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Cornell University Library 
 PC 2271.S39 
 
 Uncle Sam and his nephews In French, or 
 
 3 1924 026 521 868 
 
Cornell University 
 Library 
 
 The original of tiiis book is in 
 tine Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924026521868 
 
[PROF. C. C. SCHAEFFER'S NEW BOOK.] German, 
 
 The Latin, 
 
 System. FRENCH. English, 
 
 French. 
 
 UNCLE SAM AND HIS NEPHEWS, IN FRENCH, 
 
 The FRENCH Verb 
 
 AS TAUGHT WITH THE 
 
 .^^Wanamafeer^ Strawbridgs &i Conarf ' 
 
 SchsmG 
 
 OP 
 
 RETURNING STEM CHANGES 
 
 AS A PASTIME TO 
 
 LITTLE CHILDREN. 
 
 BY 
 
 % 6air^if)Sf0i|elr. 
 
 (For the Children's Publishing Company, "Limited.") 
 
 PHILADELPHIA: 
 CHARLES, BROTHER & CO. 
 
 1885. 
 
COPTKIOHT, 1885, BT C. J. C. SOHAEFPER. 
 
 COIUHS, Peihtee. 
 
PEEFACE. 
 
 EvEBT " Dog" has his Day ; and this is Teachers' Day. 
 
 The rest is "silence" as to character or kind of Contents. Let 
 each one who uses the book find it out for himself and so judge of the 
 fitness of the whole under the purposes of the book as the children 
 have who made, or helped to make the book, and to whom in Love, 
 with a number of Copies for each, it is inscribed. 
 
 The Author. 
 
 Philadeephia, July, 1885. 
 
 (iii) 
 
MAIN CONTENTS. 
 
 FIVE SESSIONS. 
 
 FIEST SESSION". 
 The subject. Incidents. Tenses and Modes. One Tense introduced. 
 
 SECOND SESSION. 
 ' The Work of the Children with the Chart. 
 
 THIRD SESSION. 
 Study on Endings. Classes of Verbs. The Eide through the Sky. 
 
 FOUETH SESSION". 
 Study on Stem-Changes. Eegular and Irregular Verbs. Straight and 
 Jumping Changes. The Fight. 
 
 FIFTH SESSION. 
 The Tenses of all Verbs, Simple and Compound, in full. The Verb com- 
 pleted. The Children's Rewards. New Text, abridged. 
 
 CHAETS. 
 
 Main Chart. The Badges. Teacher's Blackboard Copy of Cut from 
 Chart of Irregular Verbs, containing the Eight Irregular of the 
 Fourteen "Working Verbs, of the Children. Pen and Ink Sketch 
 of Enlarged Copy of Small Main Chart . . . Fol. Charts i-iv 
 
 The Children's Copy Book. Special Chart of the Forms of the Aux- 
 iliaries in the " Wanamaker" Square . . Fol. Charts v-xii 
 
 Children's Copy of Chart of the Irregular Verbs in full Fol. Charts xiii-xxiv 
 
 ADVERTISEMENTS. 
 
 given here as part of the Contents of the Book. 
 
 Lecture — English; Outs — Greek, Latin; Specimen Pages — German, "High 
 School Manual ;" Publications — " The American System ;" Diagram 
 — Explaining System ; Papers — Old, Philadelphia ; Expenses — Public 
 Ledger of System, 
 (iv) 
 
FIRST SESSIOJN'. 
 
 The Subject, Incidents, Tenses, and Modes. One Tense, Introduced. 
 
 Teacher. Willie, do you know how to read ? 
 
 Willie. Yes, sir. 
 
 Te. Do you know how to write ? 
 
 W. Yes, sir. 
 
 Te. Do you want to learn the French verb? 
 
 W. From the Large Chart, down stairs ? 
 
 Te. Yes, Willie. 
 
 W. Yes, sir. 
 
 Te. Anita, Minnie, Nellie, Anna, Stephen, Beulah Dee, do you know 
 how to read and write ? 
 
 Children. Yes, sir. 
 
 Te. Would you like to learn the French verb ? 
 
 Anita. I do not know. 
 
 Te. Why? 
 
 Anita. It is so hard. 
 
 Te. Who says so ? 
 
 Anita. My sisters. 
 
 Te. It used to be so, but thanks to " Wanamaker," it is now made easy. 
 
 Willie. Wanamaker ? 
 
 Te. " Wanamaker" & " Co." 
 
 Willie. Who is the " Co." ? 
 
 Te. I do not know who the " Co." is ordinarily, except Philadelphia ; 
 yet you will presently see who they are. 
 
 Anita. Oh ! if it is not too hard, I should like to learn it. 
 
 Te. It is as. easy now, girl, as rope jumping. 
 
 Willie. And perhaps less tiresome. 
 
 Te. Not tiresome at all ; we let the verbs jump and keep quiet ourselves. 
 
 Anita. Well, then, I should like to learn it. 
 
 Children. And we, too, all. 
 
 Te. Get your copy-books. First page, write : 
 ''French, The Verb." 
 What are verbs ? 
 
 Children. Words which say what we do. 
 
 Te. Then write : Verbs, words of action. Tenses, what are tenses ? 
 
 Ch. Tenses are words that say something when an action is done. 
 
 Te. Write : Tenses are forms of verbs which denote the time of an action. 
 Times : how many kinds of times have we ? 
 
 (5) 
 
? 
 
 _6 — 
 
 Willie. Well, there is past time and future time. Te. Is there not also 
 present time ? Willie. Yes, there is present time, too. Te. In what direc- 
 tion, Willie, lies from you, for you, and so from us, for all of us. Future Time? 
 Willie. Forward. Te. Show me by a motion of the hand, this direction 
 Willie (pointing forward). Te. In what direction from you lies Past Time : 
 Willie. Back, behind. Te. Show me, children, by a movement of the 
 hand, this direction from you, of past time. Children (showing it). Te. 
 Now, here, direction is indicated by movement of the hand, but direction as 
 past or future time, may be indicated not alone by the movement of the hand; 
 it may be indicated by a movement of the voice or accent, and if made so, for 
 the past, and left as a sign or letter, we call it, in Greek, Augment. Wil. Aug- 
 ment, what is that ? Te. A little short syllable of sound, having the accent on 
 it put before the verb when it goes in its meaning from the present into the 
 past ; augment meaning, increase. Wil. That is a very nice way to denote past 
 time. Te. First this movement was made with the voice, then afterwards, 
 when the language was written, it showed as a syllable with the accent on it. 
 And if the verb goes to the Future, a very near future, a future sure and in 
 earnest, then the accent vwshtu forward. Anita. Swinging like a pendulum. 
 Te. Like a pendulum of mind, swinging time, and by the kind of swinging, 
 showing time, in Greek, in speech. A man may say : I shall strike you, 
 meaning at some future time ; then he points with his finger, and in the verb 
 by a letter ; but if he means, I strike you right away, then he points not 
 with his finger, or in the verb with a letter, but in life he doubles up his fist, 
 holding it up to the face of the man he means at some time, but that " some- 
 times" not very far off, to strike, and his voice in the verb, in its energy of 
 accent, and " doubling up" — contracting the word — rushes forward — they 
 call it the Second Future. Wil. Have we anything like it in English ? Te. 
 Of course, we have — we have in English all what the others all, taken to- 
 gether, have — of keys, as meaning of letters, management of words, in 
 sentences, or singly as sounds, accent, or spelling — only abridged, because 
 we have so much — and are always in a hurry— and so here we have the idea 
 of time in a word, but not as an increase, in this case, only as a motion of 
 accent on the word, either backward, or forward. When you get something 
 presented, and the presentation is over, then you call what you got, what ? 
 Gh. A present. Te. But when the party has yet to do it, has to make the 
 presentation or is making it, then you call what he does ? Gh. Present. Te. 
 When a conviction has taken place, then you call the man convicted a con- 
 vict, but when the act is yet doing or to be done, then you call what the jury 
 does or is to do, what ? Gh. To convict. Te. When a place has been left 
 empty, by man and beast, nothing but sand and hot sun, you call it, what? 
 Gh. A desert. Te. But when a man runs away from his family, his wife 
 and children, a thing that happens now by far too often, then you say he 
 does, what? Gh. Deserts. Te. So you see, in each case, the effect or what 
 has taken place, is noted by a motion of the accent backward, and the im- 
 pulse, that is the place of accent showing what is doing or yet to be done 
 
— 7 — 
 
 lies where ? Ch. Forward. Te. Backward and forward on the word, as 
 past, or future, lies backward or forward from you. But if you take not 
 yourself, your own line of action and move the accent backward and forward, 
 according as the motion corresponds to your meaning of past and future, but 
 if you take the line of a word like an arrow, and move the accent backward 
 and forward on it to indicate your meaning, as impulse or effect on this arrow 
 of the word, on what side of that arrow or word lies then the effect, on this 
 side of the word or arrow, the place of the notch, its side towards you, the 
 beginning of the word, or at its other end, the point away from you, forward, 
 the point where the arrow strikes ? Ch. At the other end, forward. Te. 
 And the point of impulse, that is, the point that speeds the arrow or word, 
 the notch, or the start of the word, on what side of the arrow or word lies 
 then that point, backward or forward ? Ch. Backward. Te. Backward, as 
 arrow or word, though still forward, when you hold the arrow or let the word 
 fly, from you. So then you see, on your own line of action, the past or the effect, 
 lies backward, this way (teacher showing), and the impulse, future, lies for- 
 ward (teacher showing), but on the line of an action as word or an arrow, 
 representing a word, the point of effect lies, where? Ch. Forward. Te. 
 And the point of impulse, that is, your point which drives the arrow or 
 word, lies, where ? Ch. Backward ! Te. So when you say, fare-well, and 
 mean "well," to the party you leave or this " well" as effect, then you say, 
 how? Ch. Farewell! 
 
