with Achilles after him) at the siege of Troy. The
+Persians cut their stick at Marathon. Pompey cut his stick at Pharsalia,
+and so did Antony at Actium. Napoleon Bonaparte cut his stick at
+Waterloo.
+
+Other verbs ending in _o_ are named neuters and intransitives. A verb is
+called intransitive, or neuter, when the action does not pass on, or
+require a following noun, as curro, I run. Pistol cucurrit, Pistol ran.
+But to say, "Falstaff voluit _currere eum per_," "Falstaff wished _to
+run him through_," would be making a neuter verb, a verb active, and
+would therefore be Latin of the canine species, or Dog-Latin; so would
+Meus homo Gulielmus _cucurrit caput suum_ plenum sed contra te homo dic
+pax, My man William _ran his head_ full but against the mantel-piece.
+This, it is obvious, will not do after Cicero.
+
+Verbs transitive ending in _o_ become passive by changing _o_ into _or_,
+as Secor, I am cut. Caesar was cut by his friend Brutus in the capitol.
+"This," as Antony very judiciously observed on the hustings, "was the
+most unkindest _cut_ of all,"-- much worse, indeed, than any of the
+similar operations which are daily performed in Regent Street.
+
+    [Illustration: BRUTUS AND CAESAR.]
+
+Verbs neuter and intransitive are never made passive. We may say, Crepo,
+I crack, but we cannot say, Crepor, I am cracked.
+
+The ancient heroes appear, from what Homer says, to have got into a way
+of _cracking_ away most tremendously when they were going to engage in
+single combat.
+
+Orestes was certainly _cracked_.
+
+Some verbs ending in _or_ have an active signification-- as Loquor,
+I speak.
+
+_Q._ Why are such verbs like witnesses on oath?
+
+_A._ Because they are called "Deponents."
+
+Of these some few are neuters, as Glorior, I boast.
+
+Caesar boasted that he came, saw, and overcame. Bald-headed people (like
+Caesar) do not, in general, make _conquests_ so easily.
+
+Neuter Verbs ending in _or_, and verbs deponent, are declined like verbs
+passive; but with gerunds and supines like verbs active; thus presenting
+a curious combination of _activity_ and _supineness_.
+
+There are some verbs which are called verbs personal. A verb personal
+resembles a mixed group of old maids and young maids, because it has
+_different persons_, as Ego irrideo, I quiz. Tu irrides, thou quizzest.
+
+A verb impersonal is like a collection of tombstone angels, or small
+children; it has not _different persons_, as taedet, it irketh, oportet,
+it behoveth.
+
+It irketh to learn Greek and Latin, nevertheless it behoveth to do so.
+
+
++OF MOODS.+
+
+Moods in verbs are like moods in man, they have each of them a peculiar
+_expression_. Here, however, the resemblance stops. Man has many moods,
+verbs have but five. For instance, we observe in men the merry mood, the
+doleful mood, (or dumps), the shy, timid, or sheepish mood, the bold, or
+_bumptious_ mood, the placid mood, the angry mood, whereto may be added
+the vindictive mood, and the sulky mood; the sober mood, as
+contradistinguished from both the serious and the drunken mood; or as
+blended with the latter, in which case it may be called the sober-drunk
+mood-- the contented mood, the grumbling mood; the sympathetic mood, the
+sarcastic mood, the idle mood, the working mood, the communicative mood,
+the secretive mood, and the moods of all the phrenological organs;
+besides the monitory or mentorial mood, and the mendacious, or lying
+mood, with the imaginative, poetical, or romantic mood, the
+compassionate, or melting mood, and many other moods too tedious to
+mention.
+
+We must not however omit the flirting mood, the teazing or tantalizing
+mood, the giggling mood, the magging or talkative mood, and the
+scandalizing mood, which are peculiarly observable in the fair sex.
+
+The moods of verbs are the following:
+
+1. The indicative mood, which either affirms a fact or asks a question,
+as Ego amo, I _do_ love. Amas tu? _Dost_ thou love?
+
+The long and short of all courtships are contained in these two
+examples.
+
+    [Illustration: A LONG COURTSHIP.]
+
+2. The imperative mood, which commandeth, or entreateth. This two-fold
+character of the imperative mood is often exemplified in schools, the
+command being on the part of the master, and the entreaty on that of the
+boy-- as thus, Veni huc! Come hither! Parce mihi! Spare me! The
+imperative mood is also known by the sign _let_-- as in the well-known
+verse in the song Dulce Domum--
+
+  "Eja! nunc eamus."
+
+"Hurrah! now let us be off"-- meaning for the vacation. N.B. This mood
+is one much in the mouth of beadles, boatswains, bashaws, majors,
+magistrates, slave drivers, superintendents, serjeants, and
+jacks-in-office of all descriptions-- monitors, especially, and praefects
+of public schools, are very fond of using it on all occasions.
+
+    [Illustration: THE IMPERATIVE MOOD.]
+
+3. The potential mood signifies power or duty. The signs by which it is
+known are, may, can, might, would, could, should, or ought-- as, Amem,
+I may love (when I leave school). Amavissem, I should have loved (if I
+had not known better,) and the like.
+
+4. The subjunctive differs from the potential only in being always
+governed by some conjunction or indefinite word, and in being subjoined
+to some other verb going before it in the same sentence-- as Cochleare
+eram cum amarem, I was a _spoon_ when I loved-- Nescio qualis sim hoc
+ipso tempore, I don't know what sort of a person I am at this very time.
+
+The propriety of the above expression "cochleare," will be explained in
+a Comic System of Rhetoric, which perhaps may appear hereafter.
+
+5. The infinitive mood is like a gentleman's cab, because it has no
+number.
+
+We have not made up our minds exactly, whether to compare it to the
+"picture of nobody" mentioned in the Tempest, or to the "picture of
+ugliness," which young ladies generally call their successful rivals. It
+may be like one, or the other, or both, because it has no _person_.
+
+Neither has it a nominative case before it; nor, indeed, has it any more
+business with one than a toad has with a side pocket.
+
+It is commonly known by the sign _to_. As, for example-- Amare, to love;
+Desipere, to be a fool; Nubere, to marry; P[oe]nitere, to repent.
+
+
++OF GERUNDS AND SUPINES.+
+
+Ever anxious to encourage the expansion of youthful minds, by as general
+a cultivation as possible of the various faculties, we beg to invite
+attention to the following combination of Grammar, Poetry, and Music.
+
+  _Air._-- Believe me if all those endearing young charms. --_Moore._
+
+  The gerunds of verbs end in di, do, and dum,
+    But the supines of verbs are but two;
+  For instance, the active, which endeth in _um_,
+    And the passive which endeth in _u_.
+
+  Amandi, of loving, kind reader, beware;
+    Amando, in loving, be brief;
+  Amandum, to love, if you 're doom'd, have a care,
+    In the goblet to drown all your grief.
+
+  Amatum, Amatu, to love and be loved,
+    Should it be your felicitous (?) lot,
+  May the fuel so needful be never removed
+    Which serves to keep boiling the pot.
+
+
++OF TENSES.+
+
+In verbs there are five tenses, or times, expressing an action, or
+affirmation.
+
+1. The present tense, or time. There is no time (or tense) like the
+present. It expresses an action now taking place. Examples-- _Act._ I
+love, or am loving. Amo, I am loving. --_Pass._ I am made drunk, or am
+drunk. Inebrior, I am drunk.
+
+2. The preterimperfect tense denotes something, or a state of things,
+partly, but not entirely past. --Examp. I did love or was loving.
+Amabam, I was loving. I was made drunk an hour ago. Inebriabar, I was
+made drunk.
+
+3. The preterperfect tense expresses a thing lately done, but now ended.
+--Examp. I have loved, or I loved. Amavi, I loved. I have been made
+drunk, or have been drunk. Inebriatus sum, I have been drunk.
+
+4. The preterpluperfect tense refers to a thing done at some time past,
+but now ended. --Examp. Amaveram, I had loved. Inebriatus eram, I had
+been drunk.
+
+5. The future tense relates to a thing to be done hereafter, as, Amabo,
+I shall or will love. Inebriabor, I shall get drunk-- say to-morrow.
+
+
++OF NUMBERS AND PERSONS.+
+
+Verbs have two numbers. No. 1, Singular, No. 2, Plural.
+
+In most matters it is usual to pay exclusive attention to number one. In
+learning the verbs, however, it is necessary to regard equally number
+two.-- The _persons_ of verbs are generally considered very
+disagreeable. Verbs have three persons in each number. Thus, for
+instance, at a dancing academy--
+
+  Sing.
+  Ego salto,     I dance,
+  Tu saltas,     Thou dancest,
+  Ille saltat,   He danceth.
+
+  Plur.
+  Nos saltamus,  We dance,
+  Vos saltatis,  Ye dance,
+  Illi saltant,  They dance.
+
+At an academy on _Free-knowledge-ical_ principles-- or a Comic Academy.
+
+  Ego rideo,    I laugh,
+  Tu rides,     Thou laughest,
+  Ille ridet,   He laugheth.
+
+  Nos ridemus,  We laugh,
+  Vos ridetis.  Ye laugh,
+  Illi rident,  They laugh.
+
+Laughter, too, is very common at other academies, but generally occurs
+on the wrong side of the mouth. The right sort of laughter (which may be
+presumed to be on the _right_ side of the mouth), is most frequent about
+the time of the holidays. What does the song say?
+
+  "Ridet annus, prata rident
+    Nosque rideamus."
+
+  "The year laughs, the meadows laugh,--
+  suppose we have a laugh as well."
+
+_Note_-- That all nouns are of the third person except Ego, Nos, Tu, and
+Vos. Hence we see how absurdly the man who drew a couple of donkeys
+acted in endeavouring to prevail upon _us_ to call the picture "_We_
+Three"-- _Ille_, _he_,-- may, perhaps, have been qualified to make a
+_third person_ in the group, and have "written himself down an ass" with
+some correctness. _Ego_, _I_, and _Nos_, _we_, have certainly nothing in
+common with that animal, and it is to be hoped that neither Tu, thou,
+nor Vos, ye, can be said to partake of his nature.
+
+_Note_ also. That all nouns of the vocative case are of the second
+person. So that if we should say, O asine, O thou donkey; or O asini,
+O ye donkeys, we should have grammar at least on our side.
+
+Be it your care to prevent us from having justice also.
+
+
+  OF THE VERB ESSE, TO BE.
+
+Before other verbs are declined, it is necessary to learn the verb Esse,
+to be. And before we teach the verb Esse, to be, it is necessary to make
+a few remarks on verbs in general.
+
+In the first place we have to observe, that they are rather difficult;
+and in the next, that if any one expects that we are going to consider
+them in detail, he is very much mistaken.
+
+But our skipping a very considerable portion of the verbs, is no reason
+why boys should do the same. Were we all to follow the examples of our
+teachers, instead of attending to their precepts, where would be the
+world by this time?
+
+Whirling away, no doubt, far from the respectable society of the
+neighbouring planets, and blundering about right and left, pell-mell,
+helter-skelter among the fixed stars-- itself, "and all which it
+inherit" in that glorious state of confusion so admirably described by
+the poet Ovid--
+
+  "Quem dixere Chaos,"
+
+which men have called Shaos. It would indeed be little better than a
+broken down _Shay_-horse.
+
+But "revenons a nos moutons," that is, let us get back to our verbs. We
+recommend the most attentive and diligent study of all of them as set
+forth in the Eton Grammar, assisted by that kind of association of
+ideas, of which we shall now proceed to give a few specimens.
+
+
+Sum, es, fui, esse, futurus, to be,-- or not to be-- that is the
+question.
+
+_Rule_ 1. To each person of a verb, singular and plural, join a noun,
+according to your taste or comic talent. Should you be deficient in the
+inventive faculty, apply for assistance to one of the senior boys,
+which, in consideration of your fagging for him, he will readily give
+you. If yourself a senior boy, apply to the master.
+
+  _Examples._
+
+  INDICATIVE MOOD.
+
+  Present Tense.  Am.
+
+  _Sing._
+  Sum,  I am,      Vir,      a man,
+  Es,   Thou art,  Stultus,  a fool,
+  Est,  He is,     Latro,    a thief.
+
+  _Plu._
+  Sumus,  We are,    Patricii,  gentlemen,
+  Estis,  Ye are,    Plebeii,   snobs,
+  Sunt,   They are,  Errones,   vagabonds.
+
+We would proceed in this way with Sum, but that we are afraid of being
+tire-_sum_.
+
+  VERBS REGULAR.
+
+  First Conjugation.  Amo.
+
+  _Sing._
+  Amo,   I love,       Puellam,          a lass,
+  Amas,  Thou lovest,  Fartum,           a pudding,
+  Amat,  He loveth,    Carnem porcinam,  pork.
+
+  _Plu._
+  Amamus,  We love,    Doctrinam,  learning,
+  Amatis,  Ye love,    Leporem,    comicality,
+  Amant,   They love,  Poesin,     poetry.
+
+The consideration of which three things leads us to
+
+_Rule_ 2. In repeating the different tenses of verbs, be careful to be
+provided with a short English verse, contrived so as to rhyme with the
+third person singular, and another to rhyme with the third person
+plural. In this way your powers of composition as well as of memory will
+be profitably exercised.
+
+  _Example._
+
+  Second Conjugation.  Moneo.
+
+  _Sing._  Moneo, mones, monet,
+    Reid & Co.'s _heavy wet_.
+
+  _Plu._ Monemus, monetis, monent,
+    Beats that from the firmament.
+
+  Third Conjugation.  Rego.
+
+  _Sing._ Rego, regis, regit,
+    A statesman for office unfit.
+
+  _Plu._ Regimus, regitis, re_gunt_,
+    Is much like a bear in a punt.
+
+_Rule_ 3. Should you be desired to give the English of each person in
+the tense which you are repeating, you may (we mean a class of you),
+follow a plan adopted with great success and striking effect in that
+kind of dramatic representation entitled "A Grand Opera," that of
+_singing_ what you have to _say_. Hold up your head, turn out your toes,
+clear your voices, and begin. A-hem!
+
+    [Plate:
+    GOING THROUGH THE VERBS.
+    AUDIO--I HEAR.]
+
+  Fourth Conjugation.  Audio.
+
+  _Trio._
+
+  _Sing._ Audio, I hear the Tartar drum!
+    Audis, Thou hearest the Tartar drum!
+    Audit, He hears the Tartar drum!--
+      the Tartar drum! the Tartar drum!
+
+  _Chorus._ He hears!
+    He hears!
+
+  He h - - e - - - a - - rs the Tar - tar drum!
+  _Plu._ Audimus, We hear the Tartar drum, &c.
+
+
+  VERBS IRREGULAR--
+
+Are _regular_ bores. The above Rules are equally applicable to them, and
+also to the
+
+
+  DEFECTIVE VERBS;
+
+Concerning which it may be asserted, that though almost all of them have
+tenses more or less imperfect, there are some which have not a single
+_Imperfect Tense_.
+
+
+  IMPERSONAL VERBS.
+
+Such as delectat, it delighteth; decet, it becometh, &c., answer to such
+English verbs as take the word _it_ before them. When we consider that
+_it_ is a term of endearment used in speaking to babies, as "it's a
+pretty dear," we cannot help thinking that Verbs Impersonal ought to be
+_pet_ verbs. Such however, is not, as far as we know, the fact.
+
+    [Illustration: PRETTY DEAR.]
+
+
++OF A PARTICIPLE.+
+
+A participle is a hybrid part of speech; a kind of mongrel-cross,
+between a noun and a verb. It is two parts verbs, and four parts noun;
+wherefore its composition may be likened unto the milk sold in and about
+London, which is usually watered in the proportion of four to two. The
+properties of the noun belonging to it, are, number, gender, case, and
+declension; those of the verb, tense, and signification.
+
+As a horse hath four legs, so hath a verb four participles.
+
+  _Air._-- Bonnets of Blue.
+
+  There 's one of the present,-- and then,
+    There 's one of the future in _rus_;
+  Of the tense preterperfect a third,-- and again,
+    A fourth of the future in _dus_.
+
+Participles are declined like nouns adjective, as-- but no! how can we
+ask our fair (blue) readers to decline _a-man's_ (amans) loving.
+
+Now here we feel called upon to say a few words on the difference
+between a man's loving and a woman's loving. It has often been a
+question, whether do men or women love most _dearly_? To us the matter
+does not appear to admit of a doubt. We defy any of our male readers to
+be in love (when they are old and silly enough) for six months without
+finding themselves most grievously out of pocket. We have a friend who
+was in that unfortunate condition for about a month, and it cost him at
+least seven and sixpence a week in fees to the maid servant, and that
+without once being enabled to exchange a word with the object of his
+affections. At last he began to think that he was paying rather too dear
+for his whistle; so he gave it up. What girl would have held on so long,
+and laid out so much money without a return-- not of soft affection, but
+of hard cash? Women, indeed, instead of loving dearly, love, according
+to our own experience, particularly cheaply. Think of what they save, by
+taking their admirers "shopping" with them, in ribands, bracelets, and
+the like, to say nothing of coach-hire, pastry-cooks, and the price of
+admission, when they go with them to the play. And we should like to
+hear of the young lady who in these days would dispose of her hand at
+any thing less than a good round sum if she could help it-- no, no. To
+love _dearly_ is the precious prerogative of the lords of the creation
+alone.
+
+But we are forgetting our participles.
+
+The participle of the present tense ends in _ans_, or _ens_; as
+Flagellans, whipping; Laedens, hurting.
+
+That of the future in _rus_, signifies a likelihood, or design of doing
+something, as Flagellaturus, about to whip; Laesurus, about to hurt.
+
+That of the preterperfect tense has generally a passive signification,
+and ends in _us_, as Flagellatus, whipped; Laesus, hurt.
+
+That of the future in _dus_ has also a passive signification, as
+Flagellandus, to be whipped; Laedendus, to be hurt.
+
+_Note_ 1. All participles are declined like nouns adjective. We
+recommend the above participles to be declined like _winking_.
+
+2. There are three things that are not hurt by whipping-- a top,
+a syllabub, and a cream.
+
+
++OF AN ADVERB.+
+
+Convex and concave spectacles are contrivances used to increase or
+diminish the magnitude of objects.
+
+Adverbs are parts of speech used to increase or diminish the
+signification of words.
+
+Spectacles are joined to the bridge of the nose.
+
+Adverbs are joined to nouns adjective, and verbs. Bene, well; multum,
+much; male, ill, &c. are adverbs.
+
+  Caesar _multum_ conturbavit indigenas:
+
+  Caesar much astonished the natives.
+
+    [Illustration: CAESAR ASTONISHING THE NATIVES.]
+
+
++OF A CONJUNCTION.+
+
+A conjunction is a part of speech that joineth together; wherefore it
+may be likened unto many things; for instance--
+
+To glue, to paste, to gum arabic, to mortar, (for it joins words and
+sentences together _like bricks_), to Roman cement, (_Latin_
+conjunctions more especially), to white of egg, to isinglass, to putty,
+to adhesive plaster, to matrimony.
+
+Conjunctions are thus used.
+
+Ova _et_ lardum, eggs and bacon. Dimidium dimidium_que_, half-and-half.
+Amor _et_ dementia, love and madness.
+
+    [Illustration: HALF-AND-HALF.]
+
+
++OF A PREPOSITION.+
+
+A Preposition is a part of speech commonly _set before_ another word.
+Words, however, do not eat each other, though men have been known to eat
+words. Ab, ad, ante, &c. prepositions.
+
+Sometimes a preposition is joined in composition with another word, as
+_pro_stratus, knocked down-- floored.
+
+  Tullius ab aquario _pro_stratus est:
+
+  Tully was knocked down by a waterman.
+
+
++OF AN INTERJECTION.+
+
+An interjection is a word expressing a sudden emotion or feeling, as
+Hei! Oh dear!-- Heu! Lack-a-day!-- Hem! Brute, Hollo! Brutus.-- Euge!
+Tite, Bravo! Titus.
+
+We here find ourselves approaching the delightful subject of the three
+Concords, with which we shall make short work, first, for fear of
+further _Accidence_, and, secondly, because we are no fonder than boys
+are of _repetitions_, which, were we to follow the Eton Grammar in the
+Concords, we should be obliged to make in the Syntax.
