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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 02:47:35 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 02:47:35 -0700 |
| commit | f921b91c71f9aae560705df0be815849455b5f2d (patch) | |
| tree | bdd80973e7b94f69315302917b8ac303b4480c47 /29456-h | |
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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 [letters with macron or “long” mark]<br> +ă ĕ ĭ ŏ ŭ y̆ [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—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, 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 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—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—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”—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 <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—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</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—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 +<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—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.</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—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 <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 great many <i>sovereigns</i>) and has become, as it were, +a mirror, which will reflect to all posterity the laughter-loving +spirit of his age<ins class = "correction" title = "text has ,">. </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—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 +<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—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 <i>odd</i>, 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 +<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 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:—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 +<span class = "pagenum">14</span> +our juvenile friends, let us proceed to business, or pleasure, or +both:—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> <br> </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"> </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—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.</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:—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.</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,—being between +twenty and thirty.</p> + +<p>Six of these letters are called what Dutchmen, speaking English, call +fowls—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 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>—c.” —<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—i.e. a 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—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:</p> + +<p>1. Noun, Pronoun, Verb, Participle—declined.</p> + +<p>2. Adverb, Preposition, Conjunction, Interjection—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,—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.</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—brassica, a cabbage; +sartor, a 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—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 <i>boar</i>; pinguis puer, a fat boy; +macer puer, a 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 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—as later, a brick; faba, +a bean; tuba, a trump (or trumpet); flamma, a blaze; +æthiops, a nigger (or negro); cornix, a crow.</p> + +<p>The plural speaks of more than one—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—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—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—I 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—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"> </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 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.</p> + +<p>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.</p> + +<p>The ablative case is known by certain prepositions, expressed or +understood; as Deprensus magistro—caught out by the master. Coram +<i>rostro</i>—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—in a fix. Cum indigenâ—with a +native. Ab arbore—from a tree. A rictu—by a grin. Adipe +lubricior—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, &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.</p> + +<p class = "center"> +Masc. hic. Fem. hæc. Neut. hoc, &c.</p> + +<div class = "verse"> +<p>The nominative singular’s hic, hæc, and hoc,—</p> +<p>Which to learn, has cost school boys full many a knock;</p> +<p>The genitive ’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—caret—no very great shakes;</p> +<p>The ablative case maketh hôc, hac, and hôc,</p> +<p>A cock is a fowl—but a fowl ’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 ’s hos, has, and hæc in all grammars,</p> +<p>Herodotus told some American crammers;</p> +<p>The vocative here also—caret— ’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—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 +<i>uncommon</i>. 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 +<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—Billy +Taylor.</p> + +<p>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.</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 sparrow, hæc aquila, an +eagle,—cock and +<span class = "pagenum">28</span> +hen. A 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. —Second, i. Puer, a boy. Stultus, a fool. +Tergum, a back. —Third, is<ins class = "correction" title = +"text has ,">. </ins>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.</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 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—as a +pacha of three tails would be, if +<span class = "pagenum">30</span> +he were to make a proposal to an English heiress—as bonus, +<i>good</i>—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,—ah!</p> +<p>Bonorum, bonarum, bonorum,</p> +<p>To put lots of Tomata sauce o’er ’em</p> +<p>Bonis—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,—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—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—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 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—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 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,—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—Dives, divitia.</p> +</div> + +<hr class = "micro"> + +<h4>COMPARISONS OF ADJECTIVES.</h4> + +<p>Comparisons are odious—</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—funnier, or more funny. —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 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 +<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"> +&c. &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.—Madlle. Taglioni.</p> +<p>Agilior, more nimble.—Jim Crow.</p> +<p>Agillimus, most nimble.—Mr. Wieland.</p> +<p>Docilis, docile.—Learned Pig.</p> +<p>Docilior, more docile.—Ourang-outang.</p> +<p>Docillimus, most docile.<ins class = "correction" title = "dash missing">—</ins>Man Friday.</p> +<span class = "pagenum">35</span> +<p>Gracilis, slender.—A whipping post.</p> +<p>Gracilior, more slender.—A fashionable waist.</p> +<p>Gracillimus, most slender.—A dustman’s leg.