pillaged ?-what region drained with taxes ?-whose life have I unjustly taken, or estates coveted or robbed ?-whose honour have I wantonly assailed ?-whose rights, though of the weakest and poorest, have I trenched upon ? I dwell, where I would ever dwell, in the hearts of my people. It is written in your faces, that I reign not more over you than within you. The foundation of my throne is not more power than love. How shall I know thee in the sphere which keeps The disembodied spirits of the dead, For I shall feel the sting of ceaseless pain, Will not thy own meek heart demand me there? That heart whose fondest throbs to me were given ? Shall it be banished from thy tongue in heaven? In meadows fanned by heaven's life-breathing wind, The love that lived through all the stormy past, A happier lot than mine, and larger light, And lovedst all, and renderedst good for ill. Both Inflections, in connection. Rule 1.-"Negation opposed to affirmation." It is not a parchment of pédigree,-it is not a name derived from the ashes of dead men, that make the only charter of a king. Englishmen were but slàves, if, in giving crown and sceptre to a mortal like ourselves, we ask not, in return, the kingly virtues. The true enjoyments of a reasonable being do not consist in unbounded indulgence, or luxurious éase, in the tumult of passions, the languor of indolence, or the flutter of light amusements. Yielding to immoral pleasures corrupts the mind; living to animal and trifling ozes, debases it; both, in their degree, disqualify it for genuine good, and consign it over to wretchedness. What constitutes a state ? Not high-raised battlements, or laboured mound, Not cities proud, with spires and túrrets crowned, Where, laughing at the storm, proud návies ride; Where low-browed baseness wafts perfume to príde ! Men who their dúties know, But know their rights, and, knowing, dare maintain. Note. "Concession and unequal antithesis." The clouds of adversity may darken over the Christian's path; but he can look up with filial trust to the guardian care of a beneficent Father. I admit that the Greeks excelled in acuteness and versatility of mind. But, in the firm and manly traits of the Roman character, I sce something more nòble, more worthy of admiration. We war against the leaders of evil-not against the helpless tools: we war against our oppressors,-not against our misguided brethren. The penultimate inflection falls, when a sentence ends with the rising slide. Still, still, for ever Better, though each man's life-blood were a river, And moving, as a sick man in his sleep, Exception." Emphatic negation." I'll keep them all; He shall not have a Scot of them; No, if a Scot would save his soul, he shall not. Do not descend to your graves with the disgraceful censure, that you suffered the liberties of your country to be taken away, and that you were mutes as well as cowards. Come forward, like mèn; protest against this atrocious attempt. I am not sounding the trumpet of war. There is no man who more sincerely deprecates its calamities than I do. Rest assured that, in any case, we shall not be willing to rank last in this generous contest. You may depend on us for whatever heart or hand can dò, in so noble a cause. I will cheerfully concedo every reasonable demand, for the sake of peace. But I will not submit to dictation. Rule 2.-" Question and answer." Do you think these yells of hostility will be forgotten? Do you suppose their echo will not reach the plains of my injured and insulted country, that they will not be whispered in her green valleys, and heard from her lofty hills? Oh! they will be heard there; yès, and they will not be forgotten. I will say, what have any classes of you, in Ireland, to hope from the French ? Is it your property you wish to preserve ?-Look to the example of Holland; and see how that nation has preserved its property by an alliance with the French! Is it independence you court ?-Look to the example of unhappy Switzerland: see to what a state of servile abasement that once manly territory has fallen, under Franco! Is it to the establishment of Catholicity that your hopes are directed ? The conduct of the First Consul, in subverting the power and authority of the Pope, and cultivating the friendship of the Mussulman in Egypt, under a boast of that subversion, proves the fallacy of such a reliance. Is it civil liberty you require? Look to France itself, crouching under despotism, and groaning beneath a system of slavery, unparalleled by whatever has disgraced or insulted any nation. Shall I be left forgotten, in the dust, Is it for this fair Virtue oft must strive With disappointment, pénury, and pain? No Heaven's immortal spring shall yet arrive, And man's majestic beauty bloom again, Bright through the eternal year of Love's triumphant rèign. Rule 3.