+
+However, there are just one or two points to be mentioned.
+
+_Rule._ (Text-hand copy-books.) "Ask no questions."
+
+_Exception._ When you want to find where the concord should be, ask the
+following--
+
+Who? or what?-- to find the nominative case to the verb.
+
+Whom? or what? with the verb, for the accusative after it.
+
+Who? or what? with the adjective, for the substantive to the adjective.
+
+Who? or what? with the verb, for the antecedent to the relative.
+
+But remember, that the use of the interrogatives who? and what? however
+justifiable in grammar, is very impertinent in conversation. What, for
+example, can be more ill-bred than to say, Who are you? Indeed, most
+questions are ill mannered. We do not speak of such expressions as, Has
+your mother sold her mangle? and the like, used only by persons who have
+never asked themselves where they expect to go to? but of all
+unnecessary demands whatever. "Sir," said the great Dr. Johnson, "it is
+uncivil to be continually asking, Why is a dog's tail short, or why is a
+cow's tail long."
+
+
++OF THE GENDERS OF NOUNS,+
+
+  Commonly known by the name of
+
+  _"Propria Quae Maribus."_
+
+As the "Propria Quae Maribus" is no joke, and the "As in Praesenti" is too
+much of a joke, we must do with them as we did with the verbs. Singing a
+song is always esteemed a valid substitute for telling a story; and the
+indulgence which we would have extended to us in this respect, is that
+universally granted to civilized society.
+
+Let the "Propria Quae Maribus" be turned into a series of exercises,
+thus, or in like manner--
+
+  _Air._-- "Here 's to the maiden of bashful fifteen."
+
+  All names of the male kind you masculine call,
+    Ut sunt (for example), Divorum,
+  Mars, Bacchus, Apollo, the deities all,
+    And Cato, Virgilius, virorum.
+      Latin 's a bore, and bothers me sore,
+      Oh how I wish that my lesson was o'er.
+
+  Fluviorum, ut Tibris, Orontes likewise,
+    Fine rivers in ocean that lost are,
+  And Mensium-- October an instance supplies;
+    Ventorum, ut Libs, Notus, Auster.
+      Latin 's a bore, &c.
+
+We do not pretend that the mode of study here recommended, is perfectly
+original. The genuine Propria Quae Maribus, and As in Praesenti, like the
+writings of the most remote antiquity, consist of certain useful truths
+recorded in harmonious numbers. It has been a question among
+commentators, whether these interesting compositions were originally
+intended to be said or sung. Analogy (we mean that derived from the
+works of Homer and Virgil) would incline us to the latter opinion, which
+however does not appear to have been generally entertained in the
+schools. We shall give one more specimen in the above style; and we beg
+it may be remembered, that in so doing, we have no wish to detract in
+any way from the merit of the illustrious poet in the Eton Grammar; all
+we think is, that he might have introduced a little more _comicality_
+into his work, while he was about it.
+
+
++OF THE PRETERPERFECT TENSE, &c. OF VERBS.+
+
+  _Otherwise the "As in Praesenti."_
+
+  As in Praesenti-- Preterperfect-- avi,
+  Oh! send me well done, lean, and lots of gravy,
+  Save lavo, lavi, nexo, nexui.
+  Ah! me-- how sweet is cream with apple-pie,
+  Juvi from juvo, secui from seco,
+  Could n't I lie and tipple, more Graeco!
+  From neco, necui, and mico, word
+  Which micui makes, Oh! roast goose, lovely bird!
+  Plico which plicui gives. Delightful grub!
+  And frico, fricas, fricui, to rub--
+  So domo, tono, domui, tonui make.
+  And sono, sonui.-- Lead me to the stake,
+  I mean the beef-_stake_-- crepo, crepui too,
+  Which means to _crack_ (as roasted chestnuts do,)
+  Then veto, vetui makes-- _forbidding_ sound,
+  Cubo, to lie along (these verbs confound
+  Ye gods) makes cubui, do gives rightly dedi;
+  What viler object than a coat that 's seedy?--
+  Sto to form steti has a predilection;
+  Well-- let it if it likes, I've no objection.
+    &c. &c. &c.
+
+
++SYNTAXIS,+
+
+  _or the Construction of Grammar._
+
+_Q._ What part of the grammar resembles the indulgences sold in the
+middle ages?
+
+_A._ _Sin_-tax.
+
+
+  THE FIRST CONCORD;
+  THE NOMINATIVE CASE AND THE VERB.
+
+Where there is much _personality_, there is generally little concord.
+
+However, a verb personal agrees with its nominative case in number and
+person, as Sera nunquam est ad bonos mores via, The way to good manners
+is never too late. Mind that, brother Jonathan.
+
+    [Illustration: AMERICAN GENTLEMEN.]
+
+_Note_-- The above maxim is especially worthy of the attention of
+neophytes in law and medicine; of the gods in the gallery, and of
+Members of the _House_.
+
+The nominative case of pronouns is rarely expressed, except for the sake
+of distinction or emphasis, as--
+
+  _Tu_ es exquisitus, _tu_ es,
+
+  _You_ 're a nice man, _you_ are.
+
+    [Illustration]
+
+Sometimes a sentence is the nominative case to the verb, as
+
+  Ingenuas pugni didicisse fideliter artes,
+    Mollitos mores non sinit esse viri.
+
+  The faithful study of the fistic art
+  From mawkish softness guards a Briton's heart.
+
+    [Plate:
+    INGENUAS PUGNI DIDICISSE FIDELITER ARTES
+    MOLLITOS MORES NON SINIT ESSE VIRI.]
+
+Who can doubt it? But, besides, we have much to say in praise of boxing.
+In the first place, it is a _classical_ accomplishment. To say nothing
+of the Olympic and Isthmian Games, which are of themselves sufficient
+proof of the elegant and _fanciful_ tastes of the ancients; we need only
+allude to the fact, that the _Corinthians_ are universally celebrated
+for their proficiency in this science. Then, of its eminently _social_
+tendency, there can be no doubt. What can be more conducive to good
+fellowship, and conviviality than the frequent _tapping of claret_,
+attendant both on its study and practice? Nor can its beneficial
+influence on the fine arts be called in question, seeing that its
+immediate object is to teach us the _use of our hands_. And (which
+perhaps is the most pursuasive argument of all), it is particularly
+pleasing to the fair sex, who besides their well known admiration of
+_bravery_, are, to a woman, devotedly attached to the _ring_.
+
+Sometimes an adverb with a genitive case stands in the place of the
+nominative, as--
+
+  Partim astutorum mordebantur,
+
+  Part of the knowing ones were bit.
+
+We must contend that the above is a _racy_ observation.
+
+
+  EXCEPTIONS TO THE RULE.
+
+Verbs of the infinitive mood-- but hold. Remember that there is scarcely
+any rule without an exception; and this axiom particularly applies to
+the Syntax. We used to wish it did not; because then we should not have
+had so much to learn-- to resume however--
+
+Verbs of the infinitive mood often have set before them an accusative
+case instead of a nominative; the conjunction quod, or ut, being left
+out, as
+
+  Annam reginam aiunt occubuisse:
+
+  They say that Queen Anne's dead.
+
+A verb placed between two nominative cases of different numbers, is not
+like a donkey between two stacks of hay, it makes choice of one or the
+other, and agrees with it, as
+
+  Amygdalae amarae venenum _est_,
+
+  Bitter almonds _is_ poison.
+
+We have written the English beneath the Latin. Perhaps it may be
+imagined that we think good English _beneath_ us.
+
+A singular noun of multitude is sometimes joined to a plural verb; as
+
+  Pars puerorum philosophum secuti sunt,
+
+  Part of the boys followed the philosopher.
+
+    [Illustration]
+
+And so they would now, particularly if they saw one in costume.
+
+Verbs impersonal have no nominative case before them, as
+
+  Taedet me Grammatices, I am weary of Grammar.
+
+  Pertaesum est Syntaxeos, I am quite sick of Syntax.
+
+  Mirificum visum est Socratem in gyrum saltantem videre,
+
+  It seemed wonderful to behold Socrates jumping Jim Crow.
+
+    [Illustration]
+
+
+  SECOND CONCORD.
+  THE SUBSTANTIVE AND THE ADJECTIVE.
+
+Adjectives, participles, and pronouns agree with the substantive in
+gender, number, and case, as
+
+  Vir exiguo conventui, sobrioque idoneus:
+
+  A nice man for a small tea-party.
+
+    [Illustration: A TEA SPOON.]
+
+The Spartans, probably, were men of this kind; their aversion to
+drunkenness being well known.
+
+Observe how close the concord is between substantive and adjective. The
+ties of wedlock are nothing to it; for, besides that in that happy state
+there is very often not a little discord, it is quite impossible that
+man and wife should ever agree in _gender_.
+
+Sometimes a sentence supplies the place of a substantive; the adjective
+being placed in the neuter gender, as
+
+  Audito reginam leones c[oe]nantes visisse:
+
+  It being heard that Her Majesty had gone to see the lions at supper.
+
+
+  THIRD CONCORD.
+  THE RELATIVE AND THE ANTECEDENT.
+
+The relative and antecedent hit it off very well together; they agree
+one with the other in gender, number, and person, as
+
+  Qui plenos haurit cyathos, madidusque quiescit,
+  Ille bonam degit vitam, moriturque facetus.
+
+  "He who drinks plenty, and goes to bed mellow,
+  Lives as he ought to do, and dies a jolly fellow."
+
+    [Illustration]
+
+Horace was the fellow for this kind of thing. Cato must have been a
+regular wet blanket.
+
+Sometimes a sentence is placed for an antecedent, as
+
+  Heliogabalus, spiritu contento, viginti quatuor ostrearum
+  demersit in alvum, quod Dandoni etiam longe antecellit.
+
+  Heliogabalus, at one breath, swallowed two dozen of oysters,
+  which beats even Dando out and out.
+
+    [Illustration: HELIOGABALUS.]
+
+Many of the ancients could swallow a good deal.
+
+A relative placed between two substantives of different genders and
+numbers, sometimes agrees with the latter, as
+
+  Pueri tuentur illum librum quae Latina Grammatices et Comica dicitur.
+
+  Boys regard that book which is called the Comic Latin Grammar.
+
+Sometimes a relative agrees with the primitive, which is understood in
+the possessive, as
+
+  Mirabantur impudentiam suam qui ad reginam literas misit.
+
+  They wondered at his impudence, who wrote a letter to the queen.
+
+If a nominative case be interposed between the relative and the verb,
+the relative is governed by the verb, or by some other word which is
+placed in the sentence with the verb, as
+
+  Luciferi quos Prometheus surripuit, ad Jovem cujus numen contempsit,
+  pertinebant.
+
+  The Lucifers which Prometheus shirked, belonged to Jupiter,
+  whose authority he despised.
+
+In fact, Prometheus _made light_ of Jupiter's _lightning_.
+
+We now take leave of the Concords, observing only how pleasant it is to
+see _relatives agree_.
+
+    [Illustration: IT 'S PLEASANT TO SEE RELATIVES AGREE.]
+
+    [Plate:
+    PROMETHEUS VINCTUS.]
+
+Our next subject is the
+
+
+  CONSTRUCTION OF NOUNS SUBSTANTIVE.
+
+Which is not quite so amusing as the construction of small boats, paper
+kites, pinwheels, crackers, or any other mode of displaying the faculty
+of "constructiveness"-- though in one sense the construction of nouns
+substantive, is not unlike the construction of _puzzles_.
+
+When two substantives of a different signification meet together, the
+latter is put in the genitive case, as
+
+  Ulysses lumen Cyclopis extinxit:
+
+  Ulysses doused the glim of the Cyclops.
+
+This genitive case is sometimes changed into a dative, as
+
+  Urbi pater est, urbique maritus. --Gram. Eton.
+
+  He is the father of the city, and the husband of the city.
+
+He must have been a pretty fellow, whoever he was.
+
+An adjective of the neuter gender, put without a substantive, sometimes
+requires a genitive case, as
+
+  Paululum honestatis sartori sufficit:
+
+  A very little honesty is enough for a tailor.
+
+A genitive case is sometimes placed alone; the preceding substantive
+being understood by the figure ellipsis, as
+
+  Ubi ad magistri veneris, cave verbum de porco:
+
+  When you are come to the master's (house), not a word about the pig.
+
+The word pig is a very general term, and is used to signify not only the
+animal so called, and such of the human race as resemble him in habits,
+appearance, or feelings; but also to denote a variety of little things,
+which it is sometimes necessary to keep secret. A pedagogue now and then
+discovers a _pig-tail_ appended to his coat collar-- this, or rather the
+way in which it got there, is one of the little _pigs_ in question.
+Robbing the larder or the garden is another; so is insinuating
+horse-hairs into the cane, or putting cobbler's wax on the seat of
+learning -- we mean the master's stool. A sort of _pig_ (or rather a
+_rat_) is sometimes _smelt_ by the master on taking his nightly walk
+though the dormitories, when roast fowl, mince pies, bread and cheese,
+shrub, punch, &c. have been slyly smuggled into those places of repose.
+Shirking down town is always a _pig_, and the consequences thereof, in
+case of discovery, a great _bore_.
+
+Considering that a secret is a _pig_, it is singular that betraying one
+should be called letting the _cat_ out of the bag.
+
+    [Plate:
+    SMELLING A PIG.]
+
+Two substantives respecting the same thing are put in the same case, as
+
+  Telemachum, juvenem bonae indolis, Calypso existimavit.
+
+  Calypso thought Telemachus a nice young man.
+
+By the way, what a nice young man Virgil makes out Marcellus to have
+been!
+
+Praise, dispraise, or the quality of a thing is placed in the ablative,
+and also in the genitive case-- as
+
+  Vir paucorum verborum et magni appetitus:
+
+  A man of few words and large appetite.
+
+  Paterfamilias. Vir multis miseriis:
+
+  A father of a family. A man of many woes.
+
+    [Illustration]
+
+The man of most _woes_, however, is a hackney-coachman.
+
+Opus, need, and usus, need, require an ablative case, as
+
+  Didoni marito opus erat;
+
+  Dido had need of a husband.
+
+  AEneae c[oe]na usus erat;
+
+  AEneas had need of a dinner.
+
+But opus appears to be sometimes placed like an adjective for
+necessarius, necessary, as
+
+  Regi Anthropophagorum coquus opus est:
+
+  The King of the Cannibal Islands wants a cook.
+
+Which would serve his purpose best-- a valet-de-chambre who _dresses_
+men, or a wit, who _roasts_ them?
+
+
+  THE CONSTRUCTION OF NOUNS ADJECTIVE.
+
+  THE GENITIVE CASE AFTER THE ADJECTIVE.
+
+Adjectives which signify desire, knowledge, memory, fear, and the
+contrary to these, require a genitive case, as
+
+  Est natura vetularum obtrectationis avida:
+
+  The nature of old women is fond of scandal.
+
+This particularly applies to old maids. As those delightful creatures
+now-a-days, not content with being _grey_ aspire to be actually _blue_;
+we cannot help recommending to them a kind of study, for which their
+propensity to _cutting up_ renders them peculiarly adapted; we mean
+_Anatomy_. And since it is on the foulest and most odious points of
+character that they chiefly delight to dwell, we more especially suggest
+to them the pursuit of _Morbid Anatomy_, as one which is likely to be
+attended both with gratification and success.
+
+  Mens tempestatum praescia:
+
+  A mind foreknowing the weather.
+
+A piece of _sea-weed_ has often, heretofore, been used as a barometer;
+but it is only of late that this purpose has been answered by a
+_murphy_.
+
+  Immemor beneficii:
+
+  Unmindful of a kindness.
+
+The sort of kindness one is least likely to forget is that which our
+master used to say he conferred upon us, when he was inculcating
+learning by means of the rod. We cannot help thinking, however, that he
+began _at the wrong end_.
+
+  Imperitus rerum:
+
+  Unacquainted with the world, i.e. Not 'up to snuff'.
+
+Much controversy has been wasted in attempts to determine the origin of
+the phrase "up to snuff". Some have contended that it was suggested by
+the well-known quality possessed by snuff, of _clearing the head_; but
+this idea is far fetched, not to say absurd. Others will have that the
+expression was derived from Snofe, or Snoffe, the name of a cunning
+rogue who flourished about the time of the first crusade; so that "up to
+Snoffe" signified as clever, or knowing, as Snoffe; and was in process
+of time converted into "up to snuff." This opinion is deserving of
+notice; though the only argument in its favour is, that the phrase in
+question was in vogue long before the discovery of tobacco. Probably the
+soundest view is that which connects it with the proper name Znoufe,
+which in ancient High-Dutch is equivalent to Mercury, whose reputation
+for astuteness among the ancients was exceedingly great. Conf.
+Hookey-Walk, ii. 13. Hok. Pok. Wonk-Fum. viii. 24. Cheek. Marin. passim,
+with a host of commentators, ancient and modern.
+
+  Roscius timidus Deorum fuit:
+
+  _Roscius_ was afraid of the _Gods_.
+
+Adjectives ending in _ax_, derived from verbs, also require a genitive
+case, as
+
+  Tempus edax rerum:
+
+  Time is the consumer of all things.
+
+Hence Time is sometimes figured as an alderman.
+
+Nouns partitive, nouns of number, nouns comparative and superlative, and
+certain adjectives put partitively, require a genitive case, from which
+also they take their gender; as
+
+  Utrum horum mavis accipe:
+
+  Take which of those two things you had rather.
+
+So Queen Eleanor gave Fair Rosamond her choice between the dagger and
+the bowl of poison. This, to our mind, would have been like choosing a
+tree to be hanged on.
+
+  Primus fidicinum fuit Orpheus:
+
+  Orpheus was the first of fiddlers.
+
+He is said to have charmed the hearts of broomsticks.
+
+  Momus lepidissimus erat Deorum:
+
+  Momus was the funniest of the Gods.
+
+Other deities may have made Jupiter shake his head. Momus used to make
+him shake his sides.
+
+  Sequimur te, sancte deorum:
+
+  We follow thee, O sacred deity.
+
+Namely, the aforesaid Momus. He is the only heathen god that we should
+have had much reverence for, and certainly the only one that we should
+ever have sacrificed to at all. The offering most commonly made to the
+god of laughter was, probably, _a sacrifice of propriety_.
+
+But the above nouns are also used with these prepositions, a, ab, de, e,
+ex, inter, ante; as,
+
+  Primus inter philosophos Democritus est:
+
+  Democritus is the first amongst philosophers.
+
+And why? Because he alone was wise enough to find out that laughing is
+better than crying. He it was who first proved to the world that
+philosophy and comicality are, in fact, one science; and that the more
+we learn the more we laugh. We forget whether it was he or Aristotle who
+made the remark, that man is the only laughing animal except the hyaena.
+
+_Secundus_ sometimes requires a dative case, as
+
+  Haud ulli veterum virtute secundus:
+
+  Inferior to none of the ancients in valour.
+
+    [Illustration]
+
+Surely Virgil in saying this, had an eye to a hero, whose fame has been
+perpetuated in the verses of a later poet.
+
+  "Some talk of Alexander, and some of Pericles,
+    Of Conon and Lysander, and Alcibiades;
+  But of all the gallant heroes, there 's none for to compare,
+    With my ri-fol-de-riddle-iddle-lol to the British grenadier!"
+
+An interrogative, and the word which answers to it, shall be of the same
+case and tense, except words of a different construction be made use of;
+as
+
+  Quarum rerum nulla est satietas? Pomorum.
+
+  Of what things is there no fulness? Of fruit.
+
+Dr. Johnson used to say that he never got as much wall fruit as he could
+eat.
+
+    [Illustration]
+
+
+  THE DATIVE CASE AFTER THE ADJECTIVE.
+
+Adjectives by which advantage, disadvantage, likeness, unlikeness,
+pleasure, submission, or relation to any thing is signified, require a
+dative case; as
+
+  Astaci incocti patriae idonei sunt in pace; cocti autem in bello.
+
+  Raw lobsters are serviceable to their country in peace; but boiled
+  ones in war.
