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, &c.), 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 peculiar 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 keyrelationship, in connexion with rate of movement, was the chief cause of mental effect. The note seems, now, to express an abandonment to gaiety, instead of sorrow. But notice that LAH, Sung quickly, always produces 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, how KEY B. ever, 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 keyrelationship. Strike the "chord" and scale of R, 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 note B all through (which would be a physical rather than a mental test) he is sure to suppose the notes different. Of course you must be acquainted with some instrument to perform this experiment. The violin will give it most accurately. KEY A. 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. 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: Why a note's standing at a particular interval from the key-duce the note with the greater accuracy and satisfaction. From note 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 thaumatrope 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 connexion 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 proEXERCISE 17. The notes DOH, Sон, and мE, 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 feeling 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 DOн' 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, SOн, 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::d|ms|f: — Im :dm:st: - I d' 11:-s : d's: mr : - | m BLACKSMITH. KEY C. M. 138. (The Tune Old English. The Words by the Rev. PLUMPTRE.) : d' [s: m dm:sr: — Id 2. In searching your heart should you find you intend Some good to yourself or another to do, To relieve the distress'd or yourself to amend, Oh! watch the bright time when the purpose shall glow; IF YOU FAIL NOT TO STRIKE WHEN THE IRON IS HOT. 3. Whene'er by a smithy you happen to pass, And hear on the anvil the hammer's loud clang, occur. FAH. It Allez à lui, courez à lui. Affaire, f. affair. Do you hear or understand me? I see them and understand them. Do you speak to me of your friend Do you speak to us about those ladies? Do you not speak to them? I have no wish to speak to them. Go to him-run to him. EXERCISE 51. Nouvelle, f. news. Pommier, m, apple-tree. NOTE. In the "second part" of this tune notes FOI and TU These notes will be more fully and clearly explained hereafter. For is a note a little less than half a tone higher than It always follows FAH, and seems to rise out of it. It is called a chromatic or colouring note. Tu is nearly the same ɛound in pitch, being a little more than half a tone lower than soн. holds the same relation to sou which TE holds to DOH. 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 "colouring" out of FAH, and that it does not produce the same effect with FOI. Observe that TU has the lower octave mark on it. 1. Allez vous lui écrire? 2. Je vais lui écrire et lui comIn singing the words, be careful to notice the italics and SMALL CAPITALS which indicate expression. [The little mark, like two muniquer cette nouvelle. 3. Allez vous lui parler de moi. 4. interlacing crosses, is called a sharp. It raises the note, before Je vais lui parler de vous et de votre compagnon? 5. Leur which it stands, something less than half a tone. You will re-envoyez vous de beaux arbres? 6. Je leur envoi des pommark that there is nothing, in the old notation, to distinguish miers, des poiriers, et des cerisiers? 7. Ne m'envoyez vous TU from FOI. Two different things are represented by the same 8. Je ne vous en envoie pas, vous en avez des cerisiers? signs.] déjà. 9. Avez vous raison de leur parler de cette affaire? 10. Je n'ai pas tort de leur parler de cette affaire. 11. Venez à nous demain matin. 12. Venez nous trouver, cette après-midi. 14. Je vais les 13. Allez vous les trouver tous les jours? trouver tous les soirs. 15. Leur donnez vous de bons avis. 16. Je leur donne de bons avis et de bons exemples. 17. Nous parlez vous de vos sœurs? 18. Je vous parle d'elles. 19. Ne 20. Je vous parle d'eux. nous parlez vous pas de nos frères? 21. Ne les aimez vous pas ? 22. Nous les aimons et nous les respectons. 23. Pensez vous à ce livre ou n'y pensez vous 25. Nous n'y pas? 24. Nous y pensons et nous on parlons. LESSONS IN FRENCH.-No. XII. PLACE OF THE PRONOUNS. 