 Te. O queen, farewell, be still possessed 
 
 Of dear remembrance, blessing still and blest. 
 
 But if you were leaving in anger, or describing simply yourself as in leave- 
 taking, with no thought on the well, only a thought on the " leave" — though 
 I wish the first may never happen to you, children, in your young life — 
 Willie. Does it sometimes happen to you. Professor? Professor. It does, 
 it did, yes, it does, sometimes, with people that won't listen to facts, to help 
 their digestion — how do you then or would you then say, farewell, or fare- 
 well ? Children. Farewell ! 
 
 Te. But farewell, king ; since thus thou wilt appear, 
 
 Freedom lives hence, and banishment is here ; 
 
 or, in "Milton :" 
 
 If chance the radiant sun with farewell sweet 
 Extend his ev'ning beam, the fields revive. 
 The birds their notes renew, and bleating herds 
 Attest their joy, that hill and valley ring. 
 
 Or, Shakespeare, again : 
 
 See how the morning opes her golden gates. 
 And takes her farewell of the glorious sun ! 
 
 Willie, rising in his seat : 
 
 Then, farewell, king, since thus thou wilt appear. 
 Freedom lives hence, and banishment is here ! 
 
Anita. 0, I like the other better: Farewell, queen— how does it go. 
 
 7e. O queen, farewell ; be still possest 
 
 Of dear remembrance, blessing still and blest. 
 
 Now, children, if I should leave you, such as you and we all are here 
 working, and being together, how would you likely say ? Oh- Farewell, 
 Professor. Te. And I, how would I surely say? Gh. Farewell, children! 
 Te. So I would, and add, heartily : be still possessed of dear remembrance, 
 blessing still and blessed ! Minnie. What queen was it. Professor ? Te. 
 Not our May Queen, Minnie, of the late Commencement. But, whether 
 this queen or any other, or no queen, this farewell would always be used when 
 parting, with grief at the parting with what is or was, sometimes dear. The 
 former, first, only indifferently, or with the purpose of delight, as leave. 
 Now hear another, from our great master, in these things, of language, 
 Shakespeare, the two in two lines that follow each other close together ; so 
 you can compare, what he discriminated and separated already for you in 
 King Henry the Eighth : 
 So, farewell to the little good you bear me. 
 
 (" Little good" are words quoted from the words just spoken by an enemy ; 
 and then, the next line :) 
 
 Farewell ! a long farewell to all my greatness ! 
 
 And Shakespeare was perhaps drunk when he wrote this with needs of 
 metre, these needs pushing him this way and that way — as the commentators 
 seem to be with rules, which being rules of their own, are not rules of the 
 language. Minnie. Who was Shakespeare ? Te. A thunderbolt, an earth- 
 quake of a poet ; a clown for the clownish, but a mouthpiece, as art, of the 
 Lord, to please and, if it need be, to shake a world. Beware of its shocks ! 
 But if, before parting, I gave you a lesson, simply expressing by its number 
 or kind as lesson, a " parting," what would you call such a lesson then ? Gh. 
 A farewell lesson. Te. Now to our present. The Future, as we have seen 
 on our line^ lies forward, the past back ; now, then, children, what lies as 
 time with us? Gh. The present. Te. And how would we denote that? 
 would we not, by a gentle motion of the hand downward, towards the place 
 where we stand so as to say : Here we are and here is the action ; what line 
 would then denote the present ? Gh. A line downward. Te. Now, to your 
 copy-books ; write : " Times," and beneath it mark by arrows, the directions, 
 as past, future, present. Ghildren (writing). 
 
 " Times." 
 Past. Future. 
 
 < , ^> 
 
 Pre sent. 
 
 V 
 
 Te. (examining books). Why have you made, all, the arrow of the past, 
 going to the left, and that of the future, to the right? Gh. We don't know. 
 
— 9 — 
 
 Te. Because life go&s from the left, to the right, from the heart, on the left 
 side of the body, to the right ; the hand that follows executes the commands 
 of the heart. Minnie. Then you would not like us to write with the left 
 hand ? Te. No, children, I would not like you to write or do any heavy 
 work with the left hand, so long as you have the use of the right. Now, 
 write your tenses, first : 
 
 Future. 
 
 English : I shall - - (eat, drink, sleep). 
 
 French, as ending : — rai. 
 
 Ghildren (writing). Te. This — rai as ending, is simply put on the stem 
 or the trunk of the verb, that is, that part, which remains, in the main, un- 
 changed, no matter how many branches or twigs, of endings and end letters 
 are either put on the first time or exchanged for others, according as the 
 meaning of the verb changes as to tense, person, number, mood ; what is 
 mood ? Stephen (after some time). The way I feel. Te. And that as a form 
 of expression is exactly the mood or Mode, in the verb, the way you feel in 
 using the verb as a statement of a fact, or wish, or command, or speaking its 
 name, or lastly, conceiving it as a quality that is, this latter, in general, a 
 form of expression stating by a special kind of word, how or what a per- 
 son or thing is, and in the case of a verb, how a person or thing is or ap- 
 pears by either doing the action expressed by the verb, or by being done 
 and rendered by such an action, for instance, singing, speaking, torn, 
 broken, as, Willie is speaking, the birds are singing, the houses, and this 
 is now the fashion, are tumbling, or, the vessel is broken, the books are 
 torn, these latter then being understood as passive in that form, the others 
 active. This form of speaking a quality through the form of a verb, we call 
 Participle, and the one, the active, expressing the doing, is the Present Par- 
 ticiple, the other, the passive, the being done, the Past Participle. The kind 
 of words themselves, expressing quality, we call Adjectives, and the verb in 
 this form of the Participle, is then a kind of Adjective ; and so, in French, 
 by ending treated as if it was one. The name of the Verb is the Infinitive, 
 that form which reads, to eat, to drink, to strike, to sing, to sleep, to fall, or, 
 when passive, to be eaten, to be struck. It does not say, who does or suffers 
 what is mentioned, it simply states the fact, the name, the kind of action. 
 And the difference between the active and the passive, called as such, voice, 
 may go through all the tenses and moods, as : I strike, am being struck, I 
 shall strike, I shall be struck — this as Indicative, meaning : sure, or : I may 
 strike, or may be struck, this, making it supposed or doubtful, or expression 
 may be merely given to the power to strike, this, then, called Potential; and 
 this, when a condition is mentioned, may also be called Conditional, and 
 which, when a verb is merely subjoined in its use, a servant, to another, may 
 be called Subjunctive. In: I did not expect that I would see him here, the 
 "expect" is the master, and the " would see him," the servant, a kind of 
 dependence which shows in English more strongly when you use " if." : If it 
 rain, I shall not come. 
 
_10_ 
 
 'J"he root of a verb or word is, properly speaking, that original part or 
 form which is hidden in the depth of language, hardly seen by us, as the 
 root is of a tree in the ground, and from, which the tree takes its life, as 
 trunk or stem, in its branches and foliage. And so the word as we use it 
 sprang in the same way, from a root, which learned men hunt up ; though 
 often in Grammars, root is used instead of stem. In lovedst, lovest, to love, 
 loving, the " lov" is the stem, because it is in all the words. In Verbs, not alone 
 in French, but in verbs in general, you find the stem by cutting off the end- 
 ing of the Present Infinitive, for instance, in AIM-er, to love, -er is the end- 
 ing of the Present Infinitive, and cutting this off, leaves here AIM- as the 
 stem ; and to the stem of verbs, so found, as a rule, you attach the different 
 endings, except you see, on our charts, given with the verb, direction to 
 change the stem for a given tense, mood, and person. These changes of a 
 verb, all, you find on our charts, with directions by position, that is mode of 
 writing the change, above or below the verb, or signs and colors, as to the 
 particular tense, mode, or person to which the change applies. In the case 
 of the Future, you find the change, if a change occurs, always immediately 
 above the Verb ; and if the old stem is to be used with the change, then you 
 find only the letter or letters of change noted and a dash before it, this dash 
 meaning the old stem to be used with the change ; if the old stem is to be 
 left out and only the change be used, then you find no dash before the change. 
 Example, if you see 
 
 -e- 
 AIM-er, 
 first, to what tense is this change of an addition of the letter -e- by its posi- 
 tion from what I said, understood to apply ? Ch. To the Future Tense. Te. 
 And what is the full new stem ? Gh. AIM-e-. Te. And what is the full 
 form then, of AIM-er, in the Future? Oh. AIM-e-rai. Te. But if you see : 
 
 au- 
 
 AV- 
 
 what is now the new stem for the Future ? Oh. au-. Te. Now give me the 
 
 Future in both these verbs; the notation immediately above the verb, means 
 
 " Future stem" — and the ending we have had already. Ch. (spelling.) 
 