+
+Lobster's _claws_ are nasty things to get into.
+
+The Corporation of London seemed very much afraid of the _Police
+clause_.
+
+One of the reasons why a soldier is sometimes called a lobster, probably
+is, that the latter is a _marine_ animal.
+
+  Balaenae persimile:
+
+  Very like a whale.
+
+  Qui color albus erat nunc est contrarius albo:
+
+  The colour which was white is now contrary to white.
+
+Some people will swear white is black to gain their ends; and a man who
+will do this, though he may not always be--
+
+  Jucundus amicis:
+
+  Pleasant to his friends;
+
+is nevertheless frequently so to his _constituents_.
+
+Hither are referred nouns compounded of the preposition _con_, as
+contubernalis, a comrade; commilito, a fellow soldier, &c. You must
+_con_ all such words attentively before you can _con_strue well, or the
+_con_sequence will be, that you will be _con_siderably blown up, if not
+_con_foundedly flogged.
+
+Some of these which signify similitude, are also joined to a genitive
+case, as
+
+  Par uncti fulminis:
+
+  Like greased lightning.
+
+The familiarity of our transatlantic friends with the nature of the
+electric fluid, is no doubt owing to the discoveries of their countryman
+Franklin. _Q._ Was the lightning which that philosopher drew down from
+the clouds, of the kind mentioned in the example?
+
+Communis, common; alienus, strange; immunis, free, are joined to a
+genitive, dative, and also to an ablative case, with a preposition, as
+
+  Aures longae communes asinorum sunt:
+
+  Long ears are common to asses.
+
+Though _musical_ ears are not. We even doubt whether they would have the
+slightest admiration for _Bray_-ham.
+
+  Non sunt communes caudae hominibus:
+
+  Tails are not common to men.
+
+Except coat-tails, shirt-tails, pig-tails, and rats'-tails-- to which
+en-_tails_ may perhaps also be added, though these last are often cut
+off.
+
+  Non alienus a poculo cerevisiae:
+
+  Not averse to a pot of beer.
+
+We should think we were not; and should as soon think of engaging in an
+unnatural quarrel with our bread and butter.
+
+Natus, born; commodus, convenient; incommodus, inconvenient; utilis,
+useful; inutilis, useless; vehemens, earnest; aptus, fit, are sometimes
+also joined to an accusative case with a preposition, as
+
+  Natus ad laqueum:
+
+  Born to a halter.
+
+    [Illustration]
+
+Those who are reserved for this exalted destiny, are said to enjoy a
+peculiar immunity from drowning. Is this the reason why _watermen_ are
+such a set of rogues?
+
+To prevent mistakes, it should be mentioned, that the _watermen_ here
+meant are those who, by their own account, are so called from their
+office being _to shut the doors of hackney coaches_.
+
+Verbal adjectives ending in _bilis_, taken passively, and participles
+made adjectives ending in _dus_, require a dative case; as
+
+  Nulli penetrabilis astro;
+
+  Penetrable by no _star_--
+
+not fond of _acting_?
+
+  O venerande mihi Liston! te luget Olympus:
+
+  O Liston, to be venerated by me the _Olympic_ bewails thee.
+
+
+  THE ACCUSATIVE CASE AFTER THE ADJECTIVE.
+
+The measure of quantity is put after adjectives, in the accusative, the
+ablative, and the genitive case, as
+
+  Anguis centum pedes longus:
+
+  A snake a hundred feet long.
+
+  Arbor gummifera, alta mille et quingentis passibus.
+
+  A gum-tree a mile and a half high.
+
+  Aranea, lata pedum denum:
+
+  A spider ten feet broad.
+
+An accusative case is sometimes put after adjectives and participles,
+where the preposition secundum, appears to be understood, as
+
+  Os humerosque asello similis:
+
+  Like to a cod-fish as to his head and shoulders.
+
+Some men _are_ exceedingly like a cod-fish, as to their head and
+shoulders, and they often endeavour to increase this natural resemblance
+as much as possible, by wearing _gills_.
+
+
+  THE ABLATIVE CASE AFTER THE ADJECTIVE.
+
+Adjectives which relate to plenty or want, sometimes require an
+ablative, sometimes a genitive case, as
+
+  Amor et melle et felle est f[oe]cundissimus:
+
+  Love is very full both of honey and gall.
+
+The _honey_ of love is-- we do not know exactly what. Honey, however, is
+Latin for love, as the Irishman said.
+
+The gall of love consists in
+
+First. Tight boots, in which it is often necessary to do penance before
+_our Lady's_ window. This is at all events very _galling_.
+
+    [Illustration: A TIGHT BOOT.]
+
+Secondly. In lover's sighs, to which it communicates their peculiar
+_bitterness_.
+
+Thirdly. Another very _galling_ thing in love is being cut out.
+
+Fourthly. Love is one of the passions treated of by _Gall_ and
+Spurzheim.
+
+Adjectives and substantives govern an ablative case, signifying the
+cause and the form, or the manner of a thing, as
+
+  Demosthenes vociferatione raucus erat:
+
+  Demosthenes was hoarse with bawling.
+
+  Nomine grammaticus, re barbarus:
+
+  A grammarian in name; in reality a barbarian.
+
+Like many of the old masters-- we do not mean painters-- though we
+certainly allude to _brothers of the brush_-- perhaps it would be better
+to call them _brothers of the angle_, on account of their partiality to
+the _rod_. Does the reader _twig_? If so, it is unnecessary to _branch_
+out into a discussion with regard to the nature of the barbarity hinted
+at-- a kind of barbarity which, though it may proclaim its perpetrators
+to be by no means allied to the _feline_ race, connects them most
+decidedly with the _canine_ species.
+
+Dignus, worthy; indignus, unworthy; praeditus, endued; captus, disabled;
+contentus, content; extorris, banished; fretus, relying upon; liber,
+free; with adjectives signifying price, require an ablative case, as
+
+  Leander dignus erat meliore fato:
+
+  Leander was worthy of a better fate.
+
+Poor fellow! first to be head over ears in love, and then over head and
+ears in the sea! Shocking! What an _hero_ic young man he must have
+been.-- What _a duck_, too, the fair Hero must have thought him as she
+watched him from her lonely tower, nearing her every moment, as he cleft
+with lusty arm the foaming herring-pond. We mean the Hellespont-- but no
+matter. What a _goose_ he must have been considered by any one else who
+happened to know of his nightly exploits! How miserably he was _gulled_
+at last! Never mind. If Leander went to the _fishes_ for love, many a
+better man than he, has, before and since, gone, from the same cause, to
+the _dogs_.
+
+  Conscientia procuratoris solidis sex, denariis octo, venale est;
+
+  A lawyer's conscience is to be sold for six and eightpence.
+
+Some of these, sometimes admit a genitive case, as
+
+  Carmina digna deae:
+
+  Verses worthy of a goddess.
+
+Whether the following verses are worthy of a goddess or not, we shall
+not attempt to decide; they were addressed to one at all events-- at
+least to a being who, if _idolizing_ constitutes a goddess, may,
+perhaps, be termed one. We met with them in turning over the pages of an
+album.
+
+  LINES BY A FOND LOVER.
+
+  Lovely maid, with rapture swelling,
+    Should these pages meet thine eye,
+  Clouds of absence soft dispelling;
+    Vacant memory heaves a sigh.
+
+  As the rose, with fragrance weeping,
+    Trembles to the tuneful wave,
+  So my heart shall twine unsleeping,
+    Till it canopies the grave!
+
+  Though another's smiles requited,
+    Envious fate my doom should be:
+  Joy for ever disunited,
+    Think, ah! think, at times on me!
+
+  Oft amid the spicy gloaming,
+    Where the brakes their songs instil,
+  Fond affection silent roaming,
+    Loves to linger by the rill--
+
+  There when echo's voice consoling,
+    Hears the nightingale complain,
+  Gentle sighs my lips controlling,
+    Bind my soul in beauty's chain.
+
+  Oft in slumber's deep recesses,
+    I thy mirror'd image see;
+  Fancy mocks the vain caresses
+    I would lavish like a bee!
+
+  But how vain is glittering sadness!
+    Hark, I hear distraction's knell!
+  Torture gilds my heart with madness!
+    Now for ever fare thee well!
+
+    [Illustration: AN ALBUM AUTHOR.]
+
+It would be interesting as well as instructive to settle the difference
+between love verses and nonsense verses, if this were the proper place
+for doing so. But we are not yet come to the Prosody; nor shall we
+arrive there very soon unless we get on with the Syntax.
+
+Comparatives, when they may be explained by the word quam, than, require
+an ablative case, as
+
+  Achilles Agamemnone velocior erat:
+
+  Achilles was a faster man than Agamemnon.
+
+_Fast men_ in modern times are very apt to _outrun the constable_.
+
+Tanto, by so much, quanto, by how much, hoc, by this, eo, by this, and
+quo, by which; with some other words which signify the measure of
+exceeding; likewise aetate, by age, and natu, by birth, are often joined
+to comparatives and superlatives, as
+
+  Tanto deformissimus, quanto sapientissimus philosophorum.
+
+  By so much the ugliest, by how much the wisest of philosophers.
+
+Such an one was Socrates. It is all very well to have a contemplative
+disposition; but it need not be accompanied by a _contemplative nose_.
+
+  Quo plus habent, eo plus cupiunt:
+
+  The more they have the more they want.
+
+This is a curious fact in the natural history of school-boys, considered
+in relation to roast beef and plum pudding.
+
+  Maximum aetate virum in tota Kentuckia contudi:
+
+  I whopped the oldest man in all Kentucky.
+
+
+  THE CONSTRUCTION OF PRONOUNS.
+
+All those who would understand the construction of pronouns, should take
+care to be well versed in the distinction between _meum_ and _tuum_,
+ignorance of which often gives rise to the disagreeable necessity of
+becoming too intimately acquainted with _quod_.
+
+Mei, of me, tui, of thee, sui, of himself, nostri, of us, vestri, of
+you, (the genitive cases of their primitives ego, tu, &c.) are used when
+a person is signified, as
+
+  Languet desiderio tui:
+
+  He languishes for want of you.
+
+You cannot give a more acceptable piece of information than the above,
+to any young lady. The fairer and more amiable sex always like to have
+something-- if not to love, at least to pity.
+
+  Parsque tui lateat corpore clausa meo. --_Eton Gram._
+
+  And a part of you may lie shut up in my body.
+
+Or rather _may_ it so lie! How forcibly a sucking pig hanging up outside
+a pork-butcher's shop always recals this beautiful line of Ovid's to the
+mind!
+
+Meus, mine, tuus, thine, suus, his own (Cocknice his'n), noster, ours,
+vester, yours, are used when action, or the possession of a thing is
+signified; as
+
+  Qui bona quae non sunt sua furtim subripit, ille
+    Tempore quo capitur, carcere clausus erit:
+
+  Him as prigs wot isn 't his'n,
+  Ven he's cotch'd 'll go to pris'n.
+
+    [Illustration]
+
+These possessive pronouns, meus, tuus, suus, noster, and vester, take
+after them these genitive cases,-- ipsius, of himself, solius, of him
+alone, unius, of one, duorum, of two, trium, of three, &c., omnium, of
+all, plurium, of more, paucorum, of few, cujusque, of every one, and
+also the genitive cases of participles, which are referred to the
+primitive word understood; as
+
+  Meis unius impensis pocula sex exhausi:
+
+  I drank six pots to my own cheek.
+
+We wonder that any one should have the _face_ to say so.
+
+Sui and suus are reciprocal pronouns, that is, they have always relation
+to that which went before, and was most to be noted in the sentence,
+as--
+
+  Jonathanus nimium admiratur se:
+
+  Jonathan admires himself too much.
+
+  Parcit erroribus suis, He spares his own errors.
+
+  Magnopere Jonathanus rogat ne se derideas, Jonathan earnestly begs
+  that you would not laugh at him.
+
+If you _do_, take care that he does not _blow you up_ one of these fine
+days.
+
+These demonstrative pronouns, hic, iste, and ille are thus
+distinguished: hic points out the nearest to me; iste him who is by you;
+ille him who is at a distance from both of us.
+
+In making _game_ of the Syntax, we regard them as _pointers_.
+
+When hic and ille are referred to two things or persons going before,
+hic generally relates to the latter, ille to the former, as
+
+  Richardus Thomasque suum de more bibebant,
+    Ebrius hic vappis, ebrius ille mero:
+
+  Both Dick and Tom caroused away like swine,
+  Tom drunk with swipes, and Dicky drunk with wine.
+
+
+  THE CONSTRUCTION OF VERBS.
+
+  THE NOMINATIVE CASE AFTER THE VERB.
+
+Verbs substantive, as sum, I am, forem, I might be, fio, I am made,
+existo, I am; verbs passive of calling, as nominor, I am named,
+appellor, I am called, dicor, I am said, vocor, I am called, nuncupor, I
+am named, and the like to them, as videor, I am seen, habeor, I am
+accounted, existimor, I am thought, have the same cases before and after
+them, as
+
+  Adeps viridis est summum bonum:
+
+  Green fat is the chief good.
+
+Even among the ancients, _turtles_ were the emblems of love; which, next
+to eating and drinking, has always been the first object of human
+pursuit. This fact proves, very satisfactorily, two things, first, their
+proficiency in the science of gastronomy; and, secondly, their extreme
+susceptibility of the tender passion.
+
+  Pileus vocatur tegula:
+
+  A hat is called a tile.
+
+    [Illustration: TILED IN.]
+
+Likewise all verbs in a manner admit after them an adjective, which
+agrees with the nominative case of the verb, in case, gender, and
+number, as
+
+  Pii orant taciti. --_Eton Gram._
+
+  The pious pray silently.
+
+Is this a sly rap at the Quakers?
+
+
+  THE GENITIVE CASE AFTER THE VERB.
+
+Sum requires a genitive case as often as it signifies possession, duty,
+sign, or that which relates to any thing; as
+
+  Quod rapidam trahit AEtatem pecus est Melib[oe]i,
+
+  The cattle _wot_ drags the _Age_, fast coach, is Melib[oe]us's.
+
+Alas! that such an Age should be banished by the Age of rail-roads!--
+let us hear the
+
+  COACHMAN'S LAMENT.
+
+  _Air._-- "Oh give me but my Arab steed."
+
+  Farewell my ribbons, and, alack!
+      Farewell my tidy drag;
+  Mail-coach-men now have got the _sack_,
+      And engineers the _bag_.
+
+  My heart and whip alike are broke--
+      I've lost my varmint team
+  That used to cut away like _smoke_,
+      But could n't go like _steam_.
+
+  It is, indeed, a bitter _cup_,
+      Thus to be sent to _pot_;
+  My bosom boils at boiling up
+      A gallop or a trot.
+
+  My very brain with _fury_ 's rack'd,
+      That railways are the _rage_;
+  I'm sure you'll never find them _act_,
+      Like our old English _stage_.
+
+  A man whose _passion_ 's crost, is sore,
+      Then pray excuse my _pet_;
+  I ne'er was _overturn'd_ before,
+      But now am quite _upset_.
+
+    [Illustration]
+
+These nominative cases are excepted from the above rule, meum, mine,
+tuum, thine, suum, his, noster, our, vester, your, humanum, human,
+belluinum brutal, and the like, as
+
+  Non est tuum aviam instruere:
+
+  Don't teach your grandmother-- to suck eggs.
+
+  Humanum est inebriari.
+
+  It is a human frailty-- or an amiable weakness-- to get drunk.
+
+Lord Byron proves it to be a _human_ frailty.
+
+  "_Man_ being _reasonable_, _must_ get drunk."
+
+    [Illustration: A REASONABLE CREATURE.]
+
+Another poet (anon.) proves it to be an _amiable_ one, by establishing
+the analogy which exists between it and an intoxication of another
+kind--
+
+  "Love is like a dizziness,
+  Never lets a poor man go about his business."
+
+Verbs of accusing, condemning, advising, acquitting, and the like,
+require a genitive case which signifies the charge; as
+
+  Qui alterum accusat probri, eum ipsum se intueri oportet.
+
+  It is fit that he who accuses another of dishonesty
+  should look into himself.
+
+If this maxim were acted up to, what attorney could we ever get to frame
+an indictment?
+
+  Furti damnatus, "tres menses" adeptus est:
+
+  Being condemned of theft, he had "three months."
+
+We do not see much _fun_ in that. We cannot help thinking, however,
+that "Three Months at Brixton," would form a taking (at least a
+_thief_-taking) title for a novel.
+
+  Admoneto magistrum squalidarum vestium:
+
+  Put the master in mind of his seedy clothes.
+
+That is if you want a _good dressing_.
+
+This genitive case is sometimes changed into an ablative, either with or
+without a preposition, as
+
+  Putavi de calendis Aprilibus te esse admonendum:
+
+  I thought that you ought to be reminded of the first of April.
+
+Young reader! were you ever, on the above anniversary, sent to the
+cobbler's for pigeons' milk, and dismissed with _strap-oil_ for your
+_pains_? Were your domestic and alimentive affections ever sported with
+by the false intelligence that a letter from home and a large cake were
+waiting for you below! Or worse, did some waggish, but inconsiderate
+friend ever send you a fool's-cap and a hamper of stones?
+
+Reader, of a more advanced age, were you ever?-- but we cannot go on--
+Oh! Matilda-- we might have been your _slave_-- but it was cruel of you
+to _sell_ us in such a manner.
+
+Uterque, both, nullus, none, alter, the other, neuter, neither of the
+two, alius, another, ambo, both, and the superlative degree, are joined
+to verbs of that kind only in the ablative case, as
+
+  Fratris, an asini, trucidationis accusas me? Utroque,
+  sed sceleris unius:
+
+  Do you accuse me of killing my brother or my donkey?
+  Of both; but of one crime.
+
+Satago, to be busy about a thing, misereor and miseresco, to pity,
+require a genitive case, as
+
+  Qui ducit uxorem rerum satagit:
+
+  He who marries a wife has his hands full of business.
+
+We hear frequently of lovers being _distracted_. Husbands are much more
+so.
+
+  O! tergi miserere mei non digna ferentis:
+
+  Oh! have pity on my back, suffering things undeserved.
+
+Reminiscor, to remember, obliviscor, to forget, memini, to remember,
+recorder, to call to mind, admit a genitive or accusative case, as
+
+  Reminiscere nonarum Novembrium:
+
+  Remember the fifth of November.
+
+No wonder that so many _squibs_ are let off on that day; considering the
+political feeling connected with it.
+
+  Hoc te spectantem me meminisse precor:
+
+  When this you see remember me.
+
+How particularly anxious all young men and women who are lovers, and all
+waiters and chambermaids, whether they are lovers or no, besides
+coachmen and porters of all kinds, seem to be _remembered_. A coachman
+in one respect especially resembles a lover; he always wishes to be
+remembered by his _fare_.
+
+Potior, to gain, is joined either to a genitive or to an ablative case,
+as
+
+  Xantippe, marito subacto, femoralium potita fuit.
+
+  Xantippe, her husband being overcome, gained the breeches.
+
+  Terentius Thrace potitus est:
+
+  Terence got a Tartar.
+
+At least he said he did, when he took the prisoner who would n't let him
+come.
+
+
+  THE DATIVE CASE AFTER THE VERB.
+
+All verbs govern a dative case of that thing to or for which any thing
+is gotten or taken away, as
+
+  Diminuam tibi caput:
+
+  I will break your head.
+
+  Eheu! mihi circulum ademit!
+
+  Oh dear, he has taken away my hoop!
+
+What a thing it is to be a junior boy!
+
+Verbs of various kinds belong to the above rule. In the first place
+verbs signifying advantage or disadvantage govern a dative case, as
+
+  Judaei ad commodandum nobis vivunt:
+
+  The Jews live to accommodate us.
+
+Or accommodate us to live-- which?
+
+Of these juvo, laedo, delecto, and some others, require an accusative
+case, as
+
+  Maritum quies plurimum juvat:
+
+  Rest very much delighteth a married man-- when he can get it.