-" Disjunctive 'Or.'" Will you rise like men, and firmly assert your rights, or will you tamely submit to be trampled on ? Did the Romans, in their boasted introduction of civilisation, act from a principle of humane interest in the welfare of the world? Or did they not rather proceed on the greedy and selfish policy of aggrandising their own nation, and extending its dominion? Do virtuous hábits, a high standard of morálity, proficiency in the arts and embellishments of life, depend upon physical formation, or the latitude in which we are placed? Do they not depend upon the civil and religious institutions which distinguish the country? The remaining rules on "inflection," as they are of less frequent application, are thought to be sufficiently illustrated by the examples appended to each rule. A repetition of these, however, may be useful to the student as an exercise in review. LESSONS IN MUSIC.-VIII. MENTAL EFFECT OF NOTES. WE have now to treat of a most important subject, and one which should be thoroughly well understood by every pupil. We refer to the mental effect of notes. Let us put the topic in the form of a question. What is the principal source of a note's power to affect the mind? We observe, for instance, in one of Handel's songs, that a certain note produces a certain effect, upon our minds. Why does it produce that effect? Is ther any law by which such mental effects are chiefly regulated? To these questions we answer, that many circumstances may modify the mental effect of a note, but that it is mainly produced by the principle of key-relationship, in connection with rate of movement. We believe that every note of the scale (whatever may be the pitch of the key-note) has a peculiar "mission" of its own to the human mind a proper mental effect, which circumstances of pitch, quality of voice, rhythmical arrangement, peculiarities of expression, etc., may modify, but cannot efface. Let us take an example, and look at it in these various lights. It cannot be doubted that the last note in the following phrase, from Dr. Calcott's well-known glee, produces a mental effect peculiarly appropriate to the word to which it is set. That note we call LAH. It is the sixth above or the "minor third" below the key-note. The question is, How comes that note to produce a sorrowful impression on the mind? What is the law, if there is one, by virtue of which that note possesses its power? Let the pupil sing the phrase: KEY D : d d r m:s s .fm .r tri-bu-ta-ry 1: tear. For give, blest shade, the Try first the various conditions of pitch. Take a higher sound, say G, for your key-note or DOH, and sing the phrase again. You will notice that the mental effect is modified, but it remains essentially the same. Again, while in the key of G, sing the phrase, taking the lower LAH, instead of the upper. The effect on the mind is more gloomy, but it is still the same effect. It is not the mere height in pitch, then, that gives to the LAH its peculiar characteristic of sorrowfulness. The difference between the same tune set in a low and in a high key is undoubtedly great, but the special effect of each individual note remains of the same kind. Next try the effect of what is called in French" timbre," or different qualities of sound, upon this note. Let the phrase be sung by a rough voice, a clear voice, a hard voice, a mellow voice, etc., or let it be played first on a flute, next on a trumpet, and again on a violin. Such changes will certainly modify the mental effect. One voice or instrument may be better than the other, but they will all agree in expressing, on the note LAH, the sorrowful sentiment, and, if they sound the note correctly, they cannot help doing so. This mental effect is therefore independent of the mere qualities of sound, and is governed by some other law. Let the next experiment be in relation to interval, for some persons might imagine that the "distance in pitch" between RAY and LAH, called a fifth, produces the mental effect. Therefore sing the word "tear," when you come to the close, thus: or thus 66 this second mental effect, and that no other note produces the same effect, however you may quicken its rate of movement. There