 AIM-e-rai, 
 au- rai. 
 
 Te. What these verbs mean, we shall presently see. Now repeat what 
 
 you wrote, with addition of the line : Future stem change — if occurring 
 
 immediately above the Verb. 
 
 Gh. (writing.) Future Tense. 
 
 English: I shall - - (eat, drink, sleep). 
 French, as ending : -rai. 
 
 (Future stem change, if a change of stem occurs for the Future, immedi- 
 ately above the verb.) 
 
 Te. Now, children, the charts that we use, are the large chart, down stairs 
 
— 11 — 
 
 which contains all about the Verb and a few verbs — and this chart here, 
 called the Chart of the Irregular Verbs, containing all the verbs of that kind. 
 There is also a cut from the Chart of the Irregular Verbs, the last eight, given 
 in the order of the a b c as they stand on the chart, which we shall work in 
 full — and knowing how to work them, we will know how to work all the rest, 
 the cut being handier for your work than the chart itself. I also shall make you 
 for next time a blackboard drawing in colored chalk, of these last eight verbs, 
 so that you can see them any way, looking down or up as it may best suit you. 
 The English is given with them and they are, some of them, the very worst, 
 that is, most irregular, of the French Language. The English of the verbs of 
 the Large Chart, however, I must give you, as it is not on that Cliart. It is, 
 in the order of these Verbs : to love, to finish, to owe, to sell, to have, to be. 
 These last two, we call the Auxiliary, that is, helping, Verbs, because they help 
 in French, as the same verbs do in English, to make forms of other verbs. 
 Now let us go down, the next time and make the inner cut with the French 
 verb. Gh. What does this mean. Professor ? Te. It means : driving the 
 horse around the circle whilst holding it quietly by the bridle from the centre. 
 "Would you rather make the outer circle and run with the horse? they do this 
 in schools. Anita. But you cannot whip the horse. Te. My horses, that 
 is, verbs, need no whipping, they are too glad to be on their own natural legs, 
 not those of the schoolmaster — they need no whipping. They are free, chil- 
 dren, and like as free, to run, for their own sakes and the children's. 
 
 SECOJNTD SESSION 
 
 The Work of the Children with the Chart. 
 
 Te. Now, children, write the Future Tense of the six Verbs on the large 
 chart, two more of the Irregular Verbs, and then six more, of the last verbs 
 of the chart of the Irregular Verbs, commencing, with these, to write the list 
 from the bottom, working upwards. Willie. I guess, Pi-ofessor, you do so in 
 our case, or, with us — . Professor. Exactly, Willie ; everybody can teach, 
 that is, make a pretension to teach, big boys and girls ; but with little ones, 
 there is no show of teaching possible. They want substance. Now, write first 
 the name in English of these 14 verbs, in a first column, then the Future of 
 these 14 verbs in English : I shall love, I shall finish, etc., in a second column, 
 then the ending -rai once for all the verbs, in t\iQ fourth aoXnian, on the right 
 side, and then, the stem, as it is in the Infinitive, or as you may see it changed 
 on your charts, in a third column, or the column before the ending, thus 
 (showing on blackboard) : 
 
 to love 1 I shall love | aim-e- ] rai. 
 
 Then we will read what you wrote. Willie. We don't know how to read 
 French. Te. I help you ; first write. Ch. (writing.) Te. The I of the I 
 shall, you put in parenthesis because we have not yet the word which cor- 
 
_12 — 
 
 aim-e- 
 
 fin-i- 
 
 dev- 
 
 vend- 
 
 au- 
 
 se- 
 
 voud- 
 
 ver- 
 
 viv- 
 
 vet-i- 
 
 viend- 
 
 vaud- 
 
 vainc- 
 
 trai- 
 
 responds to it in French. Gh. (writing, from charts, Large Chart, and 
 "cut.") 
 • Copy of children's writing as seen when finished : 
 
 Future Tense. 
 
 to love (I) shall love 
 
 to finish (I) shall finish 
 
 to owe (I) shall owe 
 
 to sell (I) shall sell 
 
 to have (I) shiall have 
 
 to be (I) shall be 
 
 to be willing (I) shall be willing 
 
 to see (I) shall see 
 
 Six more words, Irregular Verbs. 
 
 to live (I) shall live 
 
 to clothe (I) shall clothe 
 
 to come (I) shall come 
 
 to be worth (I) shall be worth 
 
 to conquer (I) shall conquer 
 
 to milk (I) shall milk 
 
 Te. Now show me on our Large Chart where there is that Future ending 
 -rai. Wil. Here, I see it on top — F. that means Future : rai. Can I scrib- 
 ble the Future -rai from this, on the inside of the cover of my copybook ? 
 there may be more of it. Te. You can, Willie, but they all come from this 
 chart, and you have it here, with your AIM-e-rai. Wil. But I think I have 
 them better also put separate, as theyare on this our Large Chart. Te. These 
 endings form also a part of our large printed chart of the Irregular Verbs. You 
 can, you see, have them from anywhere : you have them now here, on our 
 Large Chart, you scribble them now in your copybook and have them on 
 your printed chart of Irregular Verbs. As you use these endings always in 
 all verbs, you cannot see them too often. 
 
 The sign over the French of to clothe, children, is an accent, circumflex, 
 making the sound of the letter over which it stands, long and broad. It is 
 in fact a tombstone placed over a buried letter. Willie. What letter. Pro- 
 fessor ? I'e. The s, here ; you see this from your English which, as the same 
 word, or rather a word derived from the same Latin word, has the s — vest, 
 vestment. I will now read you these verbs you wrote in French, and you 
 repeat (teacher reading, children repeating). Now next step : One Verb, 
 Future Tense, complete in Person and Numbers, I, thou, he, etc. Write the 
 Future in English, of the verb : to love, I shall love, thou wilt love, etc., in 
 the Singular and the Plural, putting these down with 1, 2, 3 for the Persons, 
 as a first column ; then, opposite, to the right, in a third column, put down 
 the endings, in French, now as I give them, afterwards you find these things 
 yourself, from the Chart, and before the endings, in the second column put 
 the stem of that one verb, to love, in French. Inclose again your : I, thou, 
 he, etc., in parenthesis. Gh. (writing): 
 
— 13 — 
 
 One Verb Future Tense complete in Person and Numbers. 
 Singular 1. (I) shall love aim-e- rai 
 
 2. (thou) wilt love " ra'-s 
 
 3. (he, she, it) will love " ra 
 Plural 1. (we) shall love " ron-s 
 
 2. (you) will love " re-z 
 
 3. (they) will love " ron-t 
 
 Te. The letters'you see on the right side with the endings, separated from 
 them, are silent end letters which you see, but you do not hear them in pro- 
 nunciation. I call these silent end letters, " spelling-letters, " or simply the 
 " spelling" of those endings and the list of such " spelling" for all verbs and 
 tenses is nearly the same as the above. Where on a chart you see no dash 
 after an ending, there is no silent end letter for this ending in all verbs. The 
 silent end letters in full, as they commonly occur, I will give you, from this 
 chart. They are, in the order of Persons and Numbers, as follows : Singu- 
 lar, s, s, t ; Plur., s, z, ent. The Future then, as you see, offers an excep- 
 tion from a form of silent end letters or " spelling," it having in the 3 Plur. 
 only a t instead of ent. And this in the Future of all verbs. "Who can show 
 me these spelling letters, Sing., s, s, t, etc., on our Large Chart? Steph. I 
 see them, here under the gold line, " Sp" spelling, S, that means Singular, 
 s, s, t. Te. But where is the Plural ? Steph. Here in the corner, "PL," 
 that means Plural, s, z — What is that D, s, with it ? Te. That means a 
 certain tense, called D^fini, a tense similar in meaning to the Past Tense, 
 Imperfect — has in the 2d Plural s. Then, finish your Plur. Steph. Plural, 
 s, z, (D^fini s), ent. Gh. Can we find that also on the printed chart of the 
 Irregular Verbs? Te. Of course you can, under the head " Spelling," a left 
 and right column. Wil. Can I scribble them, too, in my copybook ? Te. 
 Of course, Willie, anything of that kind ; what you scribble or write your- 
 self will better stick in mind. So, go ahead. But write small ; you will 
 have your page full when you want to copy our Large 'Chart, before you are 
 aware of it. Now I will read, first these Endings, of the Future, then the 
 whole of the forms, each in French, and you repeat, each time, after me, 
 looking at the words. Te. (reading, children repeating.) Now we must 
 have the Pronouns, I, thou, he, etc., for these forms, in French. Next step: 
 Pronouns. The Pronouns of these Verbs, and all Verbs, and Tenses, in 
 Singular and Plural, in French. Write first your Pronouns in English, then 
 opposite the French as I give it. Ohil. (writing.) The French has no neuter. 
 
 The Pronouns of the Verbs, in French. 
 
 Singular 1. 
 
 2. 
 
 3. 
 
 Plur. ]. 
 
 I 
 
 thou 
 
 he, she, it 
 
 we 
 
 je 
 
 tu 
 
 il, elle (no neuter) 
 
 nous 
 
 2. 
 