+
+    [Illustration]
+
+Verbs of comparing govern a dative case, as
+
+  Ajacem "Surdo" componere saepe solebam:
+
+  I was often accustomed to compare Ajax to the "Deaf un,"--
+  not because he was hard of hearing, but hard in hitting.
+
+Sometimes, however, they require an ablative case with the preposition
+cum; sometimes an accusative case with the prepositions ad and inter, as
+
+  Comparo _Pompeium_ cum _globo nivali_:
+
+  I compare _Pompey_ with a _snow-ball_.
+
+Pompey is called in the schools a proper name. Whether it is a _proper
+name_ for a nigger or not, may be questioned. It may also be doubted
+whether a negro can ever rightly be called "snow-ball," except he be _an
+ice_ man; in which case even though he should be the knave of _clubs_,
+it is obvious that he ought never to be _black balled_.
+
+  Si ad pensum verberatio comparetur nihil est:
+
+  If a flogging be compared to an imposition, it is nothing.
+
+A flogging is a fly-blow, or at least a _flea_-blow to the boy, and a
+task only to the master; whereas an imposition is a task to the boy, and
+very often a _verse_ task.
+
+Verbs of giving and of restoring govern a dative case, as
+
+  Learius unicuique filiarum dimidium coronae dedit:
+
+  Lear gave his daughters half-a-crown a-piece.
+
+Hence we are enabled to gain some notion of the great value of money in
+the time of the Ancient Britons.
+
+Verbs of promising and of paying govern a dative case; as
+
+  Menelaus Paridi fustuarium promisit:
+
+  Menelaus promised Paris a drubbing.
+
+    [Illustration]
+
+  "Gubernatoris" est pendere sartoribus pecuniam:
+
+  It is the place of "the governor" to pay tailors.
+
+Hence young men may learn how desirable it is to be "in statu
+pupillari." True, in that state of felicity, they are somewhat under
+control, but the above example, and many others of a like nature,
+sufficiently prove, that such restriction, compared to the
+responsibilities of manhood, is but a _minor_ inconvenience.
+
+Verbs of commanding and telling govern a dative case, as
+
+  Alexander, vinosus, animis imperare non potuit:
+
+  Alexander, when drunk, could not command his temper.
+
+Thus, in a state of beer, he committed manslaughter at least, by killing
+and slaying his friend Clitus. We could not resist the temptation to
+mention this fact, since, as we have so often laughed at its narration
+in those interesting compositions called themes, we thought there must
+needs be something very funny about it. Alexander the Great, be it
+remarked, for the special behoof of schoolboys, furnishes an example of
+any virtue or vice descanted on in any prose task or poem under the sun.
+
+  Antonio dixit Augustus Lepidum veteratorem fuisse.
+
+  Augustus told Antony that Lepidus was a humbug.
+
+We don't know exactly where this historical fact is mentioned. _Lepidus_
+is a _funny_ name.
+
+Except, from the foregoing rule, rego, to rule, guberno, to govern,
+which have an accusative case; tempero and moderor, to rule, which have
+sometimes a dative, sometimes an accusative case; as
+
+  Luna regit ministros:
+
+  The moon rules the ministers.
+
+That is to say, when it is at the full, and resembles a great O.
+
+  Praeco pauperes gubernat:
+
+  The beadle governs the paupers.
+
+  Non semper temperat ipse sibi:
+
+  He does not always govern himself.
+
+  Non animos mollit proprios, nec temperat iras:
+
+  He neither softens his own mind, nor tempers his anger.
+
+  Ecce, Ducrow moderatur equos:
+
+  Lo, Ducrow manages the horses.
+
+_Q._ Why is a general officer like a writing-master?
+
+_A._ Because he is a _ruler of lines_.
+
+Verbs of trusting govern a dative case, as
+
+  Credite, f[oe]mineae, juvenes, committere menti,
+  Nil nisi lene decet.
+
+  Believe me, young men, it is fit to entrust nothing to a female mind
+  but what is _soft_.
+
+In fact, _soft nothings_ are fittest for the ear of a lady.
+
+  Pomarius poetae non credit:
+
+  The costermonger trusts not the poet.
+
+How wrong, therefore, it is to call him a _green_ grocer.
+
+Verbs of complying with and of opposing govern a dative case, as
+
+  Nunquam obtemperat tiro hodiernus magistro:
+
+  A modern apprentice never obeys his master.
+
+Verbs of threatening and of being angry govern a dative case, as
+
+  Utrique latronum mortem est minitatus:
+
+  He threatened death to both of the robbers,--
+
+By presenting a pistol right and left at each of them. This when done by
+some well-disposed sailor in a melodrame, constitutes a situation of
+thrilling interest.
+
+    [Illustration]
+
+Sum with its compounds, except possum, governs a dative case, as
+
+  Oculi nigri non semper sunt faciei ornamentum:
+
+  Black eyes are not always an ornament to the face.
+
+    [Illustration]
+
+Verbs compounded with these adverbs, bene, well, satis, enough, male,
+ill, and with these prepositions, prae, ad, con, sub, ante, post, ob, in,
+inter, for the most part govern a dative case, as
+
+  Saginatio multis hominibus benefacit:
+
+  Cramming does good to many men.
+
+For instance, it does good to aldermen, especially in these days of
+reform, _by enlarging the Corporation_. Cramming, or rather the effect
+of it, benefits medical men, who again do good to their patients by
+_cramming_ them in another way. There is also a species of cramming
+which is found very serviceable at the Universities, by enabling certain
+students to _pass in a crowd._
+
+    [Illustration: OH! HERE 'S A COMPLIMENT.]
+
+In this respect however it differs essentially from aldermanic cramming,
+which enhances the difficulty of such a feat in a very remarkable
+manner.
+
+  Puellae, aliae aliis praelucere student:
+
+  Girls endeavour to outshine one another.
+
+And yet they _make light_, as much as they can, of each other's charms
+and accomplishments.
+
+  Intempestive parum longe prospicienti Doctori adlusit.
+
+  He joked unseasonably on the short-sighted Doctor.
+
+Johnson was not so short-sighted as to be blind to a joke.
+
+Not a few of the verbs mentioned in the last rule, sometimes change the
+dative into another case; as
+
+  Praestat ingenio alius alium:
+
+  One exceeds another in ability.
+
+    [Illustration]
+
+Thus one boy learns Latin and Greek better than the rest; another learns
+slang. One is a good hand at construing, another at climbing. Some boys
+are peculiarly skilled at casting accounts, others in casting stones.
+Here we have a boy of a small appetite and many words, there one of a
+large appetite and few words. Sometimes precocious talent is evinced for
+playing the fiddle, sometimes for playing a _stick_; sometimes, again,
+a strong propensity is discovered for playing the fool. This boy makes
+verses, as it were, by inspiration; that boy shows an equal capacity in
+making mouths. The most peculiar talent, however, and the one most
+exclusive of all others, is that of riding. Those who are destined to
+attain great proficiency in this science, can seldom do any thing else;
+and usually begin their career by being _horsed_ at school.
+
+Est, for habeo to have, governs a dative case, as
+
+  Est mihi qui vestes custodit avunculus omnes:
+
+  I have an uncle who takes care of all my clothes.
+
+Suppetit, it sufficeth, is like to this, as
+
+  Pauper enim non est cui rerum suppetit usus:
+
+  For he is not poor, to whom the use of things suffices.
+
+The two last examples must suggest a rather alarming idea to those who
+are accustomed to propitiate the relation to whom we have just alluded,
+by relinquishing _their habits_. Is it possible that he can ever _use_
+one's _things_? We recommend this query to the serious consideration of
+theatrical persons, and all others who are addicted to _spouting_.
+
+_Sum_ with many _others_ admits a double dative case, as
+
+  Exitio est avidis alvus pueris:
+
+  The belly is the destruction of greedy boys.
+
+Particularly those of _Eton_ College.
+
+Sometimes this dative case tibi, or sibi, or also mihi, is added for the
+sake of elegance in expression, as
+
+  Cato suam sibi uxorem Hortensio vendidit:
+
+  Cato sold his own wife to Hortensius.
+
+    [Illustration]
+
+Some say he only lent her. The fact most probably is, that the lady,
+being tired of her husband, wished to be a-_loan_.
+
+
+  THE ACCUSATIVE CASE AFTER THE VERB.
+
+Verbs transitive, of what kind soever, whether active, deponent, or
+common, require an accusative case, as
+
+  Procuratorem fugito, nam subdolus idem est:
+
+  Avoid an attorney, for the same is a cunning rogue.
+
+Yet the legal profession are always boasting of their _deeds_.
+
+Verbs neuter have an accusative case of a like signification to
+themselves, as
+
+  Pomarii asinus duram servit servitutem:
+
+  A coster-monger's donkey serves a hard servitude.
+
+Poor animal! A _Sterne_ heart was once melted by thy sufferings-- how
+then must they affect that of the _gentle_ reader?
+
+There are some verbs which have an accusative case by a figure, as
+
+  Nec vox hominem sonat;
+
+  Nor does your voice sound like a human creature's.
+
+This may be said of boys of various kinds-- as pot-boys, butcher's boys,
+baker's boys, and other boys who are in the habit of bawling down areas;
+also of several descriptions of men, as cab-men, coach-men, watch-men,
+and dust-men. The same may likewise be asserted of some women, such as
+apple-women, oyster-women, fish-women, and match-women. Here also the
+singing of charity children of both sexes, and the voices of
+parish-clerks, may be specified, and, lastly, of many foreigners whose
+names terminate in ini.
+
+    [Illustration]
+
+Verbs of asking, of teaching, of clothing, and of concealing, commonly
+govern two accusative cases, as
+
+  Ego docebo te, adolescentule, lectiones tuas:
+
+  _I'll_ teach you your lessons, young man.
+
+This speech is usually the prelude to something which elicits that
+exemplification of the vocative case which has been given in the first
+part of the Grammar.
+
+Some verbs of this kind have an accusative case even in the passive
+voice, as
+
+  Bis denos posceris versus de scoparum manubrio:
+
+  You are required to make twenty verses on a broomstick.
+
+Why should not a broomstick form the subject of a poetical effusion,
+when the material of the broom itself is so often used in schools to
+stimulate inventive genius?
+
+Nouns appellative are commonly added with a preposition to verbs which
+denote motion, as
+
+  Interea ad templum non aequae Palladis ibant
+  Crinibus Iliades passis.  _Virgil._
+
+  In the mean time the Trojan woman went to the temple of
+  unfriendly Pallas with their hair about their ears.
+
+How odd they must have looked. Here we take occasion to remind
+schoolboys never to lose an opportunity of giving a comic rendering to
+any word or phrase susceptible thereof, which they may meet with in the
+course of their reading. To say "crinibus passis",-- "with dishevelled
+hair" would be to give a very feeble and spiritless translation. Vir is
+literally construed _man_; some school-masters will have it called
+_hero_,-- we propose to translate it _cove_. So dapes may be rendered
+_grub_, or perhaps _prog_; aspera Juno, _crusty Juno_; animam efflare,
+to _kick the bucket_; capere fugam, to _cut one's stick_, or _lucky_;
+confectus, _knocked up_; fraudatus, _choused_; contundere, _to whop_,
+&c. &c.
+
+
+  THE ABLATIVE CASE AFTER THE VERB.
+
+Every verb admits an ablative case, signifying the instrument, or the
+cause, or the manner of an action, as
+
+  Pulvere nitrato Catilina senatum subruere voluit:
+
+  Catiline wished to blow up the Parliament. Catiline was a regular Guy.
+
+A noun of price is put after some words in the ablative case, as
+
+  Ovidius solidis duobus fibulas siphonem ascendere fecit:
+
+  Ovid pawned his buckles for two shillings.
+
+The _sipho_ was a tube, pipe, or spout, projecting from the shops of
+pawnbrokers, of whom there is every reason to believe that there were a
+great many in ancient Rome. Into this _sipho_ the pledges were placed in
+order to be conveyed to the _adytum_ or secret recess of the dwelling.
+_Vide_ Casaubon de Avunc: Roman.
+
+Vili, at a low rate, paulo, for little, minimo, for very little, magno,
+for much, nimio, for too much, plurimo, for very much, dimidio, for
+half, duplo, for twice as much, are often put by themselves, the word,
+pretio, price, being understood, as
+
+  Vili venit cibus caninus:
+
+  Dog's meat is sold at a low rate.
+
+These genitive cases put without substantives are excepted, tanti, for
+so much, quanti, for how much, pluris, for more, minoris, for less,
+quantivis, for as much as you please, tantidem, for just so much,
+quantilibet, for what you will, quanticunque for how much soever, as
+
+  Non es tanti: You're no great shakes.
+
+Flocci, of a lock of wool, nauci, of a nut-shell, nihili, of nothing,
+assis, of a penny, pili, of a hair, hujus, of this, teruncii, of a
+farthing, are added very properly to verbs of esteeming, as
+
+  Nec verberationem flocci pendo, nec ferula percussionem pili aestimo:
+
+  I don't value a flogging a straw, nor do I regard a spatting a hair.
+
+A boy who can say this, must have a brazen front, and an iron back, and
+be altogether a lad of _mettle_.
+
+Verbs of abounding, of filling, of loading, and their contraries, are
+joined to an ablative case, as
+
+  Tauris abundat Hibernia:
+
+  Ireland aboundeth in bulls.
+
+This circumstance it most probably was which gave rise to the _Tales_ of
+the O'Hara family.
+
+We once heard a son of Erin, while undergoing the operation of bleeding
+from the arm, remark that that would be an easy way of _cutting one's
+throat_.
+
+Some of these sometimes govern a genitive case, as
+
+  Optime ostrearum implebantur:
+
+  They had a capital blow out of oysters.
+
+We are sorry to remark that these are the only _native_ productions
+patronized by great people.
+
+Fungor, to discharge, fruor, to enjoy, utor, to use, vescor, to live
+upon, dignor, to think one's self worthy, muto, to change, communico, to
+communicate, supersedeo, to pass by, are joined to an ablative case, as
+
+  Qui adipisci c[oe]nas optimas volet, leonis fungatur officiis.
+
+  He who shall desire to obtain excellent dinners, should discharge
+  the office of a lion.
+
+    [Illustration]
+
+In which case he will come in for the "lion's share."
+
+_Q._ Why is the lion of a party like one of the grand sources of
+prejudice mentioned by Lord Bacon?
+
+_A._ Because he is the _Idol_ of the _den_.
+
+Mereor, to deserve, with these adverbs, bene, well, satis, enough, male,
+ill, melius, better, pejus, worse, optime, very well, pessime, very ill,
+is joined to an ablative case with the preposition de, as
+
+  De libitinario medicus bene meretur:
+
+  The doctor deserves well of the undertaker.
+
+Notwithstanding it might at first sight appear, that the doctor, in
+_furnishing funerals_, invades the undertaker's province.
+
+Some verbs of receiving, of being distant, and of taking away, are
+sometimes joined to a dative case, as
+
+  Augustus eripuit mihi nitorem:
+
+  Augustus has taken the shine out of me.
+
+    _Last Dying Speech of M. Antony._
+
+An ablative case, taken absolutely, is added to some verbs, as
+
+  Porcis volentibus laetissime epulabimur:
+
+  Please the pigs we'll have a jolly good dinner.
+
+The pig had divine honours paid to it by the ancient Greeks. --Jos.
+Scalig. de Myst. Eleusin.
+
+An ablative case of the part affected, and by the poets an accusative
+case, is added to some verbs, as
+
+  Qui animo aegrotat, eum aera risum moventem ducere oportet.
+
+  He who is sick in mind should breathe the laughing gas.
+
+Much learned controversy has been expended in endeavouring to determine
+whether this gas was the exhalation by which it is supposed that the
+ancient Pythonesses were affected.
+
+  Rubet nasum:
+
+  His nose is red.
+
+  Candet genas:
+
+  His cheeks are pale.
+
+Some of these words are used also with the genitive case, as
+
+  Angitur animi juvenis iste, et mundum indignatur.
+
+  That young man is grieved in mind and disgusted with the world.
+
+Such a man is called by the ladies an interesting young man.
+
+
+  VERBS PASSIVE.
+
+An ablative case of the doer (but with the preposition a or ab going
+before), and sometimes also a dative case, is added to verbs passive, as
+
+  Darius eleganter ab Alexandro victus est:
+
+  Darius was elegantly licked by Alexander.
+
+The other cases continue to belong to verbs passive which belonged to
+them as verbs active, as
+
+  Titanes laesae majestatis accusati sunt:
+
+  The Titans were indicted for high treason.
+
+And being found guilty were _quartered_ in a very uncomfortable manner,
+as well as _drawn_ by various artists, whose skill in _execution_ has
+been much commended.
+
+Vapulo, to be beaten, veneo, to be sold, liceo, to be prized, exulo, to
+be banished, fio, to be made, neuter passives, have a passive
+construction, as
+
+  A praeceptore vapulabis. _Eton Gram._
+
+  You will be beaten by the master.
+
+It appears to us that vapulo, to be beaten, is here at all events more
+susceptible of a passive construction than a funny one.
+
+  Malo a cive spoliari quam ab hoste venire. _Eton Gram._
+
+  I had rather be stripped by a citizen than sold by an enemy.
+
+The Romans were regularly _sold_ by the enemy for once, when they had to
+go under the yoke.
+
+
+  VERBS OF THE INFINITIVE MOOD.
+
+Verbs of the infinitive mood are put after some verbs, participles, and
+adjectives, and substantives also by the poets, as
+
+  Timotheus ursos saltare fecit:
+
+  Timotheus made the bears dance.
+
+This was done in ancient as it is in modern times, by playing the
+Pandean pipes.
+
+  Inconcinnus erat cerni Telamonius Ajax;
+  Ajax (ut referunt) vir bonus ire minor:
+
+  The Telamonian Ajax was a rum un to look at;
+  The lesser Ajax (as they say) a good un to go.
+
+The Grecians used to call Ajax senior, the _fighting cock_, and Ajax
+junior, the _running cock_.
+
+Verbs of the infinitive mood are sometimes placed alone by the figure
+ellipsis, as
+
+  Siphonum de more oculis demittere fluctus Dardanidae:
+
+  The Trojans (began understood) to pipe their eyes.
+
+As for AEneas he might have been a town _crier_.
+
+
+  GERUNDS AND SUPINES
+
+govern the cases of their own verbs, as
+
+  Efferor studio pulices industrios videndi:
+
+  I am transported with the desire of seeing the industrious fleas.
+
+    [Illustration]
+
+
+  GERUNDS.
+
+  "When Dido found AEneas would not come,
+  She mourned in silence, and was Di-do-dum."
+
+Gerunds in di have the same construction as genitive cases, and depend
+both on certain substantives and adjectives, as
+
+  Londinensem innatus amor civem urget edendi:
+
+  An innate love of eating excites the London citizen.
+
+People are accustomed to utter a great deal of cant about the
+intellectual poverty of civic magistrates, and common councilmen in
+general; but it must be allowed that those respectable individuals have
+often _a great deal in them_.
+
+    [Illustration: TURTUR ALDERMANICUS.]
+
+Gerunds in do have the same construction with ablative, and gerunds in
+dum with accusative cases, as
+
+  Scribendi ratio conjuncta cum loquendo est:
+
+  The means of writing are joined with speaking.
+
+Some things are written precisely after the writer's way of speaking. We
+once, for example, saw the following notice posted in a gentleman's
+preserve.
+
+  Whear 'as Gins and Engens are Set on
+    Thes Grouns for the Destruction Of
+    Varmint, Any trespussing Will be prossy-
+    Cuted a-cordin Too Law.
+
+  Locus ad agendum amplissimus:
+
+  A place very honourable to plead in.
+
+It may be questioned whether Cicero would have said this of the Old
+Bailey.
+
+When necessity is signified, the gerund in dum is used without a
+preposition, the verb est being added.
+
+  Cavendum est ne deprensus sis:
+
+  You must take care you 're not caught out.