1. THE personal pronoun used as the direct [§ 2 (2), § 42 (4)] object of a verb, is in French placed before the verb, except in the second person singular or in the first and second persons plural of the imperative used affirmatively. Il me voit, il l'aime. Il nous aime, il vous aime. He sees me, he loves him. He loves us, he loves you. 2. The personal pronoun representing the indirect object of the verb [§ 2 (3), § 42 (5)] answering to the dative of the Latin, and to the indirect object of the English with the preposition to expressed or understood, is also in French placed before the verb : Il me parle, il lui parle. Il nous donne une fleur. Il vous parle, il leur parle. He speaks to me, he speaks to him. He speaks to you, he speaks to them. 1. When are you going to write to your brother? going to write to him to-morrow morning. 3. Do you intend to write to him every Monday? 4. I intend to write to him every Tuesday. 5. Have you a wish to speak to him to-day? 6. I have a wish to speak to him, but he is not here. 7. Where is he? 8. He is at his house. 9. Do you speak to them? 10. Yes, Sir, I speak to them about (de) this affair. 11. Do they give you good advice? 12. They give me good advice and good examples. 13. Do you go to your sister every 3. The personal pronoun is generally placed after the follow-day? 14. I go to her every morning at a quarter before nine. ing verbs: aller, to go; accourir, to run to; courir, to run; 15. Does she like to see (voir) you? 16. She likes to see me venir, to come; penser à, songer à, to think of: and she receives me well. 17. Do you think of this affair? Ne nous le donnez pas [R. 1]. Do not give it to us. Do not give it to him. pas tort de lui en envoyer? 24. Je ne puis avoir tort de payer mes dettes. 25. Ils vous en donnent, et ils vous en prêtent quand vous en avez besoin. EXERCISE 54. 1. Will you send us that letter? 2. I will send it to you, if you will read it. 3. I will read it if (si) I can. you lend me your pen? 5. I can lend it to you, if you will 4. Can take care of it [Sect. 21 (3)]. 6. May I speak to your 4. With the imperative used affirmatively, the direct object father? 7. You may speak to him, he is here. 8. Are you precedes in all cases the indirect object Donnez le nous. Montrez le leur. [§ 101 (5)]. Give it to us. Show it to them. 5. En and y always follow the pronouns : Je lui en donne. Il nous y envoie. I give him some. He sends us thither. afraid of forgetting it? [Sect. 20 (4)]. 9. I am not afraid of forgetting it. 10. Will you send them to him? 11. I intend to send them to him, if I have time. 12. Do you speak to him of your journey? 13. I speak to him of my journey. 14. I speak to them of it. 15. Can you communicate it to him? 16. I have a wish to communicate it to him. 17. Do you see your acquaintances every Monday? 18. I see them 6. PRESENT OF THE INDICATIVE OF THE IRREGULAR VERBS. every Monday and every Thursday. 19. Where do you intend VOIR, to see. VOULOIR, to will, to be willing. Je vois, I see, do see, or Je veux, I will or am am seeing. Tu vois. Il voit. Nous voyons. Vous voyez. willing. Tu veux. Il veut. Nous voulons. Vous voulez. POUVOIR, to be able. am able. Tu peux.* Il peut. to see them? 20. I intend to see them at your brother's and at your sister's. 21. Can you send him there every day? 22. Je puis, I can, I may, I I can send him there every Monday, if he wishes (s'il le veut). 23. Can you give them to me? 24. I can give them to you. 25. Who will lend them books? 26. No one will lend them any. 27. Your bookseller is willing to sell them good books and good paper. 28. Is he at home? 29. He is at his brother's. 30. Are you wrong to pay your debts? 31. I am willing to send it to you, if you want it. 34. Are you willing right to pay them. 32. Will you send it to us? 33. I am to give them to us? 35. We are willing to give them to your acquaintances. Nous pouvons. Vous pouvez. 7. The above verbs take no preposition before another verb. 8. The preposition, pour, is used to render the preposition to, when the latter means in order to. Je vais chez vous pour parler à votre frère et pour vous voir. J'ai besoin d'argent pour acheter des marchandises. I go to your house to speak to your I want money to (in order to) buy LESSONS IN LATIN.-No. XII. By JOHN R. BEARD, D.D. THE NUMERALS. As in English so in Latin the numerals have various forms. Thus we say, one, first, one each, once. One, and the corresponding two, three, &c., we call cardinal (from cardo, inis, m. a hinge), because they are the chief numbers, those on which the others hinge. First, second, third, &c. we call ordinals (from ordo, inis, m. an order or series), because they show the order or place in a series which a person or thing holds. One each, two each, three each, &c. may be called distributives, because they distribute the numbers severally to persons or things, declaring how many each possesses. Once, twice, Send it to them (in order) to satisfy thrice, &c. are called adverbial numerals, because they imply Do not send them any. them. I can send it to you there. Souvent, often. Voyage, m. journey. 1. Voulez vous donner ce livre à mon frère? 