is still, therefore, a law presiding even in this "duplicity' of mental effect. This note LAH (sixth above or "minor third" below the key-note) is now proved to possess twin mental effects, the one showing the grave, the other the gay side of a certain emotion. So is it with every note of the scale. Key-relationship" gives it a certain acceptance with the mind, and “rate of movement" has a certain way of modifying that impression. To prove, however, that the key-relation into which a note is thrown, by the sounds which have been heard before it, is the principal producing cause of mental effect, we must try another experiment. Take the same sound, as to absolute pitch, and vary its key-relationship. Strike the "chord" and scale of B, for instance, and then the note B, at length, noticing its mental effect. Next strike the chord and scale of A, followed by the same note B (the same in pitch), as a long note. Notice, now, its effect on the mind. How changed! Try, next, the chord and scale of G, and observe the note, in the same way. How changed again! Try other keys, and you will find that every change of key-relationship makes a change in the reception which the mind gives to that particular sound of unaltered pitch. If you wish to prove this to an incredulous friend, tell him that you are about to play to him, on the flute or piano, a number of long notes, and that, without looking at your playing, he is to tell you, as well as he can, what notes they are, and describe their mental effect. Then play to him the following phrases, and ask him, at the close, whether the notes were the same, or, if not, how they differed. Unless he takes care to keep singing the mental test), he is sure to suppose the notes different. Of course note B all through (which would be a physical rather than a you must be acquainted with some instrument to perform this experiment. The violin will give it most accurately. d You will find that every change produces a modification of the idea, but the idea itself belonging to LAH remains still the same. Interval, therefore, is not the law which governs mental effect. In a similar way you may try whether singing the same sound to different words or syllables, or with different modes of "expression" (as loud, soft, etc.), will produce any material changes. And when you have found that none of these various conditions of the note can rob it of its own peculiarly emotional character, then try another and most important experiment. Vary the rate of movement. Instead of singing the phrase slowly, sing it as rapidly as though it were a jig. You will then understand why we said that key-relationship, in connection with rate of movement, was the chief cause of mental effect. The note seems, now, to express an abandonment to gaiety, instead of But notice that LAH, sung quickly, always produces sorrow. Why a note's standing at a particular interval from the keynote should give it a particular musical effect, we do not know. We can only notice the fact, and make use of it in teaching. There must come to us, along with the actual sound itself, some mental association of the relationship of interval (indicated by preceding notes) which has been thrown around it. The memory of notes just heard hovers around that which we now hear, and gives it its character. Quick succession approaches in effect to co-existence, as is familiarly shown in reference to the eye by the zoetrope and other optical toys. Thus when once the key is established by the opening notes of the tune, it is still felt to be present, as a mental element, with every single note that follows. In a similar manner, the effect of a given colour-the artist will tell us is modified by the surrounding ones, or those on which the eye has just rested. This is a deeply interesting subject, and deserves to be well studied and further explored, especially in connection with harmonic combinations and effects. These mental effects of notes in key have often been noticed in books of science. Dr. Calcott refers to them in his "Musical Grammar." M. Jeu de Berneval, Professor to the Royal Academy of Music, in his "Music Simplified," illustrates them very ingeniously and beautifully. Dr. Bryce introduces them into his "Rational Introduction.' It would seem surprising (did we not know how the old notation, with its attempted, but inaccurate, scale of fixed sounds, takes up the learner's time, and distracts attention from the real beauties of musical science) that these interesting facts, so