+
+    [Illustration]
+
+A piece of advice of special importance to schoolboys on many occasions,
+such as the following: shirking down town; making devils, or letting off
+gunpowder behind the school, or in the yard; conducting a foray or
+predatory excursion in gardens and orchards; emulating Jupiter, a la
+Salmoneus,-- in his attribute of Cloud-Compelling-- by blowing a cloud,
+or to speak in the vernacular, indulging in a cigar; hoisting a frog;
+tailing a dog or cat, or in any other way acting contrary to the
+precepts of the Animals' Friend Society; learning to construe on the
+Hamiltonian system; furtively denuding the birch-rods of their "budding
+honours." Cum multis aliis quae nunc perscribere longum est.
+
+Gerunds are also changed into nouns adjective, as
+
+  Ad faciendos versus molestum est:
+
+  It is a bore to make verses.
+
+This being a self-evident proposition, we shall not enlarge upon it.
+
+The supine in um signifies actively, and follows a verb expressing
+motion to a place, as
+
+  Spectatum veniunt, veniunt spectentur ut ipsae:
+
+  They come to see, they come that they themselves may be seen.
+
+So said, or sung the poet Ovid. Was there an opera at Rome in his time?
+
+The supine in u signifies passively, and follows nouns adjective, as
+
+  Quod olfactu f[oe]dum est, idem est et esu turpe:
+
+  That which is foul to be smelled, is also nasty to be eaten.
+
+Except venison, onions, and cheese.
+
+
+  NOUNS OF TIME AND PLACE.
+
+  TIME.
+
+Tempus-- time. There is a story, mentioned (we quote from memory) by the
+learned Joe Miller; of a fellow who seeing "Tempus Fugit" inscribed upon
+a clock, took it for the name of the artificer.
+
+Persons who have lived a long _time_ in the world, are generally
+accounted _sage_; and are sometimes considered to have had a good
+_seasoning_.
+
+Nouns which signify a part of time are put more commonly in the ablative
+case, as
+
+  Nemo mortalium omnibus horis sapit:
+
+  No mortal man is wise at all hours.
+
+The excuse of a philosopher for getting married.
+
+But nouns which signify the duration of time are commonly put in the
+accusative case, as
+
+  Pugna inter juvenem Curtium et Titum Sabinum tres horas perduravit.
+
+  The fight between young Curtius and Sabine Titus lasted three hours.
+
+It is an error to suppose that Roman mills were only water-mills and
+wind-mills. The above mill must have been rather a "winder" though, and
+must have cost the combatants much _pains_.
+
+We say also: in paucis diebus, in a few days: de die, by day, de nocte,
+by night, &c.
+
+A jest upon the nouns of _Time_ would, perhaps, be somewhat ill timed:
+we hope, however, to have _Space_ for one presently.
+
+
+  THE SPACE OF A PLACE.
+
+The space of a place is put in the accusative, and sometimes also in the
+ablative, as
+
+  Caesar jam mille passus processerat, summa diligentia.
+
+  Caesar had now advanced a mile with the greatest diligence--
+
+not on the top of the vehicle so named, as a young gentleman was
+once flogged for saying.
+
+  Qui non abest a schola centenis millibus passuum, balatronem novi.
+
+  I know a blackguard who is not absent a hundred miles from the school.
+
+"Cantare et apponere" to sing and apply, is the maxim we would here
+inculcate on our youthful readers.
+
+Every verb admits a genitive case of the name of a city or town in which
+any thing takes place, so that it be of the first or second declension,
+and of the singular number, as
+
+  Quid Romae faciam? mentiri nescio:
+
+  What shall I do at Rome? I know not how to lie.
+
+What a bare-faced perversion of the truth that cock and bull story is of
+Curtius jumping into the hole in the forum. How the Romans managed to
+get _credit_ from any body but the tailors is to us a mystery.
+
+These genitive cases, humi, on the ground, domi, at home, militiae, in
+war, belli, in war, follow the construction of proper names, as
+
+  Parvi sunt foris arma nisi est consilium domi:
+
+  Arms are of little worth abroad unless there be wisdom at home.
+
+Cicero must have said this with a prospective eye to Canada.
+
+But if the name of a city or town shall be of the plural number only, or
+of the third declension, it is put in the ablative case, as
+
+  Aiunt centum portas Thebis fuisse:
+
+  They say there were an hundred gates at Thebes.
+
+You needn't believe it unless you like.
+
+  Egregia Tibure facta videnda sunt:
+
+  Fine doings are to be seen at Tivoli.
+
+The name of a place is often put after verbs signifying motion to a
+place in the accusative case without a preposition, as
+
+  Concessi Cantabrigiam ad capiendum ingenii cultum:
+
+  I went to Cambridge to become a fast man.
+
+After this manner we use domus, a house, and rus, the country, as Rus
+ire jussus sum, I was rusticated. Domum missus eram, I was sent home.
+
+Going _too fast_ at Cambridge sometimes necessitates, in two senses,
+a dose of country air.
+
+The name of a place is sometimes added to verbs signifying motion from a
+place, in the ablative case without a proposition, as
+
+  Arbitror te Virginia veteri venisse:
+
+  I reckon you've come from old Virginny.
+
+
+  VERBS IMPERSONAL.
+
+Verbs impersonal have no nominative case, as
+
+  Scenas post tragicas multum juvat ire sub umbras:
+
+  After a tragedy it is very pleasant to go under the _Shades_.
+
+The worst of these "Shades" is, that people are now and then apt to get
+rather "too much in the sun" there.
+
+These impersonals, interest, it concerns, and refert, it concerns, are
+joined to any genitive cases, except these ablative cases feminine, mea,
+tua, sua, nostra, vestra, and cuja, as
+
+  Interest magistratus tueri insulsos, animadvertere in acres.
+
+  It concerns the magistrate to defend the flats; to punish the sharps.
+
+These genitive cases also, are added, tanti, of so much, quanti, of how
+much, magni, of much, parvi, of little, quanticunque, of how much
+soever, tantidem, of just so much; as
+
+  Tanti refert honesta agere;
+
+  Of such consequence is it to do honest things.
+
+By this course of conduct, you certainly render yourself worthy of the
+protection of the magistrate; although whether you thereby constitute
+yourself a flat or not, is perhaps a doubtful question. Much may be said
+on both sides. Dishonesty, it is true, may lead to being taken up; but
+then honesty often leads to being taken _in_. Yet honesty is said to be
+the best policy. Policy is a branch of wisdom, and "wisdom" they say "is
+in the _wig_." Certain _wigs_ are retained at the _head_-- of affairs,
+by a good deal of _policy_; perhaps the _best_ they could adopt-- a fact
+that throws considerable doubt on the truth of the old maxim.
+
+    [Illustration]
+
+Impersonal verbs which are put acquisitively, require a dative case; but
+those which are put transitively an accusative, as--
+
+  A ministris nobis benefit:
+
+  We enjoy blessings from Ministers.
+
+For instance-- No-- We cannot think of any just at present.
+
+  Me juvat per lunam errare, et "Isabellam" cantare:
+
+  I like to wander by moonlight, and sing "Isabelle."
+
+The connexion between love and moonlight is as interesting as it is
+certain. We shrewdly suspect that the said planet has more to do with
+the tender passion than lovers are aware of.
+
+But the preposition _ad_ is peculiarly _ad_ded to these verbs-- attinet,
+it belongs, pertinet, it pertains, spectat, it concerns, as
+
+  Spectat ad omnes bene vivere:
+
+  It concerns all to live well--
+
+When they can afford it.
+
+An accusative case with a genitive is put after these verbs impersonal--
+p[oe]nitet, it repents, taedet, it wearies, miseret, miserescit, it
+pities, pudet, it shames, piget, it grieves, as--
+
+  "Nihil me p[oe]nitet hujus nasi"-- Trist: Shand:
+
+  "My nose has been the making of me."
+
+A verb impersonal of the passive voice may be elegantly taken for each
+person of both numbers; that is to say, by virtue of a case added to it.
+
+Thus statur is used for sto, stas, stat, stamus, statis, stant. Statur a
+me; it is stood by me, that is, I stand; statur ab illis: it is stood by
+them, or they stand.
+
+King George the Fourth's statue at King's Cross is a _standing joke_.
+
+    [Illustration
+      {King's Cross / WINKLES's /
+      _Steel and Copper Plate Manufactory_}]
+
+
+  THE CONSTRUCTION OF PARTICIPLES.
+
+Participles govern the cases of the verbs from which they are derived,
+as--
+
+        Duplices tendens ad sidera palmas,
+  Talia voce refert:
+
+  Stretching forth his hands to heaven, he utters _such_ things.
+
+    [Illustration]
+
+This reminds us of the Italian opera.
+
+A dative case is sometimes added to participles of the passive voice,
+especially when they end in dus, as--
+
+  Sollicito nasus rutilans metuendus amanti est:
+
+  A fiery nose is to be feared by an anxious lover.
+
+Participles, when they become nouns, require a genitive case, as--
+
+  Vectigalis appetens, linguae profusus:
+
+  Greedy of _rint_, lavish of blarney.
+
+Exosus, hating, perosus, utterly hating, pertaesus, weary of, signifying
+actively, require an accusative case, as--
+
+  Philosophus exosus ad unam mulieres:
+
+  A philosopher hating women in general,
+
+_i.e._ a Malthusian.
+
+Exosus, hated, and perosus, hated to death, signifying passively, are
+read with a dative case, as
+
+  Com[oe]di sanctis exosi sunt:
+
+  The comedians are hated by the saints.
+
+We mean the spiritual Quixotes, or Knights of the Rueful Countenance. We
+"calculate" that they will be the greatest patrons of rail roads,
+considering their dislike to the _stage_.
+
+Natus, born, prognatus, born, satus, sprung, cretus, descended, creatus,
+produced, ortus, risen, editus, brought forth, require an ablative case,
+and often with a preposition, as--
+
+  Taffius, bonis prognatus parentibus, cerevisiam haud tenuem
+  de sese existimat:
+
+  Taffy, sprung of good parents, thinks no small beer of himself.
+
+  De Britannis Antiquis se jactat editum:
+
+  He boasts of being descended from the Ancient Britons.
+
+_Q._ Why is the eldest son of a King of England like a Leviathan?
+
+_A._ Because he is the Prince of _Wales_.
+
+
+  THE CONSTRUCTION OF ADVERBS.
+
+En and ecce, adverbs of showing, are joined most commonly to a
+nominative case, to an accusative case but seldom, as
+
+  En Romanus: See the Roman (q. rum-un.)
+
+  Ecce Corinthium: Behold the Corinthian.
+
+Modern Corinthians, we fear, know but little Greek, except that of the
+AEgidiac, or St. Giles's dialect.
+
+En and ecce, adverbs of upbraiding, are joined most commonly to an
+accusative case only, as--
+
+  En togam squamosam!
+
+  Look at his scaly toga!
+
+  Ecce caudam! Twig his tail!
+
+    [Illustration]
+
+    [Plate:
+    DOMESTIC ELOCUTION
+    "MY NAME IS NORVAL ON THE GRAMPIAN HILLS"]
+
+Certain adverbs of time, place, and quantity, admit a genitive case, as
+
+  Ubi gentium est Quadra Russelliana?
+
+  Where in the world is Russell Square?
+
+We must confess that this question is _exquisitely_ absurd.
+
+  Nihil tunc temporis amplius quam flere poteram:
+
+  I could do nothing more at that time than weep.
+
+Talking of weeping-- how odd it is that an affectionate wife should cry
+when her husband is _transported_ for life.
+
+  Satis eloquentiae, sapientiae parum:
+
+  Eloquence enough, wisdom little enough.
+
+This quotation applies very forcibly to domestic oratory as practised by
+small boys at the instigation of their mamma, for the _amusement_ of
+visitors. Those on whom "little bird with boothom wed," "deep _in_ the
+windingths _of_ a whale," or "my name is Nawval," and the like
+recitations are inflicted, have "satis eloquentiae"-- enough of
+eloquence, in all conscience; and we cannot but think that "sapientiae
+parum," "wisdom little enough" is displayed by all the other parties
+concerned.
+
+Some adverbs admit the cases of the nouns from which they are derived,
+as
+
+  Juvenis benevolus sibi inutiliter vivit:
+
+  The good-natured young man lives unprofitably to himself--
+
+Especially if he have a large circle of female acquaintance.
+
+These adverbs of diversity, aliter, otherwise, and secus, otherwise; and
+these two, ante, before, and post, after, are often joined to an
+ablative case, as--
+
+  Plure aliter.  More t'other.
+
+  Multo ante.    Much before.
+
+  Paulo post.    Little behind.
+
+    [Illustration]
+
+Those who are much _before_, are guilty of a great _waste_-- of time;
+and those who are little behind should make it up by a _bustle_.
+
+Instar, like or equal to, and ergo, for the sake of, being taken as
+adverbs, have a genitive case after them, as--
+
+  Instar montis equum divina Palladis arte
+  AEdificant:
+
+  By the divine assistance of Pallas they build a horse
+  as big as a mountain.
+
+This may appear incredible; yet the learned Munchausenius relates
+prodigies much more astonishing.
+
+  Mentitur Virgilius leporis ergo:
+
+  Virgil tells lies for fun.
+
+As may be sufficiently seen in the example before the last, and also in
+the sixth book of the AEneid, passim.
+
+
+  THE CONSTRUCTION OF CONJUNCTIONS.
+
+Conjunctions copulative and disjunctive, couple like cases, moods, and
+tenses, as
+
+  Socrates docuit Xenophontem et Platonem geographiam, astronomiam,
+  et rationem globorum:
+
+  Socrates taught Xenophon and Plato geography, astronomy,
+  and the use of the globes.
+
+_Q._ How may a waterman answer the polite interrogation "Who are you?"
+correctly, and designate at the same time, an educational institution.
+
+_A._ By saying A-cad-am-I.
+
+The foregoing rule (not riddle) holds good, unless the reason of a
+different construction requires it should be otherwise, as
+
+  Emi librum centussi et pluris:
+
+  I bought a book for a hundred pence, and more,
+    "100d. are 8s. 4d." --Walkinghame.
+
+The conjunction, quam, than, is often understood after amplius, more,
+plus, more, and minus, less, as
+
+  Amplius sunt sex menses:
+
+  There are more than six months.
+
+For this interesting piece of information we are indebted to Cicero. The
+author to whom reference has just been made, has somewhere, if we
+mistake not, a similar observation. In thus _ushering_ the _Tutor's_
+Assistant into notice, we feel that we are citing a work of which it is
+impossible to make too comical mention.
+
+Thank goodness there are not more than six months in a half year!
+
+
+  TO WHAT MOODS OF VERBS CERTAIN ADVERBS
+  AND CONJUNCTIONS DO AGREE.
+
+Ne, an, num, whether put doubtfully or indefinitely, are joined to a
+subjunctive mood, as--
+
+  Nihil refert fecerisne an persuaseris:
+
+  It matters nothing whether you have done it or persuaded to it--
+
+as the school-master said when he got hold of the wrong end of the cane.
+
+Here it may be remarked-- First, that the young gentlemen who play
+tricks with _tallow_ are likely to get more _whacks_ than they like on
+their fingers. Secondly-- That a master whose hand is in _Grease_ cannot
+be expected to be at the same time in _A-merry-key_.
+
+Dum, for dummodo, so that, and quousque, until, requires a subjunctive
+mood, as--
+
+  Dum felix sis, quid refert?
+
+  What's the odds, so long as you're happy.
+
+Qui, signifying the cause, requires a subjunctive mood, as
+
+  Stultus es qui Ovidio credas:
+
+  You are a fool for believing Ovid.
+
+Ut, for, postquam, after that, sicut, as, and quomodo, how, is joined to
+an indicative mood; but when it signifies quanquam, although, utpote,
+forasmuch as, or the final cause, to a subjunctive mood, as
+
+  Ut sumus in Ponto ter frigore constitit Ister:
+
+  Since that we are in Pontus the Danube has stood frozen three times.
+
+Were skating and sliding classical accomplishments? Ambition, we know,
+led many of the Romans to tread on _slippery_ ground: many of them
+struck out new paths, but none (that we have heard of) ever struck out a
+slide. Imagine Cato or Seneca "coming the cobbler's knock."
+
+  Te oro, domine, ut exeam:
+
+  Please, sir, let me go out.
+
+Lastly, all words put indefinitely, such as are these, quis, who,
+quantus, how great, quotus, how many, require a subjunctive mood, as
+
+  Cave cui incurras, inepte:
+
+  Mind who you run against, stupid.
+
+    [Illustration]
+
+Such may have been the speech of a Roman cabman. A very curious specimen
+of the _tessera_, or badge, worn on the breast by this description of
+persons, has lately been discovered at Herculaneum.
+
+    [Illustration]
+
+
+  THE CONSTRUCTION OF PREPOSITIONS.
+
+A preposition being understood, sometimes causes an ablative case to be
+added, as
+
+  Habeo pigneratorem loco avunculi; _i.e._ in loco:
+
+  I esteem a pawnbroker in the place of an uncle: that is, _in loco_.
+
+A preposition in composition sometimes governs the same case which it
+also governed out of composition, as
+
+  Jupiter Olympo Vulcanum calce exegit:
+
+  Jupiter kicked Vulcan out of Olympus.
+
+This was not only an ungentlemanly, but also an _ungodly_ act on
+Jupiter's part. Reasoning a posteriori, one would think it must have
+been very unpleasant to Vulcan.
+
+  Praeteriit me in Quadrante insalutatum:
+
+  He cut me in the Quadrant.
+
+Verbs compounded with a, ab, de, e, ex, in, sometimes repeat the same
+prepositions with their case out of composition, and that elegantly, as
+
+  Abstinuerunt a vino:
+
+  They abstained from wine.
+
+This properly is an allusion to the Tiber-totallers. It should be
+remembered that tea was unknown in Rome, except as the accusative case
+of a pronoun.
+
+In, for, erga, towards, contra, against, ad, to, and supra, above,
+requires an accusative case, as
+
+                Quietum
+  Accipit in pueros animum mentemque benignam:
+
+  He admits kind thoughts and inclinations towards the boys.
+
+The master does-- when he gives them a half holiday or a blow out. Mr.
+Squeers (vide Nicholas Nick: illustriss. Boz.) was in the habit of
+_making much_ of the young gentlemen intrusted to his care.
+
+Sub, when it relates to time, is commonly joined to an accusative case,
+as
+
+  Sub idem tempus-- Isaaculus trans maria deportatus est:
+
+  About the same time-- Ikey was transported beyond the seas.
+
+We say _beyond the seas_, lest it should be questioned whether Mr. I.
+was _transported_ as a necessary or contingent consequence of cheating.
+
+Super, for, ultra, beyond, is put with an accusative case, for de,
+concerning, with an ablative case, as
+
+      Super et Garamantas et Indos
+  Proferet imperium:
+
+  He will extend the empire both beyond the Africans and the Indians.
+
+A wide _rule_ expressed in poetical _measure_.
+
+  Quid de domesticis Peruviorum rebus censeas?
+
+  What may be your opinion concerning the domestic economy
+  of the Peruvians?
+
+Tenus, as far as, is joined to an ablative case, both in the singular
+and plural number, as
+
+  Cervice, auribusque tenus Marius in luto inveniebatur:
+
+  Marius was found up to his neck and ears in mud.
+
+What a lark! or rather a mud lark. But tenus is joined to a genitive
+only in the plural, and it always follows its case, as
+
+  Crurum tenus:  up to the _legs_.
+
+Which it is very necessary to be at Epsom and Ascot.
+
+
+  THE CONSTRUCTION OF INTERJECTIONS.
+
+Interjections are often put without a case, as
+
+  Spem gregis, ah! silice in nuda connixa reliquit:
+
+  Having yearned, she left the hope of the flock, alas!
+  upon the bare flint stones.
+
+And exposed to the _steely_-hearted world, which, as an Irishman
+remarked, was a dangerous situation for _tinder_ infancy. It must have
+been, to say the least, a most uncomfortable _berth_.
+
+O! of one exclaiming, is joined to a nominative, accusative, and
+vocative case, as
+
+  O lex! Oh law! O alaudas! Oh larks! Oh meum! Oh my!
+  O care! Oh dear!
+
+We cannot find out what is Latin for oh Crikey!
+
+Heu! and proh! alas! are joined, sometimes to a nominative, sometimes to
+an accusative, and occasionally to a vocative case, as-- Heu bellis!
