Dahin geht unser Weg, thither goes our way, there lies

our way.

lasz uns ziehn! let us move; lasz or lasze, 2d person sing. imperative of the aux, laszen, to let, to leave, which must be learnt in the Grammar. In the third person pl. it would be lassen Sie uns siehn! Lassen Sie uns zu Hause bleiben! let us stay at home!

The Translation of the French piece of Poëtry is in German : “ Wozu diese Elephanten, diese Waffen, dieses Gepäcke ? und diese Schiffe die ganz bereit sind das Ufer zu verlassen ? sagte dem Könige Pyrrhus ein weiser Vertrauter, sehr bedachtsamer Rathgeber eines sebr unvorsichtigen Monarchen. Ich gehe, antwortete ihm dieser Fürst, nach Rom, wohin man mich ruft. Was zu thun ? Es zu belagern. Das Unternehmen ist sehr glorreich und nur Alexan. ders oder Ihrer würdig. Aber wenn Rom endlich eingenommen ist, wohin, Herr, laufen wir dann? Die übrigen Lateiner sind leicht zu erobern. Es ist kein Zweifel dasz wir sie überwältigen können. Ist das alles ? Sicilien reicht uns von dort aus die Arme, und Syrakus nimmt bald darauf unsere Schiffe ohne grosse Anstrengung in seinen Hafen auf. Begränzen Sie hier Ihren Lauf? Sobald wir es genommen, bedarf es nur eines günstigen Windes, und Karthago ist erobert. Die Wege sind offen; wer kann uns aulhalten? Ich verstehe Sie Herr. Alles werden wir bezwingen. Wir werden Libyens Sandsteppen durchkreutzen, Egypten und Arabien im Vorbeigehen unterjochen, jenseits des Ganges neue Länder durchlaufen, an des Tanaïs Ufern die Scythen beben machen und jene grosse Halbkugel unseren Gesetzen unterwerfen. Aber nach der endlich erfolgten Rückkehr was gedenken Sie vorzunehmen ?-Dann, mein lieber Cineas, können wir siegreich und zufrieden nach Herzenslust lachen und fröhlich leben.-Ei, Herr, von diesem Tage an und ohne Epirus zu verlassen, wer wehrt Ihnen vom Morgen bis zum Abend zu lachen!"

The French Translation of Goethe's Song. “CONNAIS-TU le pays où fleurissent les citroniers, où les pommes d'or brillent au milieu d'un feuillage rembruni, où de doux zéphyrs sufflent sous un ciel serein, où le myrte croit en silence, et le laurier s'élève à une très grande hauteur ? Le connois-tu ce pays ? c'est là, mon bien-aimé, c'est là que je voudrois me rendre avec toi.

Connois-tu la maison ? Son toit repose sur des colonnes. Le sal


lon étale sa magnificence, les appartemens ont moins de splendeur, et des statues de marbre semblent me regarder, et me dire : Que t'at-on fait, pauvre enfant ? La connois-tu cette maison ? c'est là, mon protecteur, c'est là que je voudrois me rendre avec toi.

Connois-tu la montagne et ses sentiers enveloppés de nuages? Le mulet s'y trace un chemin dans le brouillard ; l'ancienne race des Dragons habite les antres sauvages ; les rochers s'écroulent, et les torrents se précipitent sur eux. La connais-tu cette montagne ? c'est elle que nous avons à monter. O mon père, allons nous y rendre.

We repeat the observation with which we concluded our last Number, that the Student is not to neglect any opportunity of transferring the second person singular in both French and German, or the German second person plural, into the French second person plural and the German third person plural. Here, for instance: Kennst du das Land ? is in polite language Kennen Sie das Land.? and this sentence will belp you to express many familiar ideas. Do you know the Duke? Kennen Sie den Hersog? &c. In French, Connois-tu la maison? is politely Connoissez-vous la maison.? Say, in the same way, Do you know the Duke's house ? Connoissez-vous la maison du Duc? But remember that the French call a great Nobleman's house un hotel; therefore you ought to say, Connoissez-vous l'hotel du Duc.?

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It has been justly objected to French poëtry that it seldom displays any depth of feeling, and generally is most successful in light and fugitive compositions, to which the genius of the language is particularly adapted. We think, however, that the following Fable of a modern writer (LEONARD) who is but little known, breathes a melancholy tenderness as simple as true, and perfectly calculated to awaken a corresponding feeling in the reader. The style, at all events, though flowing and natural, greatly differs from that of the short specimens on which we have hitherto grounded our grammatical and philological comments ; and it is our ardent wish to give to the Weekly Instructions of The Linguist, the utility of which is loudly acknowledged, the additional merit of a pleasing variety.