2. Je puis le lui prêter, mais je ne puis le lui donner. 3. Voulez vous nous les envoyer? 4. La marchande de modes peut vous les envoyer. 5. Les lui montrez vous? 6. Je les vois et je les lui montre. 7. Avez vous peur de nous les prêter? 8. Je n'ai pas peur de vous les prêter. 9. Ne pouvez vous nous envoyer du poisson? 10. Je ne puis vous en envoyer, je n'en ai guère. 11. Voulez vous leur en parler? 12. Je veux leur en parler, si je ne l'oublie pas. 13. Venez vous souvent les voir? 14. Je viens les voir tous les matins, et tout les soirs. 15. Ne leur parlez vous point de votre voyage en Pologne? 16. Je leur en parle, mais ils ne veulent pas me croire. 17. Est-ce que je vois mes connaissances, le lundi. 18. Vous les voyez tous les jours de la semaine. 19. Vous envoient elles plus d'argent que le commis de notre marchand? 20. Elles m'en envoient plus que lui. 22. Je lui en envoie quand je lui en dois. 23. N'avez vous 21. En envoyez vous au libraire After the verbs pouvoir, to be able; oser, to dare; savoir, to know; the negative pas may be omitted. vicies bis XXII. M. F. Nom. & Voc. tres tres Gen. trium trium Dat. & Abl. tribus tribus undetricies Acc. tres tres N tria trium tribus tria 29 undetriginta undetricesi Milia is declined like tria, thus milia, milium, milibus, milia. Milia requires after it a genitive; for instead of saying, as we do, ten thousand men, the Latins said ten thousands of men, decem milia hostium; but mille considered as a whole, a thousand, is indeclinable: thus, dux cum mille militibus, a general with a thousand soldiers. The ordinals are declined like nouns of the first and the second declension. The distributives are also declined after the same manner. Mark that singuli is in the plural. The plural is necessitated by the meaning, inasmuch as the adjective is a distributive, for distribution implies more than one; thus the Latins said, inter singulos homines, among the men severally. If now you carry your eye down the numbers, you will find that for every separate number from one to nine, there is a separate word. With ten (decem) a new series begins which goes on to nineteen, when again at twenty (viginti) a new word begins a new series. In centum and in mille, you also find new words and the commencements of new series. From eleven (undecim) to seventeen (septendecim) inclusive, each consecutive word is compounded of decem and a number taken from the first series. When they come to eighteen, instead of saying after their former manner, and as we say in English, eight, ten, the Romans said, two from twenty, duo de viginti. Having passed twenty, they made use of it to form the numbers between twenty and thirty, thus, unus et viginti, one and twenty; they also said, viginti unus, viginti duo, viginti tres, viginti quatuor, and so forth. In all cases, 8 and 9 are expressed by subtracting 2 and 1 from the next ensuing new term; thus 28 is duo de triginta, two from thirty; 39 is undequadraginta, one from forty; so in the ordinals duodequadragesimus, undesexagesimus, &c. VOCABULARY. Hora, ae, f. an hour; summa, ae, f. a sum total; annus, i, m. a year (E. R. annual); calculus, i, m. a little stone (E. R. calculation, which was originally performed with little stones); Carolus, i, m. Charles; CCCCL codicilli, orum, m. a writing-table, or wax-tablet for writing on, a slate or note book (E. R. codicil); cerăsum, i. n. a cherry; malum, i. n. an apple; pirum, i, n. a pear; prunum, i, n. a plum; mensis, is, m. a month; On this table, I submit to you the following remarks, unus, hebdomas, ădis, f. a week; nux, nucis, f. a nut; in promptu esse, duo, and tres are declined, as follows: to be ready; respondeo 2, I answer (with dative); responsio, ónis, f. an answer (E. R. response); addo 3, I give to, add; attendo 3, I pay attention; pono 3, I put or set; sepōno 3, I put apart, lay down; jam, adv. already, now; memoriter, adv. by memory, "by heart"; paulisper, adv. a little; recte, adv. rightly; deinde, then, thereupon, next, in the second place; denique, adv. finally; porro, adv. further, moreover; tum, adv. then; in, with acc. upon. EXERCISES.-LATIN-ENGLISH. A dialogue between a father and his son Charles. Pater: Attende, mi fili! Scribe in codicillos tuos hoc exemplum; si habes decem mala, tria pruna, unum pirum, sex cerasa; et hi: adduntur duo mala, quatuor pruna, septem pira, octo cerasa; deinde quinque mala, novem pruna, sedecim pira, undecim cerasa; tum duodecim mala, quindecim pruna, tredecim pira, quatuordecim cerasa; porro viginti mala, undeviginti pruna, duodeviginti pira, septendecim cerasa; denique quatuor et viginti mala, unum et viginti pruna, duo et viginti pira, tria et viginti cerasa? quot sunt mala ? quot pruna? quot pira? quot cerasa? Carolus: Expecta paulisper, mi pater! jam responsio est in |