+Lack-a-_daisy_. Heu diem! Lack-a-_day_. Proh Clamor! Oh _cry_! Proh deos
+pisciculosque! Oh, ye gods and little fishes!
+
+  Heu miserande puer!
+
+  Oh, boy, to be pitied!
+
+What boy is more to be pitied than a junior boy? The _Fagin_ system
+described in Oliver Twist is nothing compared to that adopted in public
+schools. People may say what they will of the beneficial effect which it
+produces on the minds of those who are subjected to it-- we contend that
+to breed a gentleman's son up like a _tiger_ is the readiest way to make
+a _beast_ of him.
+
+Hei! and vae! alas, are joined to a dative case, as
+
+  Hei mihi quod nullis amor est medicabilis herbis:
+
+  Woe is me that love is curable by no herbs.
+
+    [Plate:
+    HEU! MISERANDE PUER!]
+
+Ovid never would have said that, if he had smoked a cigar or chewed
+tobacco. The ancients believed that love might be excited by certain
+articles taken from the vegetable kingdom. Why then should it be
+considered impossible to allay the same feeling in a similar manner?
+Every bane has its corresponding antidote; if so, there may be physic
+even for a philter. And for the pangs which a _virgin_ has inflicted,
+what remedy could be prescribed more reasonable than the _Virginian_
+weed;-- besides, love generally ends in smoke.
+
+    [Illustration: A CURE FOR THE HEARTACHE.]
+
+  Vae misero capiti, madefacto, saepe fenestrae
+  Imbribus immundis, Lydia cara, tuae:
+
+  Woe to my wretched head, often wetted, dear
+  Lydia, by the unclean showers of your window.
+
+This would be a proper place for introducing a few remarks on the
+ancient mode of serenading; which we are prevented from doing by the
+very imperfect state of our present information on this interesting
+point. It is, however, pretty generally admitted that the Romans always
+took care to provide themselves with an umbrella on these occasions,
+and this for a reason which the above distich will have rendered
+sufficiently obvious. It appears to us that so salutary a precaution is
+well worthy of being sometimes adopted in these modern days-- and with
+this hint we conclude the Syntax.
+
+
++PROSODY.+
+
+[Transcriber's Note:
+
+As explained at the beginning of the e-text, vowels with macron ("long"
+mark) are shown as CAPITALS, while vowels with breve ("short" mark) are
+shown in {braces}. Long vowels that are already capitalized (very rare)
+are shown in [brackets].]
+
+  All you that bards of note would be,
+  Must study well your Prosody.
+
+As Comparative Anatomy teaches what the sound of a cod-fish is; so
+Prosody teaches what is the sound of syllables.
+
+Sound and quantity mean the same thing; though how that fact is to be
+reconciled with the proverb, "great _cry_ and little _wool_," we do not
+know.
+
+Prosody is divided into three parts. Tone, Breathing, and Time. As to
+tone-- boys are usually required to repeat it in a loud one, without
+stammering or drawling; and with as little breathing and time, or
+breathing-time, as possible.
+
+We shall leave tone to the consideration of pianoforte and
+fiddle-makers; and breathing to doctors and chemists, who can _analyze_
+it a great deal better than we can. In this place we think proper to
+treat only of Time.
+
+Now of Time a very great deal may be said, taking the word in all the
+senses in which it is capable of being used.
+
+In the first place, Time flies-- but this we have had occasion to
+observe before; as also that Time is a very great eater.
+
+In the second, Time is a very ill-used personage; he is spent, wasted,
+lost, kicked down, and killed-- the last as often as an Irishman is--
+but for all that he never complains.
+
+It is a question whether keeping Time, or losing Time, is the essential
+characteristic of dancing.
+
+Then we might expatiate largely about the value of Time, and of the
+propriety of taking him by the forelock-- but for two reasons.
+
+One of them is, that all this has been said long ago; the other, that it
+is nothing at all to the purpose.
+
+We might also quote extensively from Dr. Culpeper's Herbal, and from
+Linnaeus and Jussieu; but the _time_ we speak of, (although we hope it
+will be _twigged_ by the reader,) is no _plant_; nevertheless it is a
+necessary ingredient in grammatical _stuffing_.
+
+Time in prosody is the measure of the pronouncing of a syllable.
+
+Like whist, it is divided into Long and Short. A long time is marked
+thus, as sUmEns, taking: a short time thus; as p{i}l{u}l{a}, a pill.
+
+A foot is the placing together of two or more syllables, according to
+the certain observation of their _time_, the organ of which should be
+well developed for that purpose.
+
+Ordinary feet are long feet, short feet, broad feet, splay feet, club
+feet, and bumble feet, to which may be added cloven feet in the case of
+certain animals, and an "old gentleman."
+
+There are several kinds of Latin feet; here, however, we shall only
+notice spondees and dactyls.
+
+A spondee is a foot of two syllables, as InfAns, an infant.
+
+A dactyl is a foot of three syllables, as Ang{e}l{u}s, an angel,
+pOrc{u}l{u}s, a little pig.
+
+Scanning is measuring a verse as you are measured by your tailor-- by
+the _foot_, according to _rule_. To scanning there belong the figures
+called Synal[oe]pha, Ecthlipsis, Synaeresis, Diaeresis, and Caesura.
+
+Synal[oe]pha is the cutting off a vowel at the end of a word, before
+another at the beginning of the next; as
+
+  [O]cclUsIs EvAsi {o}c{u}lIs nAsOqu{e} cruEntO:
+
+  I came off with my eyes bunged up and a bloody nose.
+
+We have here _knocked out an i_ in evasi, on the strength of a
+synal[oe]pha.
+
+But heu and o are never cut off-- at least there are no cases on record
+in which this operation has been performed.
+
+Ecthlipsis is as often as the letter m is cut off with its vowel; the
+next word beginning with a vowel, as
+
+  MOnstrum hOrrEndum InfOrme IngEns-- spectAv{i}m{u}s hOrtIs:
+
+  We saw a horrible, ugly, great monster in the gardens.
+
+If every _bear_ and _boar_ were kept in a den-- what a fine world this
+would be.
+
+Synaeresis is the contraction of two syllables into one, as in alvearia,
+pronounced alvaria.
+
+  StrAv{i}t h{u}mI dEmEns cOnfErta AlveAr{i}{a} JUnO:
+
+  Mad Juno threw the crowded beehives on the ground.
+
+Hydrophobia occurring in a queen bee from the bite of a dog would be an
+interesting case to the faculty.
+
+Diaeresis is the separation of one syllable into two, as evoluisse for
+evolvisse. Thus Ovid says, alluding probably to the _padding_ system
+adopted by dandies and theatrical artists,
+
+  DEb{u}{e}rant fUsOs Ev{o}l{u}Iss{e} s{u}Os:
+
+  They ought to have unwound their _spindles_.
+
+Caesura is when after a perfect foot (though not one like Taglioni's),
+a short syllable is made long at the end of a word, as
+
+  PEct{o}r{i}bUs {i}nh{i}Ans-- mOllEs, En, dEs{e}r{i}t AlAs:
+
+  Intent upon the breasts (of the fowls) lo! he deserts
+  the tender wings.
+
+
+  OF THE KINDS OF VERSES.
+
+Should any one seek here for an account of every kind of verse used by
+the Latin poets, all we can say is-- we wish he may get it. As it
+behoveth no one to be wiser than the law, so it behoveth not us to be
+wiser than the Eton Grammar.
+
+The verses which boys are commonly taught to make are hexameters and
+pentameters.
+
+An hexameter verse consists of six feet. As the ancient heroes were at
+least six feet high, this is probably the reason why it is also called
+an _heroic_ verse.
+
+The fifth foot in this kind of verse should be a dactyl, the sixth a
+spondee; the other feet may be either dactyls or spondees; as
+
+  [O]bstAntI pl{u}v{i}Is vEnIt cUm tEgm{i}n{e} SAmbO:
+
+  Sambo came with his Macintosh.
+
+The fifth foot also is sometimes a spondee, as
+
+  ClAv{i}g{e}r [A]lcIdEs, mAgnUm J{o}v{i}s IncrEmEntUm.
+
+  Hercules, king of clubs, great offspring of Jupiter.
+
+The last syllable of every verse is a _common_ affair.
+
+An elegiac, lack-a-daisical, or pentameter verse, consists of four feet
+and two long syllables, one of which is placed between the second and
+third foot, and the other at the end of the verse. The two first feet
+may be dactyls, spondees, or both; the two last are always dactyls, as
+
+  REs Est InfElIx, plEn{a}qu{e} frAud{i}s {a}mOr:
+
+  Love is an unlucky affair, and full of humbug.
+
+We feel compelled, notwithstanding what has been before said, to make a
+few additions to what is contained in the Eton Grammar with respect to
+verses.
+
+The rhythm of Latin verses may be easily learned by practising (out of
+school), exercises on the principle of the examples following--
+
+  DUm d{i}dl{e}, dI dUm, dUm dUm, dEedl{e}dy, dEEdl{e} d{e}, dUm dum;
+    DUm d{i}dl{e}, dUm dum, dE, dEedl{e}d{y}, dEedl{e}d{y}, dUm.
+
+N.B. The following familiar piece of poetry would not have been admitted
+into the Comic Latin Grammar, but that there being many various readings
+of it, we wished to transmit the right one to posterity.
+
+  Patres conscripti-- took a boat and went to Philippi.
+  Trumpeter unus erat qui coatum scarlet habebat,
+  Stormum surgebat, et boatum overset-ebat,
+  Omnes drownerunt, quia swimaway non potuerunt,
+  Excipe John Periwig tied up to the tail of a dead pig.
+
+Here, also, this poetical curiosity may perhaps be properly introduced.
+
+  Conturbabantur Constantinopolitani,
+    Innumerabilibus sollicitudinibus.
+
+
+  OF THE QUANTITY OF THE FIRST SYLLABLE.
+
+There is a river in Macedon and a river in Monmouth: in like manner
+there are positions in dancing and positions in Prosody.
+
+The following vowels are long by position.
+
+1. A vowel before two consonants, or before a double consonant in the
+same word-- as pInguis, fat, Ingens, great, [A]jax, the name of a hero.
+
+2. A vowel coming before one consonant at the end of a word, and another
+at the beginning of the next, as
+
+  MajOr sUm quAm cui possIt tua virga nocere:
+
+  I'm a bigger boy than your rod is able to hurt.
+
+The syllables _jor_, _sum_, _quam_, and _sit_, are long by position.
+
+    [Plate:
+    PATRES CONSCRIPTI TOOK A BOAT AND WENT TO PHILIPPI
+    TRUMPETER UNUS ERAT QUI COATUM SCARLET HABEBAT.]
+
+3. Sometimes, but seldom, a short vowel at the end of a word placed
+before two consonants at the beginning of the next; as
+
+  OccultA spolia hi Croceo de Colle ferebant:
+
+  These persons brought the secret spoils from Saffron Hill.
+
+A _short_ vowel before a mute, a liquid following, is rendered common,
+as in the word _patris_.
+
+  Sunt quibus ornatur Jenkins femoralia pAtris:
+
+  The breeches that Jenkins is rigged out in are his father's.
+
+A vowel before another is always short, as t{u}a, thy, memor{i}a, memory.
+
+Except the genitive cases of pronouns in ius, where the i is a common i,
+although alter{i}us has always a short _i_ and alIus a long _i_.
+
+Except, likewise, those genitive and dative cases of the fifth
+declension where the vowel _e_, like Punch's nose, is made long between
+two _i_'s, as faciEi, of a face.
+
+    [Illustration]
+
+The syllable _fi_ also in fIo is long, except e and r follow together,
+as f{i}erem, f{i}eri.
+
+  FIent quae "F{i}eri Facias" mandata vocantur:
+
+  The writ which is called "Fieri Facias" will be made.
+
+Fi. fa. is a legal instrument that deprives a poor man of his mattress
+that a rich one may lounge on his ottoman. Ca. Sa. is a similar
+benevolent contrivance for punishing misfortune as felony.
+
+DIus, heavenly, has the first syllable long;-- Diana, common: and so has
+the interjection Ohe!
+
+  Thus there's a common medium of connexion,
+  Between a goddess and an interjection.
+
+A vowel before another in Greek words is sometimes long, as
+
+  Caerula, PIerides, sunt vobis tegmina crurum:
+
+  Oh, Muses, your stockings are blue.
+
+Also in Greek possessives, as
+
+  Somniculosa fuit, pinguisque AEnEia nutrix:
+
+  AEneas's nurse was sleepy and fat.
+
+AEneas has often enough been represented in _arms_.
+
+  In Latin mark, that every dipthong
+  'S as long as any stage-coach whip-thong;
+  Except before a vowel it goes,
+  When 'tis as short as Elsler's clothes.
+
+Words derived from others are tarred with the same stick, that is, are
+assigned the same quantity as those which they are derived from, with
+some few exceptions, which we must trouble the student to fish for.
+
+Compounds follow the quantity of their simple words, as from l{e}go
+l{e}gis, to read, comes perl{e}go, to read through.
+
+By the way, _reading_ does not always induce _reading through_; though
+we hope it may in the case of the C. L. G.
+
+  If to a preterperfect tense belong
+  Two only syllables, the first is long;
+  As vEni, vIdi, vIci, speech so cool.
+  Which Caesar made to illustrate our rule;
+  To which we need not cite exceptions small.
+  Look in your Gradus and you'll find them all.
+
+Consult also the Eton Grammar, and works of the poets, passim, as well
+for exceptions to the above as to the two following rules:
+
+1. Words that double the first syllable of the preterperfect tense have
+the first syllable short-- as c{e}c{i}dI from c{a}d{o}, &c.
+
+  Fortis Higinbottom c{e}cidit terramque m{o}mordit:
+
+  Brave Higinbottom fell and bit the ground.
+
+2. A supine of two syllables has the first syllable long--
+
+  As vIsum lAtum lOtum mOtum:
+
+  And many more if we could quote 'em.
+
+
+  OF THE QUANTITY OF THE LAST SYLLABLE.
+
+We have had a poetical fit gradually growing upon us for some time--
+'tis of no use to resist-- so here goes--
+
+  Oh! Muse, thine aid afford to me,
+  Inspire my Ideality;
+  Thou who, benign, in days of yore,
+  Didst heavenly inspiration pour
+  On him, who luckily for us
+  Sang Propria Quae Maribus;
+  Teach me to sound on quiv'ring lyre,
+  Prosodial strains in notes of fire;
+  Words' ends shall be my theme sublime,
+  Now first descanted on in rhyme.
+    Come, little boys, attention lend,
+  All words are long in a that end:
+  (In proof of which I'll bet a quart,)
+  Excepting those which must be short--
+  As put{a}, it{a}, poste{a}, qui{a},
+  Ej{a}, and every case in i{a};
+  Or _a_, save such as we must class
+  With Grecian vocatives in as,
+  And ablatives of first declension--
+  Besides the aforesaid, we may mention
+  Nouns numeral that end in ginta,
+  Which common, as a bit of flint are.
+    Some terminate in _b_, _d_, _t_;
+  All these are short; but those in _c_
+  Form toes-- I mean, form ends of feet
+  As long-- as long as Oxford Street.
+  Though n{e}c and don{e}c every bard
+  Hath written short as Hanway yard,
+  Fac, hic, and hoc are common, though
+  Th' ablative hOc is long you know.
+    Now "_e_ finita" short are reckon'd,
+  Like to a jiffey or a second,
+  Though we must call the _Gradus_ wrong,
+  Or these, of fifth declension, long.
+  As also particles that come
+  In mode derivative therefrom.
+  Long second persons singular
+  Of second conjugation are,
+  And monosyllables in _e_.
+  Take, for example, mE, tE, sE,
+  Then, too, adverbial adjectives
+  Are long as rich old women's lives--
+  If from the second declination
+  Of adjectives they've derivation:
+  PulchrE and doctE, are the kind
+  Of adverbs that I have in mind.
+  FermE is long, and ferE also--
+  Ben{e}, and mal{e}, not at all so.
+  Lastly, each final _eta_ Greek,
+  Is long on all days of the week--
+  To wit-- (for thus we render nempe)
+  LethE, AnchisE, cetE, TempE.
+    Those words as long we classify
+  Which end, like _egotists_, in _i_,
+  Rememb'ring mihi, tibi, sibi
+  Are common, so are ubi, ibi;
+  Nis{i} is always short, and quas{i}'s
+  Short also, so are certain cases
+  In i-- Greek vocatives and datives
+  (At least if we may trust the natives;)
+  Making their genitives in os,
+  For instance-- Phyllis, Phyllidos.
+  (A name oft utter'd with a sigh,)
+  Whereof the dative ends in {i}.
+    Words in _l_ ending short are all,
+  Save nIl for nihil, sAl, and sOl,
+  And some few Hebrew words t'were well
+  To cite; as MichaEl, RaphaEl.
+    Your n's are long, save forsit{a}n
+  {I}n, tam{e}n, attam{e}n, and {a}n
+  Veruntam{e}n and fors{a}n, which
+  Are short as any tailor's stitch;
+  These, therefore, we except, and then
+  Contractions "per apocopen"--
+  As vid{e}n'? m{e}n'? and aud{i}n?-- so in
+  Ex{i}n' and sub{i}n', de{i}n', pro{i}n'.
+  _An_, from a nominative in _a_
+  Ending a word is short, they say,
+  But every _an_ for long must pass
+  Derived from nominative in as.
+  Nouns, too, in en are short whose finis
+  Doth in the genitive make _inis_.
+  And so are n's that do delight {i}n
+  An _i_ and _y_-- Alex{i}n, It{y}n.
+    Greek words are short I'd have you know,
+  That end in _on_ with little _o_,
+  Common are terminating o's,
+  Cases oblique except from those,
+  Adverbial adjectives as falsO
+  Are long,-- take tantO,-- quantO also;
+  Save mutuo, sedulo, and crebro.
+  Common as vestment vending Hebrew.
+  Mod{o} and quomod{o} among
+  Short o's we rank-- nor to be long.
+  Nor cit{o}, eg{o}, du{o}; no nor
+  Amb{o} and Hom{o} ever prone are;
+  But monosyllables in _o_,
+  Are counted long. Example-- stO.
+  And omega, the whole world over,
+  'S as long as 'tis from here to Dover.
+    If _r_ should chance a word to wind up,
+  'Tis short in general, make your mind up;
+  But fAr, lAr, nAr, and vIr, and fUr
+  PAr, compAr, impAr, dispAr, cUr,
+  As long must needs be cited here,
+  With words from Greek that end in er;
+  Though 'mong the Latins from this fate are
+  These two exempted-- pat{e}r, mat{e}r;
+  Short in the final _er_ we state 'em,
+  Namely, "auctoritate vatum."
+    Now, s, the Eton Grammar says,
+  Ends words in just as many ways
+  As there are vowels-- five-- as thus
+  In order, _as_, _es_, _is_, _os_, _us_.
+    As, in a general way appears
+  Long unto all but asses' ears,
+  But some Greek words take care to mark as
+  Short,-- for example-- Pall{a}s, Arc{a}s--
+  And nouns increasing plural sport
+  An _as_ accusative that's short.
+    Es in the main's a long affair,
+  AnchisEs, such, and patrEs are,
+  Though of the third declension you
+  As short such substantives must view,
+  The genitives of which increase,
+  Derived from nominatives in es,
+  And have an accent short upon
+  The syllable that's last but one.
+  As mil{e}s, seg{e}s, div{e}s, (which
+  Means what a Poet is n't,)-- rich:
+  But pEs is long, with bipEs, tripEs,
+  Like to a hermit munching dry pease.
+  To these add CerEs, Saturn's cub,
+  (Name of a goddess, and for grub
+  The figure Metonymy through,)
+  And ariEs, abiEs, pariEs, too.
+  Sum with its compounds forming {e}s,    }
+  Are short, join pen{e}s, if you please, }
+  Item Cyclop{e}s Naiad{e}s.                }
+  Greek nominatives and plural neuters,
+  For lists of which consult your tutors.
+    Is, we call short, as Par{i}s, trist{i}s,
+  Save all such words as mensIs, istIs.
+  Plurals oblique that end in _is_,
+  Adding thereto for quibus quIs.