 3. 
 
 you 
 they 
 
 vous 
 
 ils, elles (feminine) 
 
— 14 — 
 
 Te. Now read the French, after me (reading, children repeating). 
 When the je comes before a vowel, the e is dropped, and an apostrophe | 
 used in its stead. The j' is then read with the word that has that vowel. 
 Now give us your Future of "to love," in French, in full, with Pronouns 
 and Endings. Make it yourself, commencing with Sing.l, I shall love, and 
 divide between Pronouns, and Stem, and Ending, and in case of the 
 " Spelling," as before, use a dash, heading your writing thus : 
 One Tense, the Future Tense, in one Verb, with Pronouns in French, and 
 
 Endings in full. 
 
 Children (writing, and heading, as above). 
 
 Sing. 1. I shall love 
 
 2. thou wilt love 
 
 3. he, she, it will love 
 Plur. 1. we shall love 
 
 2. you will love 
 8. they will love 
 
 Te. Now I will read the whole in French, you repeat. (Teacher reading, 
 children repeating). Now, children, we have to prepare to get ready for a 
 balloon ; the field extends and we see better when we look downward or see 
 it from above. 
 
 Write first your Future in AIM-er, as you had it the last time in all per- 
 sons, with the Pronouns in French and English in full, but with the Present 
 Infinitive or the name of the verb, in French and English added. You find 
 the Infinitives or the name of the verb, on the Charts. As the columns are 
 numerous, here is the scale for your columns. You write these. Infinitive, 
 Future, Pronouns, etc., first in AIM-er, then in all the Verbs. What ap- 
 plies to all Verbs, as the Pronouns, and the Endings, here as of the Future, 
 you write but once for all the Verbs. I will show you how to make these, 
 when you have written them, for that one verb, AIM-er, apply to all. Now, 
 then, first the Future, with Pronouns and Endings, and Infinitives in full, in 
 one Verb, AIM-er, butTnake the heading in full for all the Verbs : 
 
 j' 
 
 aim-e- 
 
 rai 
 
 tu 
 
 
 ra-s 
 
 il, elle 
 
 
 ra 
 
 nous 
 
 
 ron-s 
 
 vous 
 
 
 re-z 
 
 ils, elles 
 
 
 ron-t 
 
— 10- 
 
 One Tense, the Future Tense, in all the Verhs, with Pronouns, in French and 
 
 English, in full; and the name of the Verb, as Present 
 
 Infinitive, in French and English, added. 
 
 This is quite a story. Now go at it, follow the scale. Children (writing). 
 Te. Divide the English and French by a double line, and the Infinitives from 
 the rest by a strong line. Over the " 1 shall" write : " for every Future in 
 English ;" over the je, " for all Verbs ;" and over the endings in French, 
 write : " for every Future in French." Children (writing) : 
 
 
 
 For every Fu- 
 ture in English. 
 
 
 For all 
 verbs. 
 
 
 For every , 
 Future in 
 French. 
 
 to love 
 
 aim-er 
 
 I shall, thou 
 wilt,he,she, 
 it will, we 
 shall, you 
 will,- they 
 will 
 
 love 
 
 il, elle, 
 
 DOUS, 
 
 vous, ils, 
 elles 
 
 aim-e- 
 
 rai, ra-s 
 ra, 
 ron-s 
 re-z, 
 ron-t 
 
 Te. Now make a brace under the contents of the filled up columns and 
 dots of repetition under it ; this will make the contents apply to all verbs. 
 In the Verbs from the Charts, you have to watch now both, the Infinitive 
 and the Future Stem. 
 
 Children ( 
 
 writing). ^ 
 
 Y 
 
 
 Y 
 
 »- 
 
 V 
 
 to finish 
 
 fin-ir 
 
 (( 
 
 finish 
 
 
 fin-i- 
 
 
 to owe 
 
 dev-oir 
 
 tt 
 
 owe 
 
 
 dev- 
 
 
 to sell 
 
 vend-re 
 
 (( 
 
 sell 
 
 
 vend- 
 
 
 to have 
 
 av-oir 
 
 It 
 
 have 
 
 
 au- 
 
 
 to be 
 
 li^re 
 
 tt 
 
 be 
 
 
 se- 
 
 
 to be willing 
 
 voul-oir 
 
 it 
 
 be willing 
 
 
 voud- 
 
 
 to see 
 
 v-oir 
 
 (( 
 
 see 
 
 
 ver- 
 
 
 to live 
 
 viv-re 
 
 " 
 
 live 
 
 
 viv- 
 
 
 to clothe 
 
 v6t-ir 
 
 £( 
 
 clothe 
 
 
 vgti- 
 
 
 to come 
 
 ven-ir 
 
 tt 
 
 come 
 
 
 viend- 
 
 
 to be worth 
 
 val-oir 
 
 ti 
 
 be worth 
 
 
 vaud- 
 
 
 to conquer 
 
 vainc-re 
 
 tt 
 
 conquer 
 
 
 vainc- 
 
 
 to milk 
 
 trai-re 
 
 tt 
 
 milk 
 
 
 trai- 
 
 
 Te. (examining books.) Stephen, you have forgotten circumflex in et-re. 
 Willie, you forgot the i in the stem-change of vet-ir, vet-i- (rai). Anna, 
 you forgot dash aftei^ stem-change in aim-e- (rai) ; the leaving away of the 
 dash would make it in the column appear as a toII form, we want to provide 
 for the addition of the -rai or any other of those endings of the Future. 
 Now, children, read to me the Future of one verb of your list, the AIM-er 
 with the Infinitives, and the Future in the persons and numbers, with the Pro- 
 nouns in French and English, and the Endings ; repeating the " love" and 
 " aim-e-" each time with a person. You can read the Future, first, all in 
 English alone, and then so the French, or you can read one person at the 
 time with the Pronouns in both English and French. We better, perhaps, 
 try both ways, first the Future all alone in English, and then the French ; 
 
— 16 — 
 
 and after that, reading one person at a time in English and French ; giving 
 the Infinitive, of course, but once. Children (reading, both these ways). Te. 
 Now we will take up reading, the same way, the other verbs. Mm. Oh, 
 Professor, that would take all afternoon ; and I have to go to Wanamaker's. 
 Te. We have to go to " Wanamaker's" too, not to-day, Minnie, but day 
 after next. But we do not need read them all, we read only some of them. 
 Willie, read voul-oir, to be willing, Future in French, all persons. Willie 
 (reading). Te. Anna, read val-oir, in French, Future, all persons. Anna 
 (reading). Te. Stephen, read etre, to be, same way. St. (reading.) Te. 
 Anita, Nellie, Minnie, take vainc-re, to conquer. Oh. (reading.) Te. Now, 
 for next time, learn them all by heart. Oh. Oh, Professor! Te. I am sure 
 you know them now already, from your practice ; perhaps you might stumble 
 on the Infinitives in French. Willie, give me vet-ir in French, by heart, I 
 shall clothe, all through, leave the Pronouns away, the first time. Will. 
 Vet-i-rai, vet-i-ra-s-. Te. How do you spell vetiras ? Willie (saying it and 
 completing Tense). Te. Now add Pronouns : Je vetirai-. Willie (saying ; 
 other children promiscuously taking other verbs, in the same way, first with- 
 out Pronouns, then with them). Te. What is the sound of ai, ou, on, au in 
 French, children? Children (practising sounds). Te. Oi is like wha in 
 what. What does v, ou, 1, oi, r sound ? what v, oi, r? what v, ou, d, r, ai ? 
 Oh. (answering, practising.) Te. Don't forget when you learn the page, to 
 learn what each Verb means in English. Know it, or the most of it already? 
 Nellie, what is serai ? Nellie. I shall be ? Te. Anna, what is finirai ? Anna. 
 1 shall finish. Te. Stephen, what is vetirai ? Stephen. I shall clothe. Te. 
 Who knows what is vivrez ? Children. To live ? Te. I did not say vivr', I 
 said vivrez? Oh. You will live. Te. Yes, you will live, children! that is 
 true. Now, you are six, take, each one, for to-morrow as a specialty, one 
 person of each verb. Nellie, 1st Sing. ; Anna, 2d ; Minnie, 3d ; Willie, Ist 
 PI. ; Anita, 2d Plur. ; Steph., 3d Plur. ; but you are at the same time all, 
 each, ready for the rest. And keep your eye on your copybooks, that page 
 of to-day with the Endings of the Infinitive. It is now almost as large as 
 France, that is, the principles which it shows are first mainly those of France. 
 To-morrow we meet in the Balloon. Min. Will it not run off with us ? Te. 
 Did I not say I would be at " Wanamaker's" day after next ? How could I 
 be there if we were run ojff ? Besides, we are bound for the fracas of — the 
 schools. Oh. What schools ? Te. All schools that don't believe in " Wan- 
 amaker" or " Wanamaker" i&"Co." Min. Will it hurt the children? Te. 
 Only bricks — blowing up prisons, Minnie — it will give the children room to 
 live in schools, and to breathe. Min. Do we take our Large Chart with us? 
 Te. No, Minnie, only our copybooks. Their contents are nearly as large 
 already as all France, and soon I expect will be seen to extend to the size of 
 both Europe and America. 
 
THIRD SESSION. 
 
 STUDY ON ENDINGS. 
 
 Classes of Verbs. — The Eide Theotjgh the Sky. 
 
 In the Balloon. 
 