Daphnis, privé de son amante,
Conta cette fable touchante
A ceux qui blamoient ses douleurs :
Deux ruisseaux confondoient leur onde,
Et sur un pré semé de fleurs
Couloient dans une paix profonde
Dès leur source aux mêmes déserts.
La même pente les rassemble,
Et leurs voeux sont d'aller ensemble
S'abimer dans le sein des mers.
Faut-il que le destin barbare
S'oppose aux plus tendres amours ?
Ces ruisseaux trouvent dans leur cours
Un roc affreux qui les sépare.


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THE TWO RIVULETS. Daphnis, deprived of the object of his attachment, related this affecting fable to those who were blaming his grief: two rivulets mixed their waters, and in profound tranquillity flowed through a blooming meadow from their spring to the same deserts. The same declivity united their streams, and they wished to be lost together in the bosom of the Seas. Why must a barbarous fate oppose the most affectionate attachment? These rivulets met in their course with a frightful rock that separated them. One of them, in its sad deserted state, was raging against its banks, and all the echoes of the valley repeated its plaintive cries. A traveller bluntly addressed it, saying: Why do not you gently murmur on this soft sand? Your noise moJests and incommodes me. Do not you, answered the rivulet, hear my other half groaping on the other side of the hill ? Pursue your way, oh wanderer! and implore the gods that your heart may never lose the object of its affection.

Les deux ruisseaux, the two rivulets; un ruisseau, m. a rivulet, a brook, a street-kennel; and fig. a river, when used in the pl. as des ruisseaux de sang, rivers of blood. The French say of a hackneyed report of vulgar origin, Celle nouvelle a été ramassée dans le ruisseau ; the news has been picked up in the street-kennel : and of any thing trivial, and beneath the notice of well-bred persons, cela a été trainé dans le ruisseau, it has been dragged in the kennel.

Daphnis, a shepherd's name in pastoral poëtry. privé, part. p. of the r. a. 1. priver, to deprive. The adj. privé, ée, means “ private.” Le conseil privé, the privy council.

de son amante. Though amante, a beloved female, is f., son is used instead of sa, on account of the word beginning with a vowel, for euphony's sake.

Conta cette fable touchante, related this moving, affecting fable; conta, 3d pers. pret. ind. of the r. a. 1. conter, to relate, to narrate, to tell. It is less noble than raconter, and in familiar conversation, en conter à quelqu'un, is to impose upon a person, to make him believe what is not founded in truth; but en conter à une femme, is to pay court to a Lady; and s'en faire conter, to like to be cajoled. Distinguish carefully in writing, though they have the same pronunciation, un Conte, a tale; un Comte, an Earl or Count; and un Compte, an account. The latter, like the English “ computation," comes from the Latin "computare,” which is the reason why the p is retained; but Comte, “ Earl," comes from the Latin “ Comes.” Faire compte de, is “to value.”. The following four lines, written by Voltaire, will impress the difference upon your memory :

“ Leurs fronts sont couronnés de ces fleurs que la Grèce,
Aux champs de Marathon prodiguoit aux vainqueurs ;
C'est là leur diadème, ils ont font plus de compte

Que d'un cercle à fleurons de Marquis et de Comte."
“ Their foreheads are crowned with the flowers which Greece
lavished upon the conquerors in the fields of Marathon : that
is their diadem; they value it more highly than a Marquis's or
Earl's coronet.”

fable, f. The words in able require your particular attention, as there are 15 m, and 6 f. touchant, ante, adj. affecting, moving; but the prep. touchant, which of course is indeclinable, means “ concerning :" it may also be the part. act. of r. a. 1. toucher, to touch, to move, to affect.

à ceux qui blamoient ses douleurs, to those who blamed, who found fault with, bis grief. Douleur, f. is generally used in the sing. for grief, affliction, and in the pl. for pain, smart, suffering. The poët here makes it plural, that it may rhyme, even to the eye, with fleurs, in the fifth line.

onde, f. is a poëtical expression for water; it properly denotes a wave.

L'onde noire, the Styx, a river of hell; passer l'onde noire, to die.


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