+  The _is_ in SamnIs long by right is
+  Because its genitive's SamnItis,
+  Where you observe a lengthened state
+  Of syllable penultimate.
+  The same to all such words applies,
+  And Is contracted, meaning _eis_,
+  Long too,-- and pray remember this
+  Are monosyllables in _is_.
+  Save {i}s the nominative pronoun,
+  And qu{i}s, and b{i}s, which last is no noun.
+    When verbs by _is_ concluded are,
+  In second person singular;
+  But in the plural _itis_ make,
+  The _is_ is long, and no mistake--
+  Provided always that the pe-
+  Nultimate plural long shall be.
+    Os, saving comp{o}s, imp{o}s, {o}s
+  Is long-- as honOs dominOs.
+  The Greek omicron 's short, and that in
+  All conscience must be so in Latin.
+    Words should be short in _us_, unless
+  Authority has laid a stress
+  On the penultimate of any
+  Word that increases in the geni-
+  Tive case when us is long, the same
+  Pronunciation nouns may claim--
+  Declined like gradUs or like manUs
+  Though here exceptions still detain us.
+  The first case and the fifth are those
+  Singular; short as monkey's nose.
+  Long are mUs, crUs, and thUs and sUs
+  All monosyllables in Us,
+  And Grecian nouns by diphthong _ous_,
+  Translated _us_ by men of _nous_.
+    Lastly, all words in _u_ are long,
+  And so we end our classic song.
+
+And not our song only, but our work-- the companion of our solitude--
+the object of our cares-- for which alone we live, for which we consumed
+our midnight oil; and not only that, but also burnt a great deal of
+daylight.-- Our work, we say, is ended-- and such as it is we commit it
+to the world. Horace says Carm. Lib. iii, Ode XXX. (an ode which by some
+strange association of ideas, is always connected in our mind with the
+visionary image of a jug of ale,) "Exegi monumentum aere perennius,"
+I have perfected a work more durable than brass. Whether our production
+is characterized by the _durability_ of that metal or not, is a question
+which we leave to the decision of posterity; we cannot, however, help
+thinking that, considering the boldness of our attempt, it possesses
+figuratively at least, something in common with the substance in
+question-- and we would fain hope that that something does not consist
+in _hardness_.
+
+And now farewell to the reader-- farewell, "a word that must be and hath
+been"-- said a great many times when once would have been quite
+sufficient. We need not, therefore, repeat it; nor need we say how much
+we hope that we have amused, instructed him, and so forth; that being as
+much an understood thing to put at the end of a book, as "Love to papa,
+mamma, brothers and sisters," in a holiday letter.
+
+Nothing, then, remains for us now to do, but to kick up our hat and cry
+
+"ALL OVER."
+
+
+  FINIS
+
+
+
+
+LIST OF ETCHINGS.
+
+
+1. Vocative case (schoolmaster spatting a boy) _to face page_ 2.
+
+2. Schoolmaster beating a drum, and boys singing in chorus, text
+damaged, 22
+
+3. Ingenuas pugni didicisse fideliter artes (fight)   52
+
+4. Prometheus Vinctus (vagabond in the stocks)   72
+
+5. Smelling a Pig (boys at supper in the bed room)   74
+
+6. Domestic Oratory (small boy spouting in a chair)  135
+
+7. Heu miserande Puer (boy tossed in a blanket)   144
+
+8. Patres conscripti   152
+
+
+Coe, Printer, 27, Old Change, St. Paul's.
+
+
+       *       *       *       *       *
+           *       *       *       *
+
+
+CHARLES TILT'S
+
+LIST OF NEW AND POPULAR
+
+  +Books,+
+
+For Presents, the Drawing-Room Table, &c.
+
+
+  +ELIZA COOK'S POETICAL WORKS;+
+  Beautifully Illustrated Edition.
+  Post 8vo, bound in cloth, 16s.; morocco elegant, 20s.
+
+"Miss Cook is a writer of great promise. Her book contains a great
+number of lyrical and other poems, many of which are extremely
+beautiful." --_United Service Gazette_.
+
+
+  +A GIFT FROM FAIRY LAND;+
+  A Series of Fairy Legends.
+
+Profusely embellished with One Hundred fanciful and illustrative
+Etchings. Small 8vo, very neatly bound, price 12s.
+
+
+  Sir Walter Scott's
+  +LADY OF THE LAKE.+
+  Tilt's Beautifully Illustrated Edition.
+
+Foolscap 8vo, price 7s. cloth; 10s. 6d. morocco, very elegant.
+
+  Also, same size and price,
+
+  +MARMION;
+  A TALE OF FLODDEN FIELD.+
+  Engravings.
+
+  +LAY
+  OF THE LAST MINSTREL.+
+  Twelve Engravings.
+
+
+  Finden's
+  +PORTS AND HARBOURS OF GREAT BRITAIN.+
+
+Fifty large Plates, engraved in the first style of art, from Drawings by
+HARDING, BALMER, &c. &c. Morocco elegant, 1l. 11s. 6d.
+
+
+  Finden's
+  +ILLUSTRATIONS OF THE BIBLE.+
+
+Ninety-six Views of the most interesting Places mentioned in the Old and
+New Testament, with Descriptions by the Rev. T. HARTWELL HORNE.
+
+Three vols, demy 8vo, morocco, 3l. 3s.; or in two vols, super-royal 8vo,
+neatly half-bound in morocco, gilt edges, 3l. 10s.; morocco, 3l. 16s.
+
+
+  Finden's
+  +ILLUSTRATIONS OF LORD BYRON'S WORKS.+
+
+One Hundred and Twenty-six Plates in the highest style of art.
+
+In two vols, large 8vo, beautifully bound in morocco, 3l. 3s.
+
+
+  +THE AUTHORS OF ENGLAND,+
+  or, Biographical Notices of Modern Literary Characters.
+  By HENRY F. CHORLEY.
+
+Fourteen splendid medallion Portraits. Imperial 4to, 1l. 11s. 6d.
+
+       *       *       *       *       *
+
+  NEW AND INTERESTING WORKS.
+
+
+  +THE POETS OF AMERICA;+
+  Illustrated by One of Her Painters,
+
+With many beautiful Embellishments engraved on Steel, in an entirely new
+style. Post 8vo, cloth, 14s.; morocco elegant, 18s.
+
+
+  +TRAVELS IN SOUTH-EASTERN ASIA;+
+  Including
+  Burmah, Malaya, Siam, China, and Hindustan;
+  With a Full Account of the
+  Manners, Customs, and Commerce of the Burmese, &c. &c.
+  By HOWARD MALCOM.
+
+Two volumes post 8vo, with a Map and many Illustrations, 16s. cloth.
+
+
+  +THE LYRE; THE LAUREL;+
+  A Choice Collection of the Fugitive Poetry of the Nineteenth Century.
+  Neatly printed by Whittingham.
+
+Each 4s. cloth; 6s. 6d. morocco.
+
+
+  +TILT'S CABINET LIBRARY,+
+  Beautifully printed in foolscap 8vo.
+
+  The following are now ready:--
+
+  1. +JOHNSON'S LIVES OF THE POETS.+ Many Portraits.
+  2. +BOSWELL'S LIFE OF JOHNSON.+
+  3. +HERVEY'S MEDITATIONS.+
+  4. +GOLDSMITH'S MISCELLANEOUS WORKS.+
+
+Each volume will contain a complete work of the Author, at an extremely
+moderate price; while care will be taken that the Edition shall be neat,
+correct, and elegant. Price 6s. cloth; 8s. 6d. morocco.
+
+
+  +THE COMIC LATIN GRAMMAR;+
+  A New and Facetious Introduction to the
+  Latin Tongue.
+
+With numerous Illustrations. Crown 8vo, 8s. cloth.
+
+       *       *       *       *       *
+
+  +Illustrated Works,+
+
+  With Plates,
+  ELABORATELY COLOURED,
+  After the Original Paintings.
+
+
+1. +FINDEN'S TABLEAUX;+ or PROSE, POETRY, and ART for 1840. Embellished
+in a new and unique style, 3l. 3s.; or plain, 2l. 2s.
+
+2. +HEATH'S SHAKSPEARE GALLERY;+ consisting of Forty-five Portraits of
+the Female Characters of Shakspeare's Plays, from Drawings by A. E.
+CHALON, R. A. STEPHANOFF, BOSTOCK, MEADOWS, &c. 3l. 13s.. 6d.; or plain,
+2l. 2s.
+
+3. +THE AGES OF FEMALE BEAUTY:+ PICTORIAL ILLUSTRATIONS OF WOMAN'S LIFE,
+from Drawings by the most eminent Artists. With Prose and Poetical
+Illustrations, by BARRY CORNWALL, Mrs. NORTON, Miss JANE PORTER, &c.
+31s. 6d.; or plain, 21s.
+
+4. +LE BYRON DES DAMES;+ or, Portraits of the principal Female
+Characters in Lord Byron's Poems. Containing Thirty-nine highly-finished
+Plates, each illustrated by Critical Remarks and Poetical Extracts. 3l.,
+or plain, 1l. 11s. 6d.
+
+5. +FLORA'S GEMS;+ or, THE TREASURES OF THE PARTERRE. In Twelve splendid
+Groups of Flowers drawn and coloured by JAMES ANDREWS. The Plates of
+this work are all coloured in the most finished style, so as to equal
+first-rate Drawings, and are accompanied with Poetical Illustrations. By
+LOUISA TWAMLEY. 2l. 2s.
+
+6. +THE GALLERY OF THE GRACES.+ Thirty-six Beautiful Female Heads,
+illustrating celebrated Passages in Modern British Poets, with
+accompanying Extracts. 3l.; or plain, 31s. 6d.
+
+7. +THE ROMANCE OF NATURE:+ or, The Flower Seasons Illustrated. By L. A.
+TWAMLEY. 3d edition, 8vo, 31s. 6d.
+
+"This is a book of singular beauty and taste. Twenty-seven exquisite
+coloured drawings of favourite flowers are accompanied by graceful
+quotations from the various authors who have felt their 'sweetest
+inspiration,' and some charming original poems. Whether for tasteful
+decoration, originality, or grace, we have seen no superior to this most
+beautiful volume." --Literary Gazette.
+
+8. +PEARLS OF THE EAST;+ or Beauties from "LALLA ROOKH." Twelve
+large-sized Portraits of the Principal Female Characters in this
+celebrated Poem. Designed by FANNY CORBAUX. 2l. 12s. 6d.; or printed
+with tint, 31s. 6d.
+
+9. +HARDING'S PORTFOLIO.+-- Twenty-four highly-finished Views, coloured
+under Mr. Harding's directions. Imp. 4to, 31s. 6d.; or printed with
+tint, 21s.
+
+10. +OUR WILD FLOWERS:+ a Popular and Descriptive Account of the Wild
+Flowers of England. By L. A. TWAMLEY, Author of "The Romance of Nature."
+Many Coloured Plates, 21s.
+
+*** All the above works are _very handsomely bound and ornamented_ at
+the prices mentioned, and have been expressly prepared for Presents,
+Souvenirs, the Drawing-Room Table, &c.
+
+       *       *       *       *       *
+
+  POPULAR JUVENILE WORKS,
+  Just Published.
+
+
+  +THE LITTLE FORGET-ME-NOT;+
+  A Love-Token for Children.
+
+Prettily illustrated with Twelve interesting Engravings. Handsomely
+bound, 2s. 6d.; or _with Coloured Plates_, 4s.
+
+
+  Third Edition. Price 4s. neatly bound,
+  +BINGLEY'S STORIES ABOUT DOGS;+
+  Illustrative of Their Instinct, Sagacity, and Fidelity.
+  With Plates by LANDSEER.
+
+
+  Also, same Size and Price,
+
+  Bingley's
+  STORIES ABOUT HORSES
+
+  Bingley's
+  STORIES ABOUT INSTINCT
+
+  Bingley's
+  TALES ABOUT BIRDS
+
+  Bingley's
+  TALES OF SHIPWRECKS
+
+
+  +TILT'S HAND-BOOKS FOR CHILDREN;+
+
+Each containing 48 pretty Plates, price 1s. 6d. neatly bound.
+
+
+  Mrs. Child's
+  +LITTLE PICTURE BIBLE.+
+
+  Mrs. Child's
+  +LITTLE PICTURE TESTAMENT.+
+
+  Williams'
+  +ZOOLOGICAL GARDENS,+
+  Regent's Park.
+
+  May's Little
+  +BOOK OF BRITISH BIRDS.+
+
+  May's Little
+  +BOOK OF QUADRUPEDS.+
+
+  Williams' Surrey
+  +ZOOLOGICAL GARDENS.+
+
+  Others in Preparation.
+
+
+  +BIBLE QUADRUPEDS;+
+  The Natural History of the Animals Mentioned in Scripture.
+  With Sixteen Engravings, price 5s. neatly bound.
+
+
+  +TALES OF ENTERPRISE,+
+  For the Amusement of Youth.
+  Four Steel Plates, 2s. 6d.
+
+Price 1s. 6d. each, neatly bound,
+
+  +BOB THE TERRIER;+
+  or, Memoirs of a Dog of Knowledge.
+
+  +DICK THE PONY;+
+  Supposed to be Written by Himself.
+
+       *       *       *       *       *
+
+NEW AND POPULAR WORKS.
+
+
+  +PICTORIAL FRENCH DICTIONARY,+
+
+Illustrated with Seven Hundred and Sixty Characteristic Engravings on
+Wood. A large 8vo volume, 12s. cloth.
+
+
+  Cheap Edition.
+  +THE PILGRIMS OF THE RHINE.+
+  By Sir E. LYTTON BULWER,
+
+Author of "PELHAM," "EUGENE ARAM," &c. With Twenty-seven Engravings,
+from Drawings by McClise, Roberts, &c. &c.
+
+In medium 8vo, uniform with Campbell, Rogers, &c. _Nearly ready._
+
+
+  +MEANS AND ENDS;+
+
+Or SELF-TRAINING, by MISS SEDGWICK, author of "HOPE LESLIE," &c. 18mo,
+3s. 6d. cloth.
+
+
+  +LACONICS;+
+  or the Best Words of the Best Authors.
+
+  Three volumes, embellished with Thirty small Portraits,
+  _New and very cheap Edition, price 8s., cloth._
+
+"There is a world of wit and wisdom in these three little volumes."
+--_Lit. Gaz._
+
+
+  +ILLUSTRATIONS OF THE BIBLE.+
+  From the Monuments of Egypt, by W. C. Taylor, LL.D.,
+
+Ninety-Three Engravings, price 6s. 6d., cloth.
+
+
+  +THE REDEEMER,+
+  A Poem,
+  By WILLIAM HOWORTH, author of the "CRY OF THE POOR."
+  Octavo, 8s., cloth.
+
+"We may venture to predict that this Poem is not doomed to sink
+unnoticed, but will be hailed with a very wide share of popularity, as
+soon as its quality is known by a religious public." --_Court Magazine_.
+
+       *       *       *       *       *
+
+  TILT'S MINIATURE CLASSICS.
+  A Choice Collection of the Works of the Best Authors, Complete,
+  +IN HANDSOME SATIN-WOOD BOOK-CASE,+
+  _With Glass Door, and Lock and Key._
+
+Each volume of this admirable series of Standard Works is printed on the
+finest paper, and is illustrated with an elegant Frontispiece. The
+binding is executed in a superior manner, very tastefully ornamented.
+
+  The series, bound in embossed cloth         L5 10s.
+  Ditto       ditto in silk                    8  0
+  Ditto             in morocco, very elegant  11  0
+
+  +THE BOOK-CASE ALONE, 24s.+
+
+Any work may be purchased separately. The prices per volume are:--
+
+  Ornamented cloth, gilt edges  1s. 6d.
+  Prettily bound in silk        2     0
+  Very handsome in Morocco      3     0
+
+_Those to which a star is prefixed, being much thicker than the others,
+are Sixpence per Volume extra._
+
+    BACON'S ESSAYS, Moral and Economical.
+    BEATTIE'S MINSTREL, a Poem.
+    CHANNING'S ESSAYS. 2 vols.
+    CHAPONE'S LETTERS ON THE MIND.
+    COLERIDGE'S ANCIENT MARINER, &c.
+    COTTIN'S ELIZABETH, OR THE EXILES OF SIBERIA.
+  * COWPER'S POEMS. 2 vols.
+    FALCONER'S SHIPWRECK.
+    FENELON'S REFLECTIONS AND THOUGHTS.
+  * GEMS OF ANECDOTE. Original and Selected.
+  * GEMS OF WIT AND HUMOUR.
+  * GEMS FROM AMERICAN POETS.
+  * GEMS OF AMERICAN WIT AND ANECDOTE.
+  * GEMS OF BRITISH POETS--Chaucer to Goldsmith.
+  * ---------------------- Falconer to Campbell.
+  * ---------------------- Living Authors.
+  * ---------------------- Sacred.
+    GILES'S GUIDE TO DOMESTIC HAPPINESS.
+  * GOLDSMITH'S VICAR OF WAKEFIELD.
+    GOLDSMITH'S ESSAYS.
+    GOLDSMITH'S POETICAL WORKS.
+    GRAY'S POETICAL WORKS.
+    GREGORY'S LEGACY TO HIS DAUGHTERS.
+  * HAMILTON'S COTTAGERS OF GLENBURNIE.
+  * HAMILTON'S LETTERS ON EDUCATION. 2 vols.
+    LAMB'S TALES FROM SHAKSPEARE. 2 vols.
+    ------ ROSAMUND GRAY, a Tale.
+  * IRVING'S ESSAYS AND SKETCHES.
+    JOHNSON'S RASSELAS, Prince of Abyssinia.
+    LEWIS'S TALES OF WONDER.
+    MASON'S TREATISE ON SELF KNOWLEDGE.
+    MILTON'S PARADISE LOST. 2 vols.
+  * MORE'S COELEBS IN SEARCH OF A WIFE. 2 vols.
+    MORE'S PRACTICAL PIETY. 2 vols.
+    PURE GOLD FROM THE RIVERS OF WISDOM.
+  * SACRED HARP.-- A Collection of Sacred Poetry.
+    ST. PIERRE'S PAUL AND VIRGINIA.
+    SCOTT'S BALLADS AND LYRICAL PIECES.
+  * SCOTT'S LADY OF THE LAKE, a Poem.
+    SCOTT'S LAY OF THE LAST MINSTREL.
+  * SCOTT'S MARMION, a Tale of Flodden Field.
+  * SHAKSPEARE'S WORKS. 8 vols., 53 Plates.
+  * GEMS FROM SHAKSPEARE.
+    THOMSON'S SEASONS.
+    TALBOT'S REFLECTIONS AND ESSAYS.
+    TOKEN OF AFFECTION.
+    ---- OF FRIENDSHIP.
+    ---- OF REMEMBRANCE.
+    WALTON'S COMPLETE ANGLER. 2 vols.
+    WARWICK'S SPARE MINUTES.
+    YOUNG'S NIGHT THOUGHTS. 2 vols.
+
+_Morocco Case, with Glass Door, holding Ten or Twelve Volumes, neatly
+ornamented, Price 6s._
+
+  As there are several imitations of this beautiful series,
+  it is necessary to specify
+
+  "TILT'S EDITION."
+
+
+  Also, Uniform In Size,
+  +SCOTT'S POETICAL WORKS,+
+  Comprising
+
+LADY OF THE LAKE, MARMION, LAY OF THE LAST MINSTREL, EVE OF ST. JOHN,
+GLENFINLAS, and other romantic Ballads; very tastefully bound in Three
+miniature Volumes,
+
+  With Illuminated Title-Pages.
+  Cloth, 7s. 6d.; silk, 9s.; morocco, 12s.
+
+       *       *       *       *       *
+
+  GEORGE CRUIKSHANK'S WORKS.
+
+
+  +THE COMIC ALMANACK+
+
+For Six Years. Neatly bound, in Two vols, 17s. Containing Seventy-two
+large Plates on steel and many hundred Woodcuts.
+
+*** Any year separately may be had, price 2s. 6d.