 Te. Now, cMldren, to over page. You saw tlie endings of the In- 
 finitive. You saw, all Infinitives liad certain endings, tliat is, an 
 addition, each, to the stem of the verb, which constituted with the 
 stem the name of the verb as in English the use of the " to,'.' with, for 
 instance, the " love," constitutes the name of that verb as " to love.^ 
 Now compare these endings, with each other. Give me some : 
 
 Willie. Some verbs have — I see, one, has -er. 
 
 Anita. One or several have -ir. 
 
 Te. Let each child in turn, take one verb, in the order of the 
 chart or charts, and see what ending it has ; Stephen^ 
 
 iSteph. Aim -er, has -er. 
 
 Beulah Dee. Fin -ir, has -ir. 
 
 Anita. Dev -oir has -oir. 
 
 Min. Vend -re has -re. 
 
 le. Anna, next ; answer fi:om Large Chart. 
 
 Anna. Av- has — ' 
 
 Te. "What ? Don't you see the " 3," so it goes here like 3, dev 
 -oir. 
 
 Anna. Av-oir has^again, -oir. ' 
 
 Te. Nellie, next ; look at the chart. 
 
 Nellie. Et -4, §t- re has again -re, it goes like 4, vend- re. 
 
 Te. Look at all the other verbs in your book, and see whether you 
 find any ending in the Infinitive but what we had. 
 
 Gh . There are none. 
 
 Te, All have either — 
 
 Gh. -er, -ir, -oir, or -re. 
 
 Te. This difference in the endings of verbs in the Present Infini- 
 tive, chiefly fixes their class. We divide the verbs in four classes, 
 according to the four different kinds of endings in the Present 
 
18 
 
 tion, those that have -ir, the second ; those that have -oir, the third; 
 those that have -re, the fourth. All verbs must in the Infinitive 
 Present, have one of these endings, -er, -ir, -oir, and -re. How many 
 classes ? 
 
 Ch. Four. 
 
 Te. There are some other features of verbs, of a class, m which, 
 one class may differ from another, but they don't run through the 
 classes as features of difference, and cannot mark the classes,^ as 
 streets that don't run through cannot count, in a city, in numberin_g 
 the squares. They are skipped, and so we have to skip these features 
 here, when marking classes, because they do not run through. This 
 difference of the Infinitive, however, is a broad avenue that runs as 
 such through all the verbs. 
 
 All classes differ in the Infinitive. And there are four, and 
 again, what are the endings ? 
 
 Gh. First Class, -er. Second Class, -ir. Third Class, -oir. Fourth 
 Class, -re. 
 
 Wil. But why have they these four classes in French ; why have 
 they not only one ? 
 
 Te. (Eising and drawing knife), The answer to this is not on earth, 
 so we have to get it from elsewhere ! 
 
 Willie, you are almost too small, to ask that question, but you 
 are not too small in this, for me, nor is the question too big not to 
 answer it, when asked. It betokens a good scholar in the future, to 
 ask this question. (Cutting the rope that had held the balloon 
 floating.) 
 
 Ch. (Frightened), Ah, Professor, where are we going to ! 
 
 Te. To, towards the stars, the foundations of earth in the heavens, 
 the eternal principles that founded the earth, and language and lan- 
 guages. The French, first, have the four classes not, that I shall say, 
 because, but I will say they have the division in number, as the 
 Romans had them. I will explain here, in Latin. 
 
 Min. How that car rocks and shakes. WiU it ever bring us 
 back? 
 
 Te. Never mind, it shoots at the rate of a thousand miles a min- 
 ute and second, and, as of mind, is under perfect control. , 
 
 Do you see that glimmer, of Rome ? That is where we float 
 over. 
 
 Gh. Eome, in Italy ? 
 
 Te. Yes, children, we travel rapidly. Now hear ! The world is 
 made of us and things or persons around us, and a verb may put its fiu' 
 ger either on the things or persons where the action goes to or to us or 
 things or persons where the action comes from, to explain its mean. 
 
19 
 
 ing. I -will sliow by the word " teaching." Does it not take mind, 
 and planning and thouglit, to teach, in the Educator ? 
 
 Ch. Of course, it does ; a good deal. 
 
 Te. But, is that enough ? Has he not to stand before the boys or 
 girls to talk to them ? 
 
 Min. Of course, he has. 
 
 Te. But is that enough ? Has he not to set the boys and girls to 
 work bringing his teaching that is, talking, in contact -with them, 
 making it their own work ? 
 
 Ch. Of course he has, otherwise there is no work. 
 
 Te. And when he. has been teaching, in these different kinds of 
 ways, first as his teaching, that is, the thinking over teaching 
 by himself, the talking to them, then setting them to work, have 
 not the boys or girls to show an effect of such teaching as a new 
 state of their own, conveyed to them by the former state and actions 
 of the teacher himself, as educator, teacher proper, instructor ? 
 
 Anna. Of course, they have ; otherwise it could not properly be 
 said that they were taught. 
 
 Te. Now, if a verb puts its finger on the effect, here of teaching, 
 as the new state of the boys or girls taught and so rendered erudite 
 whilst before they were crude, to explain its meaning as teaching, 
 such a verb, here a verb expressing teaching as effect, would be ^ 
 verb of the fourth class, of effect left. "Would it not? 
 
 Nellie. Clearly. 
 
 Te. But if the verb puts its finger on the third class of work with 
 the boys, the contact in instruction such a verb, as teaching, 
 would be of the third class. Would it not ? 
 
 Ch. Clearly. 
 
 Te. And a verb putting its finger on the talking, of the teacher to 
 the children, to explain its meaning as teaching, such a verb would 
 be of the second class. Would it not ? 
 
 Ch. It would. 
 
 Te. And a verb that puts its finger on the educator to explain its 
 meaning as teaching, as acts of thought, and planning of teaching, 
 and application by the teacher, of methods to his own thought tp 
 choose fi-om and so to select when his teaching comes to the other 
 stages, of talking to the boys or girls, and setting them to work, 
 and leave effects, such a word or verb would be a verb of the first 
 class, explaining this part of the whole process or idea of teaching, 
 as its meaning, not as a motion towards the boys and girls, or con- 
 tact with them in work, or effect left, but impulse as we call it, 
 though the act itself may and must be intended for the benefit of 
 the boys ; but the finger of the verb is only on that part of the 
 
20 
 
 whole work or idea of teaching as represeijted by the educator. 
 And the first two phases or parts of the idea of teaching in general, 
 you see on the side of the teacher, the last two on the side of the 
 boys, phases meaning changes gradually to bring a thing from its 
 state of thing as a part to its state of thing as a whole, like the 
 phases, that is, stations in these changes of the moon. I wiU 
 choose another e^mple. You can raise the hand lor yourself 
 to give a sign; you can move, now, the hand, as before you 
 moved the mind, to or towards a person or thing ; you can come on 
 purpose in contact with persons or things as contact or stroke in- 
 tended; and you can leave effects as a new state on man, things or 
 beasts, as of being struck, stunned, fortified, fenced in ; and, even, 
 you can feel such an effect yourself when hearing in which you are 
 entirely passive, and express this passive state of yourself by a verb, 
 the verb to hear. Now such verbs intending to express their mean- 
 ings as these successive stages of some general idea of action, would 
 then again be verbs of the four different classes, that is, verbs of im- 
 pulse, motion, contact, or effect left; here in the form of "to 
 strike " or as movements of the hand, as before we had them as 
 movements of mind in " teaching;" and the first two kinds of actions 
 we see again on the side of the actor, the last two, on the side of the 
 thing or person acted upon, or to use now terms, the first two, as 
 phases or features of subject notation, the last two as phases or 
 features of object notation. All actions must however be actions of 
 the character of one of those classes, they being the only forms of 
 relation between subject and object in action, that is, the only forms 
 in which a subject, or actor, can act upon an object, the thing 
 or person acted upon. And that phase or class of action in general or 
 idea of action where an action stops with its intent and meaning, 
 fixes the character of that^ action, as an action of the character of 
 that class. So here, in teaching, either as subject, the teacher and 
 then as either teacher by himself, educator, or motion towards the 
 boys, or as object and then as either contact of work with the boys, 
 or effect left, on the boys and girls. To set to work boys or girls, in 
 teaching, is what stage or phase, children ? 
 
 Gh. The third. 
 
 Te. To talk to children, in teaching, is what stage 7 
 
 Ch. The second. 
 
 Te. So, the actions to talk as teaching, and to set to work as teach- 
 ing, are actions of what classes? 
 
 Gh. Of the second and the third classes. 
 