</p> +<p class = "center"> +&c. &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 ,">. </ins></p> + +<div class = "grammar"> +<p>Pius, pious.—Dr. Cantwell.</p> +<p>Magis pius, more pious.—Mr. Maw-worm.</p> +<p>Maximè pius, most pious.—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 <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—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—o! e—a! e—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 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 short time since, at the St. James’s Theatre.</p> + +<p>The active ending in <i>o</i>—as amo, I love.</p> + +<p>The passive ending in <i>or</i>—as amor, I am loved.</p> + +<p>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.</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 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 <i>currere eum +per</i>,” “Falstaff wished <i>to run him through</i>,” 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 <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 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,”—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 crack, but we cannot say, Crepor, I 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—as +Loquor, I 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 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 verb +personal resembles a mixed group of old maids and young maids, because +it has <i>different persons</i>, as Ego irrideo, I 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—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 <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—as thus, Veni huc! Come hither! Parce mihi! +Spare me! The imperative mood is also known by the sign +<i>let</i>—as in the well-known verse in the song Dulce +Domum—</p> + +<p class = "verse">“Eja! nunc eamus.”</p> + +<p>“Hurrah! now let us be off”—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—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—as, +Amem, I may love (when I leave school). <ins class = "correction" +title = "text reads ‘Amivissem’">Amavissem</ins>, I 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—as +Cochleare eram cum amarem, I was a <i>spoon</i> when +<span class = "pagenum">45</span> +I loved—Nescio qualis sim hoc ipso tempore, I 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—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>—Believe me if all those endearing young charms. +—<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— +<i>Act.</i> I love, or am loving. Amo, I am loving. +—<i>Pass.</i> I am made drunk, or am drunk. Inebrior, I 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. —Examp. I did love or was loving. Amabam, I was loving. +I was made drunk an hour ago. Inebriabar, I was made +drunk.</p> + +<p>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.</p> + +<p>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.</p> + +<p>5. The future tense relates to a thing to be done hereafter, as, +Amabo, I shall or will love<ins class = "correction" title = ". missing">. </ins>Inebriabor, I shall get drunk—say to-morrow.</p> + +<hr class = "micro"> + +<h4>OF NUMBERS AND PERSONS.</h4> + +<p>Verbs have two numbers. No. 1, Singular, No. 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.—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—</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 .">, </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—or a +Comic Academy.</p> + +<table class = "grammar" summary = "table of inflections"> +<tr> +<td width = "20%"> </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,—suppose we have a laugh as +well.”</p> + +<p><i>Note</i>—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”—<i>Ille</i>, <i>he</i>,—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 asine, O thou +donkey; or O asini, O 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—itself, “and all which it +inherit” in that glorious state of confusion so admirably described by +the poet Ovid—</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,—or not to be—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. 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. 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. Moneo.</td> +</tr> +<tr> +<td><i>Sing.</i></td> +<td>Moneo, mones, monet<ins class = "correction" title = "text has .">, +</ins><br> +Reid & 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. 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 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"> </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—I HEAR.</p> +</div> + +<span class = "pagenum">53</span> + +<table class = "grammar" summary = "table of inflections"> +<tr> +<td class = "center" colspan = "3"> +Fourth Conjugation. 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!—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, &c.</td> +</tr> +</table> + + +<h5>Verbs Irregular—</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, &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 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>—Bonnets of Blue.</h6> + +<div class = "verse"> +<p>There ’s one of the present,—and then,</p> +<p class = "indent"> +There ’s one of the future in <i>rus</i>;</p> +<p>Of the tense preterperfect a third,—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—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— +<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—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—a top, a 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, &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—</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, &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—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!—Heu! Lack-a-day!<ins class = "correction" title = +"-- missing">—</ins>Hem! Brute, Hollo! Brutus.—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—</p> + +<p>Who? or what?—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">. </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—</p> + +<h6><i>Air.</i>—“Here ’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 ’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—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 ’s a bore, &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, &c. OF VERBS.</h4> + +<h5 class = "ital">Otherwise the “As in Præsenti.”</h5> + +<div class = "verse"> +<p>As in Præsenti—Preterperfect—avi,</p> +<p>Oh! send me well done, lean, and lots of gravy,</p> +<p>Save lavo, lavi, nexo, nexui.</p> +<p>Ah! me—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—</p> +<p>So domo, tono, domui, tonui make.</p> +<p>And sono, sonui.—Lead me to the stake,</p> +<p>I mean the beef-<i>stake</i>—crepo, crepui too,</p> +<p>Which means to <i>crack</i> (as roasted chestnuts do,)</p> +<p>Then veto, vetui makes—<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 ’s seedy?—</p> +<p>Sto to form steti has a predilection;</p> +<p>Well—let it if it likes, I’ve no objection.</p> +<p class = "indent2"> +&c. &c. &c.