+
+
+  +THE LOVING BALLAD OF LORD BATEMAN,+
+  With Twelve Humorous Plates, neatly bound in cloth, Price 2s.
+
+
+  +MY SKETCH BOOK;+
+  Containing Two Hundred Groups. Cloth, 15s. plain; 21s. coloured.
+
+*** The Work may also be had in Numbers, each containing Four Sheets
+of Plates, 2s. 6d. plain; 3s. 6d. coloured. --Nine Numbers have
+appeared.
+
+
+  +MORE HINTS ON ETIQUETTE,+
+  With Humorous Cuts. 2s. 6d.
+
+
+  +THE COMIC ALPHABET:+
+  24 Plates. Done up on a novel and ingenious plan.
+  2s. 6d. plain; 4s. coloured.
+
+
+  +SCRAPS AND SKETCHES:+
+  In Four Parts.
+
+  +ILLUSTRATIONS OF PHRENOLOGY.+
+  +ILLUSTRATIONS OF TIME.+
+  8s. each, plain; 12s. coloured.
+
+
+  +DEMONOLOGY AND WITCHCRAFT;+
+  In Twelve Plates. 2s. sewed.
+
+
+  +ILLUSTRATIONS OF THE ENGLISH NOVELISTS;+
+  Containing Humorous Scenes from Humphrey Clinker,
+  Roderick Random, Peregrine Pickle, Tom Jones,
+  Joseph Andrews, Vicar of Wakefield, &c. &c.
+  Forty-one Plates, with Descriptive Extracts. 7s. cloth.
+
+
+  +THE BEE AND THE WASP;+
+  A Comic Tale. Four Plates, 1s.
+
+
+  +HOOD'S EPPING HUNT.+
+  Six Engravings, by G. CRUIKSHANK. New and Cheap Edition, price 1s. 6d.
+
+
+  +COWPER'S JOHN GILPIN;+
+  With Six Engravings. Price 1s.
+
+       *       *       *       *       *
+
+USEFUL WORKS.
+
+
+  In a handsome volume, foolscap 8vo, price 5s.,
+  +THE YEAR-BOOK OF FACTS, 1840.+
+
+Exhibiting the most important Discoveries and Improvements in Science
+and Art of the present Year, in
+
+  Mechanics.
+  Natural Philosophy.
+  Electricity.
+  Chemistry.
+  Zoology.
+  Botany.
+  Geology.
+  Mineralogy.
+  Astronomy.
+  Meteorology.
+  Geography.
+  etc. etc.
+
+  By the Editor of "The Arcana of Science."
+
+"To bring _Facts_ together, so as to enable us to grasp with new and
+greater generalisations." --_Professor Sedgwick_.
+
+  (_Will appear early in January._)
+
+
+  +GLOSSARY OF ARCHITECTURE;+
+
+Containing Explanations of the Terms used in Grecian, Roman, Italian,
+and Gothic Architecture. Exemplified by many hundred Woodcuts. Third
+edition, greatly enlarged.
+
+
+  Stuart's Athens.
+  +THE ANTIQUITIES OF ATHENS,+
+  and Other Monuments of Greece;
+
+Abridged from the great work of STUART and REVETT, with accurately
+reduced copies of Seventy of the Plates, forming a valuable Introduction
+to Grecian Architecture, price 10s. 6d. bound in cloth.
+
+
+  +ETIQUETTE FOR THE LADIES;+
+
+Eighty Maxims on Dress, Manners, and Accomplishments. Seventeenth
+Edition. Price 1s. cloth, lettered in gold.
+
+
+  +ETIQUETTE FOR GENTLEMEN;+
+
+With Hints on the Art of Conversation. Tenth Edition. Price 1s. cloth,
+lettered.
+
+
+  +THE HAND-BOOK OF PHRENOLOGY;+
+
+Familiarly explaining its Principles, with a Map of the Organs, and
+Instructions on the best mode of Study. Price 1s. cloth.
+
+
+  +700 DOMESTIC HINTS+
+  in Every Branch of Family Management.
+
+By A LADY. Foolscap 8vo, 2s. 6d. cloth.
+
+
+  +A TREATISE ON DIET AND REGIMEN;+
+
+Intended as a Text Book for the Invalid and Dyspeptic. By W. H.
+ROBERTSON, M.D. New edition, much enlarged and improved, 4s. 6d. cloth.
+
+"As a family book. Dr. Robertson's 'Treatise' is unequalled in the
+language."
+
+       *       *       *       *       *
+
+  Valuable Books,
+  AT GREATLY REDUCED PRICES.
+
+
+  +WINKLES'S BRITISH CATHEDRALS.+
+  Architectural & Picturesque Illustrations
+  of the Cathedral Churches of England and Wales,
+
+From Drawings by ROBERT GARLAND, Architect, with descriptions by THOMAS
+MOULE; containing One Hundred and Twenty Plates, beautifully engraved by
+B. WINKLES. In two handsome volumes, imperial 8vo, very neatly bound in
+cloth.
+
+  Originally published at 2l. 2s.; reduced to 24s.
+  Royal 4to, India Proofs (very few left), published at 4l. 4s.;
+  reduced to 48s.
+
+
+  +WINKLES'S FRENCH CATHEDRALS.+
+  Illustrations of the Principal Cathedrals of France,
+
+From Drawings by R. GARLAND, with Historical and Descriptive accounts,
+containing Fifty large 4to Plates, engraved by WINKLES and others. In a
+handsome volume, bound in cloth.
+
+  Originally published at 1l. 10s.; reduced to 21s.
+  Royal 4to India Proofs, published at 3l.; reduced to 42s.
+
+
+  +MUSEUM OF PAINTING AND SCULPTURE;+
+
+A collection of the principal Pictures, Statues, and Bas Reliefs in the
+Public and Private Galleries of Europe, drawn and engraved by REVEIL,
+with Critical and Historical Notices. This splendid work, which contains
+engravings of all the chief works in the Italian, German, Dutch, French,
+and English Schools, includes TWELVE HUNDRED PLATES, and is an
+indispensable _vade mecum_ to the Artist or Collector. In seventeen
+handsome volumes small 8vo, neatly bound, with gilt tops.
+
+  Originally published at 17l. 17s.; reduced to 6l. 6s.
+
+
+  +THE ENGLISH SCHOOL;+
+
+A series of Engravings of the most admired works in Painting and
+Sculpture, executed by British Artists from the days of HOGARTH; with
+descriptive and explanatory Notices, by G. HAMILTON. In four vols, small
+8vo, containing nearly THREE HUNDRED PLATES, neatly bound, with gilt
+tops.
+
+  Originally published at 3l. 12s.; reduced to 1l. 16s.
+
+
+  +WATER-COLOUR GALLERY;+
+
+Containing large and highly-finished Engravings of the most
+distinguished Painters in Water-colours; including PROUT, STEPHANOFF,
+COX, DEWINT, HARDING, CATTERMOLE, FIELDING, &c. &c. Eighteen Plates,
+imperial 4to, cloth.
+
+  Originally published at 3l. 3s.; reduced to 21s.
+
+
+  +ILLUSTRATIONS OF SCOTT'S WORKS.+
+
+  1.--+Landscape Illustrations of the Waverley Novels.+
+
+Eighty fine Views of real Scenes described in these popular Tales,
+engraved by FINDEN, &c., from Drawings by ROBERTS, HARDING, STANFIELD,
+&c. &c. Two handsome volumes super-royal 8vo, originally published at
+4l. 4s.; or India Proofs, royal 4to, 7l. 7s.
+
+  Now reduced to 28s. in 8vo, and 3l. 3s. in 4to.
+
+  2.--+Portrait Illustrations of the Same.+
+
+Forty Plates from Drawings by PARRIS, INSKIPP, LANDSEER, &c. Super-royal
+8vo, published at 1l. 13s.; India Proofs, royal 4to, 3l.
+
+  Now reduced to 14s. in 8vo, and 31s. 6d. in 4to.
+
+  3.--+Landscape Illustrations of the Poems.+
+
+Forty Plates from Drawings by TURNER, CALCOTT, FIELDING, &c; with ample
+descriptive Polices. In a handsome volume super-royal 8vo, published at
+30s.; India Proofs royal 4to, 2l. 8s.
+
+  Now reduced to 14s. in 8vo, and 31s. 6d. in 4to.
+
+*** The complete Series of these valuable Illustrations are kept,
+_very handsomely and appropriately bound in morocco, price only Four
+Guineas_; forming one of the cheapest and most elegant books ever
+offered.
+
+
+  +LIBRARY OF ANECDOTE;+
+
+Containing Remarkable Sayings, Efforts of Wit and Humour, Eccentricities
+of Conduct, Private Reminiscences of Celebrated Persons, &c. &c. With
+five Engravings, small 8vo, cloth.
+
+  Published at 5s.; reduced to 2s. 6d.
+
+
+  +MARTIN'S ILLUSTRATIONS OF THE BIBLE.+
+
+Consisting of Twenty large and magnificent Plates, designed and engraved
+by JOHN MARTIN, author of "Belshazzar's Feast," &c. In a large folio
+volume, cloth.
+
+  Originally published at 10l. 10s.; reduced to 3l. 3s.
+  Proof impressions (very few left), published at 21s.;
+  reduced to 4s. 4d.
+
+
+  +MILTON'S PARADISE LOST;+
+  Illustrated by John Martin.
+
+Imperial 8vo. Twenty large mezzotinto Plates, published at Six Guineas,
+reduced to 2l. 2s. cloth; 2l. 15s. very neat, in morocco.
+
+
+  +SINGER'S EDITION OF SHAKSPEARE,+
+
+Beautifully printed by Whittingham, with a Life of the Poet, and
+illustrative Notes. Embellished with many Engravings by STOTHARD,
+HARVEY, &c. In ten vols. small 8vo, neatly bound in cloth, gilt.
+
+  Originally published at 4l. 4s.; reduced to 2l.
+
+
+  +WILD'S ENGLISH CATHEDRALS;+
+
+Twelve select Examples of the Ecclesiastical Architecture of the Middle
+Ages, beautifully coloured after the Original Drawings by Charles Wild,
+Esq. Each Plate is mounted on Tinted Card-board, in imitation of the
+original.
+
+  Originally published at 12l. 12s.; reduced to 5l. 5s.
+
+
+  +LEKEUX'S
+  ILLUSTRATIONS OF NATURAL HISTORY;+
+
+Containing One Hundred and Fourteen Engravings, with descriptive
+accounts of the most popular and interesting Genera and Species of the
+Animal World, drawn by LANDSEER, LEKEUX, &c. &c. Large 8vo, bound in
+cloth.
+
+  Originally published at 1l. 1s.; reduced to 9s. 6d.
+
+
+  +PUCKLE'S CLUB;
+  OR, A GREY CAP FOR A GREEN HEAD.+
+
+  Many first-rate Wood Engravings, cloth.
+  Published at 7s. 6d.; reduced to 3s. 6d.
+
+*** This very curious book is illustrated with numerous and
+characteristic designs by the celebrated Thurston. It was published
+originally in 4to, at One Guinea. --_See Jackson on Wood Engraving._
+
+
+  +ADDISON'S ESSAYS;+
+  from The Spectator.
+
+  Two neat volumes, cloth. Published at 8s.; reduced to 4s. 6d.
+
+
+  +CARICATURE SCRAP-BOOK,+
+  by H. Heath.
+
+Containing many Hundred laughable and amusing Groups, illustrative of
+Life and Character, on Fifty sheets imperial 4to, neatly and strongly
+bound; forming a never-failing source of amusement for Visitors.
+
+  Published at 28s.; reduced to 18s.
+
+
+  CHARLES TILT, 86, FLEET STREET.
+
+  Bradbury & Evans,]  [Printers, Whitefriars
+
+
+       *       *       *       *       *
+           *       *       *       *
+       *       *       *       *       *
+
+
+Errors and Inconsistencies (noted by transcriber):
+
+_General Notes and Non-Errors:_
+
+The _Eton Grammar_ began in the first half of the 16th century as the
+_Brevissima Institutio_, later _Rudimenta Grammatices_, by William Lily,
+Lilly or Lilye (d. 1522). A 1758 revision acquired the name _Eton Latin
+Grammar_. The headers _Propria quae maribus_ and _As in Praesenti_ are
+from this book, as is the line "Cum multis aliis quae nunc perscribere
+longum est".
+
+  If than _is_, _er_, and _or_, it hath many more enders
+    [_i.e. "many more than..."_]
+  qui, who or what, and cujas, of what country.
+    [_uncommon word: not a misprint for "cujus"_]
+  always recals this beautiful line of Ovid's  [_archaic spelling_]
+  some well-disposed sailor in a melodrame  [_archaic spelling_]
+  Malo a cive spoliari quam ab hoste venire.
+    [_that is, "vEnire" with long "e"_]
+  Having yeaned, she left the hope of the flock  [_archaic word_]
+  OF THE QUANTITY OF THE FIRST SYLLABLE.  [_"first" = non-final_]
+
+  Ingens, great, [A]jax, the name of a hero
+    [_Both syllables in "Ajax" are long. Here, the "j" is to be
+    pronounced as a "double letter" (technically an affricate) as in
+    English._]
+  alter{i}us has always a short _i_ and alIus a long _i_
+    [_The "i" in "alterius" is conventionally shortened in poetry to
+    accommodate the metre._]
+
+
+_Introduction_
+
+  it shall be candid.  [is shall]
+  writing in conformity with  [comformity]
+  And more especially is praise due  [epecially]
+
+_Grammar_
+
+  ... venenum, poison; are examples of substantives  [posion]
+  The butcher lays thee low,  [the]
+  Thus the Comic Latin Grammar is lepidissimus, funniest  [lipidissimus]
+  it has not _different persons_, as taedet, it irketh  [taedat]
+  the magging or talkative mood
+    [_probably error for "nagging"_]
+  Amavissem, I should have loved  [Amivissem]
+  Amandum, to love, if you 're doom'd, have a care.  [you 'r]
+  Ab, ad, ante, &c. prepositions.
+    [_printed as shown: missing "are"?_]
+  From neco, necui, and mico, word
+    [_printed as shown: missing "a" ("a word")?_]
+  And (which perhaps is the most pursuasive argument of all)
+    [_spelling unchanged_]
+  illum librum quae Latina Grammatices et Comica dicitur
+    [_printed as shown: superfluous "et"?_]
+  THE CONSTRUCTION OF NOUNS ADJECTIVE.  [ADJECTVE]
+  it was suggested by the well-known quality  [well-know]
+  the discoveries of their countryman Franklin  [countrymen]
+  Arbor gummifera, alta mille et quingentis passibus  [gumnifera]
+  Adjectives and substantives govern an ablative case  [subsantives]
+  Oft in slumber's deep recesses,  [slumbers]
+  By so much the ugliest, by how much the wisest  [must]
+  whereas an imposition is a task  [as imposition]
+  each other's charms and accomplishments  [others]
+  the pledges were placed  [where]
+  Instar montis equum divina Palladis arte  [Paladis]
+  they build a horse as big as a mountain.  [house]
+
+  nAsOqu{e} cruEntO  [_breve printed over "u" in "nasoque"_]
+  ClAv{i}g{e}r [A]lcIdEs, mAgnUm J{o}v{i}s IncrEmEntUm.
+    [_missing breve on "i" in "claviger"]
+  REs Est InfElIx, plEn{a}qu{e} frAud{i}s {a}mOr
+    [_missing macron on "e" in "infelix"]
+  In Latin mark, that every dipthong
+    [_normally spelled "diphthong", but may be intentional
+    for rhyme with "whip-thong"_]
+  And so are n's that do delight {i}n
+    [_breve printed over "e" in "delight" instead of "i" in "in"_]
+  Short in the final _er_ we state 'em,  [state em,]
+  Long unto all but asses' ears,  [asses ears,]
+  And qu{i}s, and b{i}s, which last is no noun
+    [_breve printed over "u" in "quis"_]
+
+_List of Etchings_
+
+Here and in the Advertising section, a facing pair of pages was damaged.
+Missing text was supplied from elsewhere in the book. The missing parts
+are shown in {braces}.
+
+  2. Schoolmaster beating a drum, and boys singing in ch{orus  22}
+  3. Ingenuas pugni didicisse fideliter artes (fight)  {52}
+
+  Coe, Printer, 27, Old Change, St. {Paul's.}
+
+_Advertising_
+
+  {MAR}MION;
+  {A TALE OF FL}ODDEN FIELD.
+  {En}gravings.
+
+  ... FUGITIVE POETRY OF THE NINETEENTH CENTURY.
+    [NINETEETH]
+  By Sir E. LYTTON BULWER [_text unchanged_]
+  to grasp with new and gr{eater} generalisations
+    [_damaged text reconstructed_]
+
+_Minor Errors: Punctuation, Mechanics_
+
+  the laughter-loving spirit of his age.  [age,]
+  the question, whose, or whereof; as, Whose breeches?  [as Whose]
+  --Third, is. Vulpes, a fox.  [is, Vulpes]
+  or tarnation 'cute  [tarnation' cute]
+  Docillimus, most docile.-- Man Friday.  [docile. Man]
+  magis, _more_, and maxime, _most_.  [_most_,]
+  Amabo, I shall or will love. Inebriabor  [will love Inebriabor]
+  ... Thou dancest,  [Thou dancest.]
+  ... Patricii, gentlemen,  [gentlemen.]
+  ... Doctrinam, learning,  [learning.]
+  Moneo, mones, monet,  [monet.]
+  _Plu._ Regimus, regitis, re_gunt_
+    [_italicized as shown: error for reg_unt_?_]
+  Heu! Lack-a-day!-- Hem! Brute, Hollo! Brutus.
+    [Lack-a-day! Hem!]
+  "Sir," said the great Dr. Johnson  [_invisible . after "Dr"_]
+  October an instance supplies  [_e in "supplies" invisible_]
+  +SYNTAXIS,+ _or the Construction of Grammar._  [+SYNTAXIS.+]
+  quod, or ut, being left out, as  [out as,]
+  the natural history of school-boys  [_anomalous hyphen unchanged_]
+  suus, his own (Cocknice his'n),  [_close parenthesis missing_]
+  trium, of three, &c.,  [&c.]
+  Of these juvo, laedo, delecto, and some others  [laedo delecto]
+  Puellae, aliae aliis praelucere student  [_comma in original_]
+  the verb est being added.  [added,]
+  "wisdom" they say "is in the _wig_."  [_final " missing_]
+  "deep _in_ the windingths _of_ a whale,"  [_open quote missing_]
+  guilty of a great _waste_-- of time;  [of time;"]
+  Ut, for, postquam, after that    [postquam after that]
+  quanquam, although, utpote, forasmuch as  [although utpote]
+  Isaaculus trans maria deportatus est:  [_final : missing_]
+  O alaudas! Oh larks!  [O alaudas, Oh larks!]
+  in a similar manner?  [manner.]
+  Synal[oe]pha, Ecthlipsis, Synaeresis, Diaeresis  [Ecthlipsis Synaeresis]
+  dandies and theatrical artists,  [artists.]
+  Ingens, great, [A]jax, the name of a hero  [great [A]jax]
+  {I}n, tam{e}n, attam{e}n, and {a}n  [_breve printed over "n" in "In"_]
+  Ex{i}n' and sub{i}n', de{i}n', pro{i}n'  [pro{i}'n]
+  Because its genitive's SamnItis,  [SamnItis.]
+
+
+
+
+
+End of Project Gutenberg's The Comic Latin Grammar, by Percival Leigh
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE COMIC LATIN GRAMMAR ***
+
+***** This file should be named 29456.txt or 29456.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/9/4/5/29456/
+
+Produced by Louise Hope
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/29456.zip b/29456.zip
new file mode 100644
index 0000000..b5deb05
--- /dev/null
+++ b/29456.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..698d527
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #29456 (https://www.gutenberg.org/ebooks/29456)
author	Roger Frank <rfrank@pglaf.org>	2025-10-15 02:47:35 -0700
committer	Roger Frank <rfrank@pglaf.org>	2025-10-15 02:47:35 -0700
commit	f921b91c71f9aae560705df0be815849455b5f2d (patch)
tree	bdd80973e7b94f69315302917b8ac303b4480c47