 Te. And a verb expressing the meaning of any of these classes 
 as its meaning, would then, as far as its action goes, be a verb of 
 
21 
 
 these classes. And in all actions, of whatever kind, you have to 
 leave off at one cf these stages, as, if you traveled by the Pennsylv., 
 E. E. from Philad. to New York, and it was the only line, you 
 have to leave off at one of its stages, called* stations, and if these 
 places meant something and it was intended to change the places ac- 
 cording to their meaning, as peace, to unrest, and the stations par- 
 took of the character of the places according as they are nearer 
 either to Philadelphia or New York, then the stage yon would leave off; 
 would show your intent as one being nearer either to peace or un-, 
 rest, Philadelphia or Hell-Gate, I mean New York, and this, in 
 travel, as either a thought of or preparation for the gate, and the gate 
 is in your head already the moment you think of travel, at home, or 
 a motion towards it, or a contact with it, or, as effect that is, the gate,, 
 left on you, and a bad, run-away boy will be punished by his father, 
 if not by the police, according as the running-away to New York, is 
 found and discovered, either as the thought and preparation of run- 
 ning away, at home, or as motion, at the depot, or contact, with New 
 York, or effect lefb, as New York upon him — which latter would 
 be a hard case, as he would likely then again run away from the 
 punishment — and a killing is judged and punished by law accord- 
 ing as it was found either as a third phase, of intent, to hit, or, a 
 
 fourth, to slay and these actions as stages of the idea of travel, 
 
 of running away, or killing, may be made either all at once as on a 
 through line of action, or as actions at different stages of time, the 
 first time the bad boy thinks and prepares for the running, the 
 second time or day — ^bundling of his courage — he goes to the depot 
 — the third time he goes as far as Jersey City, but goes back — con- 
 science-struck — but the last time — well — then he is gone — each 
 time the same idea of action, as " a running away," though each 
 time different actions, or actions of different character, as run- 
 ning, either as impulse, motion, contact, or effect left. All 
 stages you pass in an action, are merely phases of that action 
 in which the motion of action stops, as, to move the hand, is a phase 
 in the action to hit, whilst all phases may become actions if intended 
 so as the stopping place, in the impulse at the start. 
 
 Wil. Have we anything like these classes. Professor, in English ? 
 
 Te. Classes of run-away or of running away, of boys, and killing, 
 as by accident or intent ? Plenty of it, Willie, in America. 
 
 Wil. I mean classes of verbs. 
 
 Prof. Not so distinctly marked as classes of verbs, though dis- 
 tinctly marked by us as classes of actions, and so, sometimes, as the 
 name of an action in a verb. Stand up, Willie, in the car, and show 
 me by motions of your hand, the classes of actions as in English . 
 
22 
 
 It will not tip over, the car ; it lias borne stronger shakes than you 
 can give when rising now, when it tore through the clouds, along 
 precipices and cliffs, in examination, of doubts of the subject— now 
 we are above them. 
 
 Wil. How high, how high are we ? 
 
 Te. A hundred thousand feet (aside : I make this remark for the 
 idiots of the papers; so that they can think they can say something 
 sensible about the book by remarking that children or any beings 
 could not live or breathe at such a height ; there was even no atmos- 
 phere to bear the balloon, forgetting that my children with me hve 
 at any height ot thought, and that the lifting power is the soul that 
 goes as easy to the sun and beyond it as their tipsy bodies go to 
 the grogshop ; easier, at least more steady.) 
 
 Now show me, by motions of your hand, the meaning of each 
 of those four phases of stations here of this " to teach " in its general 
 meaning, corresponding as motions exactly with any other four mo- 
 tions that might be made with verbs going from the subject to the 
 object, or if the verb does not go the fall length, go as far as the 
 verb goes — as a "to hit," or "to slay," or, here, " to teach so as to 
 talk," or, " to instruct in contact," or any other way — 
 
 Wil. (Rising), Mind ye, boys — 
 
 Anita. There are no boys here, only one whom you could mean. 
 
 Wil. Oh, I mean the others, dowa stairs, that is down on the 
 earth, the little ones, or myself included : I teach you, am your 
 teacher, educator — (pointing to himself). 
 
 Te. Go on, we want to see something of you in reference to the 
 boys. 
 
 Wil. (Propping himself in a posture of address). Now, I teach 
 you, talk to you as teacher — (motion of address, with hand towards 
 supposed pupils). That is all subject-notation, describing me, or 
 teaching, as my work — Cleaving it to the boys to do the rest. 
 
 Te. But suppose the boys won't mind you ? 
 
 Wil. That is just the third phase, of contact that we come to. I 
 set them to work, putting my finger down, on the work, and if they 
 then would not mind it, I would give them a licking. 
 
 Anna. That would shake the car. 
 
 Wil. Oh, the boys are only imaginary, we are not afraid of a 
 ghost of a fight. 
 
 Anita. Not of a real one ? 
 
 Wil. That depends. At any rate if we were in we would get 
 through, or die. 
 
 Te. Eight, Willie. 
 
 Wil. Now comes the fourth phase or motion, showing by this 
 
23 
 
 my motion of hand, you are propped up as men and girls, to stand 
 on your own feet, as being taught, and showing this as effect of my 
 teaching — ^perhaps licking in the case of the boys, included. 
 
 Te. First rate, may they long prosper without the licking. So 
 you have the classes of action of to teach, as classes of motions of the 
 hand. And why made you these motions, or in actual life when 
 would you make these motions ? 
 
 Wil. When I am eager to show what I mean. 
 
 Te. So you see the eagerness of the heart to show what you mean 
 makes the motions and the knowing what you mean causes the kind 
 of motion, as motion of impulse, motion proper, contact or effect 
 left. And you make these kinds of motions often in life without 
 being conscious at all of making any motion, though you are always 
 conscious in that case, of what you mean. And the same kind of 
 motions and eagerness to show what you mean transferred to two lines 
 of motions like "Willie's motion, as of lips and tongue made with 
 spontaneity that is, so that you hardly are aware of it and not con- 
 scious of it at all in speech make the vowels : the rise of the tongue 
 in phases of succession, and describing as rise, the subject, speaker, 
 actor, making the vowels successively, of a, e, i, — ^these in continental 
 pronunciation that is, as you know them in German — as the same 
 line of motion in speech, as protrusion of the lips, makes in succes- 
 sion in speech the vowels a, o, u, — which latter motion in the pro- 
 duction of the vowels you can easily observe with yourself and 
 others, while the former motion, of the tongue, as a gradual rise of the 
 place of sound, to produce the a, e, i you can almost only feel with 
 yourself — lines of sound, these two lines, which your sisters know 
 from the " Umlaut " in German. These vowels, children, spring di- 
 rectly from the action of the heart, as eagerness to explain its mean- 
 ing, expressing will, whilst the consonants, children, spring directly 
 from the action of the brain, to express thought or form. And so 
 in Latin, with the Eomans, which were all will, will incarnate, of 
 action, the vowels of the upper line describing as such a line the 
 actor, come naturally into their line of action as verbs, to discrim. 
 inate as kind of sound the kind of actions : the vowel of impulse, 
 into the verbs of impulse, the vowel of motion, into the verbs of 
 motion, a sound as of contact that is, no vowel or a short sound, into 
 the verbs of contact, and the vowel of effect left, into verbs of effect 
 left, the vowel e of the second phase or stage of vowels, serving as a 
 long or short sound, — long or short here only measured as to its time, 
 not as a change of sound, as in English — ^for both phases or kinds of ac- 
 tions ; and all this as naturally and instinctively, with the Eomans, 
 came into the thought of their verbs as Willie's motions of the hand 
 
24 
 
 came with "Willie's tliouglits of tlie verbs, that is, the actions as ex- 
 pressed by the verbs as either a -whipping of the boys, or a teaching 
 by talking, or a setting of the boys to work, or as the raising of my 
 hand to my head might come with the thought of the thirty years 
 of work of teaching as thought of method to teach, that is educate, in 
 the best way; this then only as a sign of a first phase, though I could 
 put my finger also on many fourth phases of effect left, by a dozen les- 
 sons of teaching, at Harvard and other places, ahd could show acts 
 of teaching as of all kinds, by going and for a longer time, through 
 all the phases. Some pupils at college just of late, have left already 
 and taken wives. 
 
 Anita. Not one, several, professor ? 
 
 Te. No, Anita, I do not teach that though I practice it. 
 
 Anita. Then you are a Mormon ? 
 
 Te. No, Anita, one of my wives is Hail Columbia and the other 
 Mrs. G. 
 
 Wil. But why does or did this will of action come out with the 
 Eomans just as vowels, and not so with us? Have we not will, too? 
 
 Te. More than enough. You, not you alone as Willie, you all 
 are all Will. Some say even you were a New Eome, because — your; 
 country, that is, America, looked like a boot. If you were a new 
 Eome, then we would have to look out for a New German to smash 
 you to pieces when you had become like the old. If you wanted to 
 copy then you better copy Jerusalem, and without its r's, the 
 rulers, the rabble and the Eomans. Best you remain what you are, 
 a new creation, through Christ. Since Christianity, will, with us, is 
 action, and so the vowels can not discriminate with us, as a rule, 
 will, of action, as all actions partake evenly of will, though we dis- 
 criminate too by vowels, kinds of will as actions, by two lines — of 
 bright stars — but don't you want to hear these classes of action in 
 Latin? 
 
 Anita. Oh, Professor, give us not any Latin, above the clouds, I 
 am deadly afraid, we have already enough on board. 
 
 Nellie. How high are we now up ? 
 
 Anna. Higher than before, I see it from the stars. 
 
 Wil. How can you see it from the stars ? 
 
 Anna. I see more of them at the edge than I saw before. 
 
 Te. Then I will give it to the others in Latin, and to you, Anita, 
 in English, will that do? 
 
 Anita. Yes, that will. 
 
 Te. Then be quiet. " The Laws of Action in the Roman Verbs /" 
 
 Wil. Professor, did you hear that noise ? 
 