well calculated to aid the pupil, have been so little used in elementary instruction. It is obvious that the moment a pupil can recognise a certain musical property in any note, he will be able to produce the note with the greater accuracy and satisfaction. From extensive experience we have found that infants and persons with untrained voices are able to appreciate these points, and derive constant pleasure and assistance from the knowledge of them. The teacher will find himself well repaid by a most careful attention to this subject. It In the "second part" of this tune notes FOI and TU occur. These notes will be more fully and clearly explained hereafter. It For is a note a little less than half a tone higher than FAH. always follows FAH, and seems to rise out of it. It is called a chromatic or colouring note. Tu is nearly the same sound in pitch, being a little more than half a tone lower than SOH. holds the same relation to SOH which TE holds to DOн. It is, in fact, the seventh note of a new key, but more of this hereafter. It is enough for you to notice, now, that it does not follow or rise out of FAH, and that it does not produce the same Observe that TU has the lower "colouring" effect with FOI. octave mark on it. In singing the words, be careful to notice the italics and The little mark, like SMALL CAPS which indicate expression. two interlacing crosses, is called a sharp. It raises the note, You before which it stands, something less than half a tone. will remark that there is nothing, in the old notation, to distinguish TU from FOI. Two different things are represented by the same signs. In the next lesson we shall commence an examination of the different notes, with this point in view, and furnish illustrations from the great masters. It is sufficient for us here to request the pupil to read with care, and put to the test, the following remarks> The notes DOH, SOн, and ME give to the mind an idea of rest and power (in degrees corresponding with the order in which they are named), while TE, FAH, LAH, and RAY (in similar degrees), suggest the feelings of suspense and dependence. Thus, if after we have heard the principal notes of the key, the voice dwells on the sound TE, the mind is sensible of a desire for something more, but the moment TE is followed by DCH a sense of satisfaction and repose is produced. In the same manner the mind is satisfied when FAH resolves itself into ME, and LAH (though not so decidedly) into Soн. RAY also excites a similar feeling of inconclusiveness and expectancy, which is resolved by ascending to ME, or, more perfectly, by falling to DOH. Notice the power and vigour given to the tunes GRIFFIN, LEYBURN, and BLACKSMITH, by the notes DOH, SOH, and ME. Sing the tunes over for the purpose of forming an independent judgment on this point. Then, to show the effect of the leaning" notes, sing slowly as follows: EXERCISE 53.-LATIN-ENGLISH. 1. Omnis natura est conservatrix sui. 2. Mirum desiderium urbis, meorum, et tui, tenet me (desire jor, or after). 3. Pater vehementer tuä sui memoria (thy recollection of him) delectatur. 4. Ira est impotens sui (has no power over itself). 5. Sapiens semper potens sui est. 6. Vestri cura (care for you) me angit. 7. Omnes homines benigni judices sui sunt. 8. Vehementer grata mihi est memoria nostri tua, 9. Amicus mei et tui est memor. 10. Pater absens magno desiderio tenetur 11. Amici sunt nostri mei, et tui, mi frater, et vestri, O sorores. 12. Multi vestrum mihi placent. 13. Plurimi nostrum te memores. valde liligunt. EXERCISE 54.-ENGLISH-LATIN. 1. The unwise man (foo) as no power over himself (impotens sui). 3. Virtue has power over itself. 2. The father has power over himself. 4. Vice has Lot power over itself. 5. Has anger power over itself? 6. Nature is preservative of herself. 7. The nature of virtue is preservative of itself. 8. No one of you has power over himself. 9. Very 10. A treacherous friend is many of us have power over ourselves. unmindful of me. 11 Faithful friends are not mindful of themselves. 12. Thy recollection aac desire of me are very pleasant to me. 13. Care for thee tortures me. 11. Most of you, my scholars, are industrious. 