</p> +</div> + +<hr class = "micro"> + +<h4> SYNTAXIS<ins class = "correction" title = "text has .">, </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>—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—</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"> </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—</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—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—</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"> </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”—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. —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 pedagogue +now and then discovers a <i>pig-tail</i> appended to his coat +collar—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 —we mean the master’s stool. +A 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, &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"> </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—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—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. 13. Hok. Pok. Wonk-Fum. viii. 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 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 ’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—</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 comrade; commilito, a fellow soldier, &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> 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—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>—</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—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—we do not mean +painters—though we certainly allude to <i>brothers of the +brush</i>—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—a 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.—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—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—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—</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, &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—if not to love, at least to pity.</p> + +<div class = "grammar"> +<p>Parsque tui lateat corpore clausa meo. —<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 ’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,—ipsius, of himself, solius, of +him alone, unius, of one, duorum, of two, trium, of three, <ins class = +"correction" title = ", missing">&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—</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 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, +<span class = "pagenum">94</span> +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</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. —<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!—let us hear the</p> + +<h5>Coachman’s Lament.</h5> + +<h6><i>Air.</i>—“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—</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> ’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> ’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—to suck eggs.</p> + +<p>Humanum est inebriari.</p> + +<p>It is a human frailty—or an amiable weakness—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—</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?— +<span class = "pagenum">99</span> +but we cannot go on—Oh! Matilda—we might have been your +<i>slave</i>—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—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—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,”—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 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,—</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 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—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—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. <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”,—“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>,—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>, &c. &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. +—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> </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. <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>. <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-​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 ,">. </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 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.</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—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, &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—</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 was rusticated. Domum +missus eram, I was sent home.</p> + +<p>Going <i>too fast</i> at Cambridge sometimes necessitates, in two +senses, a 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>—of affairs, by a good deal of <i>policy</i>; perhaps +the <i>best</i> they could adopt—a 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—</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—No—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—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—</p> +</div> + +<p>When they can afford it.</p> + +<p>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—</p> + +<div class = "grammar"> +<p>“Nihil me pœnitet hujus nasi”—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—</p> + +<div class = "verse"> +<p class = "indent2"> 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—</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—</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—</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—</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—</p> + +<div class = "grammar"> +<p>En togam squamosam!</p> + +<p>Look at his scaly toga!</p> + +<p>Ecce caudam! 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—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"> </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”—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—</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—</p> + +<div class = "grammar"> +<p>Plure aliter. More t’other.</p> + +<p>Multo ante. Much before.</p> + +<p>Paulo post. 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>—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—</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>” —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 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—</p> + +<div class = "grammar"> +<p>Nihil refert fecerisne an persuaseris:</p> + +<p>It matters nothing whether you have done it or persuaded to +it—</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—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—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—</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—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—Isaaculus trans maria deportatus est<ins class += "correction" title = ": missing">: </ins></p> + +<p>About the same time—Ikey was transported beyond the seas.</p> +</div> + +<p>We say <i>beyond the seas</i>, lest it should be questioned whether +Mr. 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: 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 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! O alaudas<ins class = "correction" title = "text has ,">! </ins>Oh larks! Oh meum! Oh my! O 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—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—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"> </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;—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—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—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—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—the last as often as an +Irishman is—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—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 short time thus; as pĭlŭlă, +a 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 little pig.