 Te. I hear no noise, Willie, [except like Wanamaker, what 1 
 •make. 
 
25 
 
 " The Classes of Veebs in Latin as Classes of Actions." 
 
 Wil. 0, surely, Professor, it is not your own voice ttat I hear. 
 
 Te. It is surely my voice, "Willie, that makes the noise, and yet 
 the voice that makes the noise, is not mine — " The character of the 
 classes of actions, expressed by the CONNECTING VOWELS of 
 the Verbs." (Getting ready to make the sign of the first class.) 
 
 Wil. Oh, Professor, did you hear that crash ? What was it ? I 
 hear it now like a distant moaning, of the sea — let us go down. 
 Professor, a storm is surely coming — 
 
 Te. No storms, Willie, at that height — we make the storms, of 
 mind, that shake on earth. The will of man as mind when right is 
 always in harmony, that is, in a line with what is right on earth. 
 I know what you heard ; you shall presently see it. 
 
 Beul. Dee. What can we see or how may be seen, what we heard ? 
 
 Te. You will see what you hear by seeing, and hear what you 
 see, by hearing. 
 
 Wil. Commutation of senses. 
 
 Te. Commutation of forces ; the signs transcribed into sounds — 
 the sounds transcribed into signs ; the graves giving up their dead 
 to testify against this race. 
 
 Anita. Oh, that is awful ! 
 
 Min. See how dark it gets. 
 
 Te. It is yet daylight in America. We are several hours back in 
 space, and so ahead in time of night. (Making sign of the first 
 class.) 
 
 ^^ Impulse I" 
 
 Nell. Oh, Professor, what a shock, did you feel it ? 
 
 Te. I did not feel any, I am accustomed to shocks. " Educare, to 
 teach, impulse, as teaching, describing the Educator, to teach, to 
 educate." 
 
 Ch. What a peal and clap — ^it sounds as if pebbles were thrown 
 against the car — it rattles like hail ! 
 
 Te. It was an explosion — may be of the vowel against the sky — 
 everything reverberates here a thousand fold — and the rattling of 
 the English after it. Second class, motion, Willie! (making the 
 sign of the second class) : 
 
 " Docere, to teach, motion of teaching directed towards the object 
 taught, English : simply, to teach, to talk to, to apply himself as 
 Teacher." 
 
 Anita. It rocks the car, it will upset us. 
 
 Te. No harm, from mere motion, and no good, here, as in teach- 
 ing, unless it comes to contact ; now hold on to the car. 
 
26. 
 
 An. Do you feel that cold air, it crashes and cracks as a plough- 
 ing up of the ground from beloTV. 
 
 Wil. We are too high up, we can not hear anything that is 
 going on on the ground. 
 
 Te. And yet those that are under us, hear what we say. "We 
 stand on grounds though we are in the air. 
 
 (Making the sign of the third phase.) 
 
 " Contact/" 
 
 Gh. Oh, where are we ? 
 
 Te. We are at work, now, not merely to teach as to think and to 
 talk, but to set to wotk, to shake, to instruct : 
 
 " Instruere, to instruct ;" we mean business, children ! 
 ■ Steph. Oh, where are you, Wilhe, Beulah Dee : I do not see you. 
 Stop, Professor, give us no more. 
 
 2e. I can not before I am through. (Making the sign of the 
 fourth phase ;) there will now be peace again, and not aU darkness. 
 
 "Effect left: 
 
 Erudire, to teach, to make erudite." 
 
 Now, children, where are you? On your legs again. Why, 
 children, you look like a bundle of Deponent verbs, verbs describing 
 not an action, but the state of an actor in the form of an action, here, 
 your states, all, as a bundle, of philosopher, I philosophize, vereor, I 
 am deadly afraid, fruor, I enjoy, and finally adsentior, I consent, 
 connive. Shall I make the signs to describe these verbs, that is, 
 your states ? 
 
 Anita. Oh, no, Professor, we feel them all over our body. 
 
 Te. As a kind of goose-skin — eh? That would be indeed. a Depo- 
 nent state when you had dropped all action, and only offered a state. 
 And when you show that state in action as a verb, then you are a 
 Deponent Verb. But get down again regularly to your seats, and be 
 again an ordinary verb ready to do some action. 
 
 There is a kind of a 3J or transit class, between the third and 
 fourth class, sitting on the fence as " to flee," to " die," seeking a 
 state, and yet having not got to it, sprigs of verbs that stand with 
 their root in the third class, and hang with their head to the fourth 
 —twin forms of the third, like the third finger is as to the second 
 finger of the hand. 
 
 Min. What have the fingers of the hand to do with the Latin 
 Verb? 
 
 Te. They are the classes of verbs, or words of action, as means of 
 action, the human hand, the hand of man. 
 
 Min. And woman, too ? 
 
 Te. Yes, Minnie, the fingers as actions^ as the palm of the hand 
 
27 ■ 
 
 tliroTigh. wMcli run tlie roots of tlie fingers, as " Deponent," passive 
 state, if you tiad been a Eoman Lady such as lived at the time 
 beneath us you would have saved the life or slave put cruelly to 
 fight, and shown this your impulse, by pressing the thumb ; if you 
 would show me the moon now as it rises behind the Apennines, so 
 as to say: do you see. Professor, won't we go home now? then 
 you would make this motion, of showing, by using your first 
 finger ; if you buy at Wanamaker's, which finger would you use 
 to test the texture of goods ? 
 
 Min. I would not use any finger — 
 
 Te. How so ? 
 
 Min. I would take it for granted. 
 
 Te. But suppose you wanted or needed one to select. 
 
 Min. I would use — the — ^middle finger. 
 
 Te. Contact, Minnie; and if you would get married, at what 
 finger or at what finger do you see people sticking engagement and 
 marriage rings as signs of transit or effect left — at least at my time 
 they stuck it at the third finger and little finger. 
 
 Min. What time is that ? 
 
 Te. Four hundred years ago. 
 
 Min. Oh, Professor, you were not born then. 
 
 Te. I am here, Minnie, as the country discovered, and so I was 
 here when the country was discovered. 
 
 Min. But do people know or think of all these things when they 
 use their fingers ? 
 
 Te. As little as the Eomans knew why they said a, e, i, or you, 
 in one case, describing the filler, filling party, say fill, in the other 
 describing the vessel, say fall, or as Minnie meaning Minnie, as 
 pinching, says ; I pinch, and the conductor meaning the ticket, says, 
 I pwnch, though you can see this now from the vowels here as lines. 
 We are a harp, in language, played as to tunes, of sounds, from 
 without, by Laws of God ; using the tunes as we use our limbs, con- 
 scious as to purpose, unconscious as to means ; though we do inves- 
 tigate the use of either. In French where they are very quick, they 
 jump right from the first to the fourth class, of effect left as this is in 
 Latin, leaving their third and fourth class to hang around this their 
 pivot, of effect, the third in French, as a kind of state of effect as 
 state on the actor, the fourth as means to produce effects or alter a 
 state, somewhat like the Latin third — Anna, Beulah, Stephen, what 
 is the matter ? 
 
 Gh. Professor, do you see that white mist hanging over the 
 ground just below us? 
 
 Te. The Ghosts of the Osesars — the Eomans, children — are shaken 
 
-28 
 
 out of their graves, to bear witness to the omnipotent One God who 
 was in their souls with his laws, and held their consciousness in the 
 hollow of his hand, shaping their speech unconsciously to them- 
 selves and now laid bare in these their impulses as will of deeds in 
 speech and Hfe, by this spectrum of their souls, as language. 
 
 Willie. Spectrum, what is this ? 
 
 Te. A confession jisually of things, made to things not as things 
 but of their contents, as a glass of some kind, held in the light of 
 the sun, reveals the contents of the sun, or as if a glass of some 
 kind if held before the murderer would reveal the contents of his 
 soul, as murder ; the Ghost in Hamlet^of which you yet will hear 
 — is such a spectrum shown to Hamlet revealing the guilt here, of 
 " Denmark." If the Ghost could have been brought into court, 
 itself, this would have settled the play. As it could not, the guilt 
 had to unravel itself; as the Judgment Day itself is but such a 
 spectrum of man, to man himself seen in the light of the Lord, as 
 traces of virtue, or guilt and crime and being from this when seen 
 in that light, already a bliss or torture, and lasting, as Day, as long 
 as Time and as bliss or guilt, forever. 
 
 Wil. Will that picture ever vanish ? 
 
 Te. Ask the "physicists," they deal with forces, the indestructi- 
 bility of matter, and so from this, in their mind, of forces. They are 
 a tail wagged by forces, whilst they in their conceit, think they, as 
 tail, wag the forces. It will not vanish when taken as force, as 
 picture of crime or guilt, to the grave, though it may be dimmed 
 by the light of the Lord which brings it out, and so, may absorb it. 
 
 Wil. How do we get a good picture ? 
 
 Te. By seeing, not yourself, but the Lord, in your life-time. Then 
 you wiU get a good picture, "Wilhe. 
 
 Wil. But how can we see the Lord? 
 
 Te. By seeing him in his spectrum as man, the Son of Man, 
 showing as a glass, of man, the Lord. 
 
 "Would you like to see a spectrum of this seeing of the Lord, 
 and his glass, which I trust is at the same time the glass of your 
 souls, and so of a seeing of yoiorself, under these stars of the night? 
 