15. Wonderful is the lov -"self. Certain pronouns in atin bear the name of demonstrative, because they point out (in Latin, demonstro, I point out; E. R. demonstrate) the person or persons that are intended. The demonstrative pronouns are is, ea, id; ille, illa, illud; iste, ista, istud; hic, hæc, hoc. Of these, is signifies this or that, and approaches to our personal pronoun he, his, etc.; hic denotes this person, that is, the nearer to the speaker; ille, that persont, farther from the speaker; iste, that person, particularly when a person is addressed, the second person. From is, ea, id, idem, the same, is formed by the addition of dem; thus, is-dem contracted into idem (pronounced i'-dem), eă-dem, id-dem or idem (pronounced i'-em). To these may be added, ipse, ipsa, ipsum, he himself, that very person. In the following manner decline the DEMONSTRATIVE PRONOUNS. Is, m.; ea, f.; id, n., he or that. Singular. Plural. F. ese eōrum iis (eis) ea iis (eis) iis iis LESSONS IN LATIN.-XV. POSSESSIVE OR ADJECTIVE PRONOUNS. THE personal pronouns which have an adjective force, are formed from the genitive of the personal substantive pronouns. They are called possessive, because they denote an object as From the possession of the first, the second, or the third person. mei, of me, is formed meus, mea, meum, my; as appears in this table. Also the pronoun, idem, m.; eadem, f.; idem, n., the same. Cases. Plural. eædem eorundem earundem eorundem Singular. ĕădem ĭdem ejusdem ejusdem eidem iidem eidem iisdem(eisdem iisdem iisdem eosdem easdem eadem iisdem (eisdem) iisdem iisdem Iste, m.; ista, f.; istud, n., that person. Cases. Singular. ista Plural. istarum his own ours yours D. isti Ac. istum Ab. isto istis istas ista Ille, m.; illa, f.; illud, n., that person. Cases. Singular. N. G. ille illius D. illi Ac. illum Ab. illō illi Plural. illæ illa illis illis frog. Hæc puella, this girl. Addictus, -a, -um, given to, attached to. Auctoritas, -atis, f., an authority. Carmen,-inis,n.,a poem. Credo, 3, I believe (E. R. creed). Diligentia, -æ, f., dili gence. Displiceo, 2, I displease. Elegans, -ntis, elegant. Expete (imp. mood of expeto), seek for. horse. Idem vitium, the same vice. Illa res, that thing. Ille sensus, that sense. VOCABULARY. Fidus, -a, -um, faithful. Firmo, 1, I strengthen (E. R. firm). Hebě to, 1, 1 grow dull. Ignavia, -, f., idleness. Iners, -rtis, inactive, sluggish. Memoria,-,f.,memory. Mendax, acis, lying (E. R. mendacity). Placeo, 2, I please. Sævus, -a, -um, cruel. Ista femina, that woman Iste vir, that man. Istud nomen, that name. Sallustius, -i, Sallust, the name of a Roman historian. Schola, -æ, f., a school. Scriptor, -ōris, m., a writer. Sententia, -æ, f., an opinion (E. R. sentence). Tarditas, -itis, f., slowness (E. R. tardy). Vita (imp. mood of vito), avoid. EXERCISE 55.-LATIN-ENGLISH. 1. Sallustius est elegantissimus scriptor. 2. Ejus (his) libros libenter lego. 3. Amicum fidum habeo. 4. Ei addictissimus sum. 5. Fratris carmen valde mihi placet, id legere debes. 6. Ignavia corpus hebetat, labor firmat. 7. Illam vita, hunc expete. 8. Hæ literæ graviter me morent. 9. Hæc carmina suavissima sunt. 10. Isti homini mendaci non credo. 11. Huic duci milites libenter parent. 12. Illi viro omnes favent. 13. Præclarum est istud tuum præceptum. 14. Hæc sententia mihi placet, illa displicet. 15. Hoc bellum est sævissimum. 16. Hic puer industrius est, ille iners. 17. Memoria teneo præclarum illud præceptum. 18. Iste tuus amicus est vir optimus. 19. Ista vestra auctoritas est maxima. 20. Hujus discipuli diligentiam laudo, illius tarditatem vitupero. 21. Illi schola est gratissima, huic molestissima. EXERCISE 56.-ENGLISH-LATIN. 1. Sallust is an elegant writer, Livy a more elegant (writer), and Cicero the most elegant. 2. I gladly read their books. 3. His (ejus) brother and friend are dear to me. 4. Thou hast a faithful friend, and art attached to him. 5. My sons have faithful wives and love them much. 6. I am greatly moved by that letter. 7. Thou dost not believe a lying woman (dative). 8. This boy pleases, that boy displeases me. 9. This poem is very elegant, that more elegant. 10. This thy soldier is brave. 11. The diligence of this scholar is praised by me the teacher. 12. In this school (there) are more diligent scholars than in yours. VOCABULARY. EXERCISE 57.-LATIN-ENGLISH. 2. 1. Multi homines de iisdem rebus eodem die non eadem sentiunt. Insipiens eidem sententiæ modo fidit, modo diffidit. 3. Ipsi imperatori seditiosi milites resistunt. 5. Virtus 4. Animus ipse se movet. est per se ipsa laudabilis. 6. Sæpe nihil est homini inimicius quam sibi ipse (himself to himself; than he is to himself). 7. Omne animal se ipsum diligit. 8. Carior nobis esse debet patria quam nosmet ipsi (we ourselves). 9. Præclarum est illud præceptum oraculi Delphici, Nosce (know, imp.) te ipsum. EXERCISE 58.