</p> + +<p>Scanning is measuring a verse as you are measured by your +tailor—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—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—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—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 .">, </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 short syllable is made long at the end of a word, as</p> + +<div class = "grammar"> +<p>Pēctŏrĭbūs ĭnhĭāns—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—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—</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—took a boat and went to Philippi.</p> +<p>Trumpeter unus erat qui coatum scarlet habebat,</p> +<p>Stormum surgebat, et boatum overset–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—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"> </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;—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. L. 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—as cĕcĭdī from +cădŏ, &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—</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—’tis of no use to resist—so here goes—</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—</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—</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—I mean, form ends of feet</p> +<p>As long—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—</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—</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—</p> +<p>To wit—(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—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—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”—</p> +<p>As vidĕn’? mĕn’? and audĭn?—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>—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,—take tantō,—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—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—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—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—five—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,—for example—Pallăs, Arcăs—</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,)—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,—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—</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—as honōs dominōs.</p> +<span class = "pagenum">162</span> +<p>The Greek omicron ’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—</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—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 +<span class = "pagenum">163</span> +monumentum ære perennius,” I 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—and we +would fain hope that that something does not consist in +<i>hardness</i>.</p> + +<p>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.</p> + +<p>Nothing, then, remains for us now to do, but to kick up our hat and +cry</p> + +<h6>“ALL OVER.”</h6> + +<p> </p> + +<h5 class = "extended">FINIS.</h5> + +<p> </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"> </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, +&c.</span></h3> + +<p class = "double"> </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. 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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. E. Chalon</span>, <span class = +"smallcaps">R. A. Stephanoff</span>, <span class = +"smallcaps">Bostock</span>, <span class = "smallcaps">Meadows</span>, +&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>, &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. 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.” —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>— +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. 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, &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"> </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"> </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>,” &c. With Twenty-seven Engravings, +from Drawings by McClise, Roberts, &c. &c.</p> + +<p class = "center"> +In medium 8vo, uniform with Campbell, Rogers, &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>,” &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.” +—<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.” —<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"> </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> </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> </td> +<td class = "number">8</td> +<td> 0</td> +</tr> +<tr> +<td>Ditto</td> +<td></td> +<td>in morocco, very elegant</td> +<td> </td> +<td class = "number">11</td> +<td> 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:—</p> + +<table class = "nospace"> +<tr> +<td>Ornamented cloth, gilt edges</td> +<td> </td> +<td>1<i>s.</i></td> +<td>6<i>d.</i></td> +</tr> +<tr> +<td>Prettily bound in silk</td> +<td> </td> +<td>2</td> +<td>0</td> +</tr> +<tr> +<td>Very handsome in Morocco</td> +<td> </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, &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—Chaucer to Goldsmith.</td> +</tr> +<tr> +<td>*</td> +<td><span class = "invisible">GEMS OF BRITISH +POETS</span>—Falconer to Campbell.</td> +</tr> +<tr> +<td>*</td> +<td><span class = "invisible">GEMS OF BRITISH POETS</span>—Living +Authors.</td> +</tr> +<tr> +<td>*</td> +<td><span class = "invisible">GEMS OF BRITISH +POETS</span>—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.—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 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"> </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. +—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, &c. +&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"> </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.” —<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. 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"> </p> + +<h4>WINKLES’S BRITISH CATHEDRALS.</h4> + +<h5 class = "smallcaps">Architectural & Picturesque Illustrations of +the Cathedral Churches of England and 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>, &c. &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.—<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>, &c., from +Drawings by <span class = "smallcaps">Roberts</span>, <span class = +"smallcaps">Harding</span>, <span class = "smallcaps">Stanfield</span>, +&c. &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> + </p> + +<p class = "center"> +2.—<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>, &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> + </p> + +<p class = "center"> +3.—<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>, &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> + </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, +&c. &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,” &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>, +&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>, &c. &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. —<i>See 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 & Evans,]</td> +<td width = "33%"> </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. 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