-ENGLISH-LATIN. 1. The enemies besiege the city, and endeavour to take it by storm. 2. The deed of that great man is praised by all writers. 3. Caesar and Pompey are very illustrious Roman generals. 4. To that (one) fortune is more favourable than to this (one). 5. The bravery of that (one) and this (one) is wonderful. 6. The king himself is the general of the army. 7. Not always dost thou think the same concerning the same things. 8. The father and the son pursue the same learning (liter). 9. Virtues are lovely in (by) themselves. 10. All men love themselves. 11. Thy native country ought to be dearer to thee than thyself. Know yourselves, young men. 13. A liar often distrusts himself. KEY TO EXERCISES IN LESSONS IN LATIN.-XIV. EXERCISE 47.-LATIN-ENGLISH. 12. 1. The soldiers fight bravely. 2. Do the soldiers fight bravely? 3. Do not the soldiers fight bravely? 4. The Romans fight more bravely than their enemies. 5. Of Greece I think more and more. 6. Dost thou not think much on thy father? 7. We every day more and more expect a letter. 8. Most desiringly thou lookest for the coming of thy mother. 9. The country pleases (my) father every day more and more. 10. Thou art building a house well. 11. Does he build a house very well? 12. The letter is very badly written. 13. Thy words sound badly. 14. Slaves think very ill concerning their master. 15. Girls labour more patiently than boys. 16. Very hidden dangers are avoided with very great difficulty. 17. It is difficult to overcome the Greeks. 18. The Greeks fight very bravely. 19. Sedition is put down more easily than war. 20. The state is excellently administered. 21. He boldly denies (it). 22. The citizens inhabit the city in happiness. EXERCISE 48.-ENGLISH-LATIN. 1. Facile ne bellum sedatur? 2. Difficillime bellum sedatur. 3. Pugnat fortiter. 4. Fortius pugnant. 5. Fortissime pugnant Græci, 6. Magnopere expectas veris adventum. 7. A pueris puellisque omnibus cupidissime expectatur adventus veris. 8. Epistolam tuam in dies plus plusque expectant. 9. Male mala verba sonant. 10. Milites magis atque magis dimicant. 11. Occulta non facile evitantur. 12. Matres patientius quam filiæ laborant. 13. Seditio feliciter sedatur. 14. Pulchre literas scribit. 15. Romani fortius quam Græci pugnant. 16. Rus animum meum maxime delectat. 17. Multum animus ne tuus delectatur a rure? 18. Maxime cogito de domo mea, de fratribus, et de sororibus. 19. Pessime administratur civitas a Romanis. 1. I sing. EXERCISE 49.-LATIN-ENGLISH. 2. Thou shoutest. 3. The friend calls. 4. We narrate. 5. You dance. 6. Brothers labour. 7. I weep. 8. Thou laughest. 9. Brother grieves. 10. We teachers teach, you scholars learn. 11. I play. 12. Thou learnest. 13. Sister paints with the needle (that is, embroiders). 11. We write. 15. You read. 16. Brothers paint. 17. I leap. 18. Thou strikest. 19. The boy sleeps. 20. We masters instruct you, O pupils. 21. You, O good pupils, attentively hear our precepts. 22. Virtues are equal among themselves (one to another). 23. To command one's self is the greatest command. 24. An angry man is not his own master. 25. The pursuit (handling) of letters is salutary to us. 26. Truth is always pleasant to me. EXERCISE 50.-ENGLISH-LATIN. 2. Tu saltas. 3. Frater labōrat. 1. Ego narro. 4. Nos cantāmus. 5. Vos laboratis. 6. Amici saltant. 7. Ego, præceptor, doceo; vos, O discipuli, discitis. 8. Nos dolemus. 9. Tu pingis. 10. Juvenes feriunt. 11. Nos præceptores non tentamus docere vos, O irati pueri. 12. Boni discipuli debent sibi imperare. 13. Imperare sibi est virtus. 14. Difficile est irato sibi imperare. 15. Irati non sunt apud se. 16. Imperium semper est tibi gratum. 17. Nonne gratum nobis est imperium? 18. Tibi haud mihi grata est veritas. 19. Veritas est salutaris tibi, mihi, nobis, omnibus. EXERCISE 51.-LATIN-ENGLISH. 1. Vices creep on us under the name of virtues. 2. We favour you, you do not favour us. 3. Thou lovest me, I love thee. 4. My life is dear to me, thine (is dear) to thee. 5. Virtue always shines of itself (by its own light). 6. The song delights us. 7. Our parents are loved by us. 8. O my son, thou never obeyest me! 9. Our brother loves me and thee. 10. I am nearest to myself. 11. Thou well commandest thyself. 12. Virtue is cultivated on its own account (for itself). 13. Virtue is sought for, for its own nature (for its own qualities). 14. The citizens fight for their own heads (lives). 15. The sage carries with him all his property. 16. We rejoice with you on the return |