 Steph. Professor, you have no glass, and no light. 
 
 Te. The Holy Ghost of truth, is our light, and the laws of his 
 stars, as the sky of our soul, is our glass. 
 
 Anna, Beulah Dee. Professor, you are preaching ! Can you show 
 it? 
 
 Te. Teaching, in the right mind, is preaching, and preaching in 
 the right way, is teaching. "We cannot cut the line of life any- 
 
29 
 
 where. And here this line, does it not run up, straight up: to God ? 
 Do you see that star just above us ? 
 
 Gh. "We see it. 
 
 Te. Now draw a line in your mind, to that star and beyond it. 
 
 Nell. "We will try. 
 
 Te. And do you see that star just opposite to us ? 
 
 Ch. "We see it. 
 
 Te. Now draw a line in your mind to that star and beyond it. 
 "Where they meet in their right of way as two lines, what do they 
 form ? 
 
 Anna, Nellie. A right angle. 
 
 Te. Now is that right angle, beyond and far beyond the stars, 
 more a right angle than it is here with us ? 
 
 Wil. It is not more a right angle beyond the stars than it is here 
 with us; in fact, it would not be a right angle at all if it did not 
 come to a point. 
 
 Te. That point is Christ, as the will of God. The will of God be- 
 yond the stars is not more will than it is here, at the angle, the point. 
 Now draw as a line, beyond the stars as far in infinity as you can, 
 or think you can, a line of a circle connecting the Hues, and call it 
 intellect, of God, as kind of intellect, and now draw a line at the inner 
 point between the lines, around the point, right over my hand, is 
 there a difference in these lines, as kind of lines, from each other ? 
 
 Wil. None, whatever. They are a part, each, and the same part, 
 of a circle, running like. 
 
 Te. You will say, parallel — . 
 
 Wil. Parallel with each other. 
 
 Te. Now call this inner line, intellect of Christ, as kind of intel- 
 lect, is there a difference now between these intellects, as kind, the 
 intellect of Christ and that of God, as kinds ? 
 . Wil. I don't see any. 
 
 Te. But the length of the lines, their range as lines, is there a dif-. 
 ference? 
 
 All Children. There is. 
 
 Te. That is, if we could see the other,* outer Hue, there was or 
 would be then, a difference, as time. But as we cannot seethe outer 
 line — ^you cannot see infinity as line — there is no difference for us, 
 in time, between that inner line which we can see and an outer line 
 which we cannot see, whatever. The line of intellect of Christ is 
 then, for us, our line, that is the line we see and can see as intellect 
 of God. Now take or seek the centei', of this line as your own center for 
 kelp and you hayefuith /now take this faith as help in your own 
 outline of life drawn through time and eternity and you have justi-. 
 
30 
 
 fication ; now take this justification as gained by tlie going down in 
 blood, of this center, for us, through us, our own like with humiliation 
 to death, and you have salvation, and which when accepted as such, 
 and as so ordained from eternity, for us, to leave us, free as spirits, 
 to sin and yet, though being sinners or having sinned to make us 
 saints, with praise to God, is atonement. Now drop the Hnes we drew 
 to the stars as parts, and take the whole circle, with Christ as center 
 for your life and you have Christianity, explained as life. 
 
 Wil. But life, in explanation, is not life. 
 
 Te. It is as much as there is of the center in it, even as explanation. 
 
 Wil. A center is not in pieces or parts, it is — a center or no center. 
 
 Te, It is or may be a part that is, sometimes wanting, as line. 
 The heathen drew their lines without a center and we know and 
 you know too as you heard of it, how awkward, how painful, how 
 uneven and unjust was their line. The Christian draws his line with 
 the center ; there is nothing needed' but the bond of the compass and 
 the steadiness of its application. The merit of the line is not in the 
 line but in the center ; and where the line fails, there was no center, 
 for that part, and so, a center in part of a line as a whole. Now 
 drop the sight of the center with time, yet keep its line, and yoB 
 have life in infinity with Christ forever. 
 
 Wil. How can we drop this center as sight and yet keep it as a 
 line? 
 
 Te. Don't you drop the nut, as nut, and keep it as tree ? 
 
 Wil. It keeps itself. 
 
 Te. So does the center, through its poles, in us. 
 
 Wil. "What are " poles ?" 
 - Te. Adjusted points of good or bad in us, as life or action which 
 where they act as good, make everything square, and where they 
 react as bad, make everything crooked, a circle. So we live as either 
 good or bad, straight or crooked through all eternity with Christ, 
 that is in his presence as Christ, according that he was our center 
 in life or no center. This is an explanation of the infinite in forms 
 of the finite, for the benefit of those who are yet finite, children, in 
 their infinity. Now you have heard, boys and girls, what you 
 saw as Willie's, and have seen and see what you heard, as the 
 dead I — 
 
 But why do we want that line, of the intellect of Christ, to see 
 God ? S'ppose we take our own? Can I make music like Mozart's? 
 
 Ch. We do not know. 
 
 Te. Can 1 draw hke Raphael ? 
 
 Anna. I hardly suppose, for you laughed often yourself with us 
 at the pictures you drew of the "hunters " in our lessons. 
 
 'A 1 
 
- — 31-^ 
 
 Te. Can I write like Shakespeare, like Milton ? Can I sing like 
 Patti? 
 
 Anna. I guess not. 
 
 Wil. Why not? 
 
 Anna. The Professor would then not he teaching, he would sing. 
 She makes money. 
 
 Te. And this, teachers do not, you are right, Anna, that teachers 
 make no money. But then, people buy tickets to hear Patti and 
 spend money to get a Eaphael, or hear a Mozart, why not make the 
 music ourselves, or paint ourselves or sing ourselves ? It takes genius 
 of some kind to do this, to sing, to draw, to paint but it takes no 
 " genius of all kinds," to see God I Can a bushel hold more than a 
 bushel, or a peck more than a peck ? But with those that think 
 they need Patti, but they don't need Christ, a peck can hold a bushel. 
 It takes of itself a good sized soul, of the size of a bushel, to hold a 
 bushel, and eyes, as of God, to see God! But through Christ it is 
 changed. He brought the sight and size down to the capacity of 
 each. Those who have the size of a peck will hold it as a peck, 
 and those who have the capacity of a bushel will hold it as a bushel,, 
 but each time full size. 
 
 Min. How did Christ effect this ? 
 
 Te. By changing the size of the sight of God to the size of an 
 image, as man. Those that are of the capacity of a peck, will now 
 hold it as a peck, and those that are of the capacity of a bushel will 
 hold it as a bushel, but each time, full size, because each one knows 
 from his own knowledge of man, the size of man. 
 
 Beulah Dee. But how has Christ grown for us to this power of 
 change? 
 
 Te. Through the fulfillment of time, as this rose grew on the bush 
 and the bush as time, though the bush was already foreseen in the 
 dust and the rose in the root : the power of will and intellect of God 
 working here for us as time till it broke forth for us into sight, as the- 
 sending of the bush with its rose. Could the bush have grown as 
 rock, could the rose have grown on the root, could it have grown as 
 stem? But it sprang from the root and it sprang from the stem 
 but from these, as the root and the stem of a rose. And when you. 
 want to see what a rosebush is, in its beauty and perfection, as bush,. 
 do you look to the stem and root, or to the rose ? 
 
 Ch. "We look to the rose. 
 
 Te. And if you want to see what mankind is in its perfection of 
 man, and so its intent as man, do you look to the root or the stem ? 
 
 Ch. We look to Christ. 
 
32 
 
 Te. And if you want to know what God is, do you look to God 
 through yourself, or through Christ? 
 
 Gh. We look in sense — 
 
 Te. And the logic of looking — to see — 
 
 Gh. Through Christ. 
 
 Te. But though there was his line, and as a line for you, but your 
 eye was scratched— can you see the stars when your eye is scratched, 
 though they are clear and bright as stars ? 
 
 Gh. We could not. 
 
 Te. And so you see it takes a clear sight and sober, healthy eye 
 to see the line of Christ though you had him as line, and seeing him 
 as line, to see God. So you have now this spectrum of a seeing of God 
 through his glass, as a glass, in the means of its make as pure as this 
 night. It takes a universe, of wisdom of God, to reconcile freedom and 
 salvation in justice. It won't do to blame the Lord, when you have 
 done something wrong, and to praise yourself when you have done 
 something good. Either you are a tree, then praise the Lord when 
 you have done something good as does the tree, by its blossoms, or, 
 you are a man, then when you have sinned dare not to try to face 
 the Lord by laying the blame on him. These dunces of science that 
 deal with forces and forget the first force, of logic as a justice of 
 forces or that adjustment which holds in balance and power, aU the 
 rest. Destroy that logic or justice, and there will be no forces. 
 There will be but one force which eats up all the rest. What you 
 call laws is but that adjustment of forces as foreseen lor the whole 
 whilst each force as such acts but for itself and which as such an ad* 
 justment for the whole, is the proof of the presence of a force as a 
 force for the whole, that is mind, to make that adjustment. Grant 
 right and wrong as forces and you need infinity as repair-shop or 
 Christianity in logic. But if you grant these not, then I will make 
 your argument fly as a kite, which is a toy of forces, but no force in 
 itself. Why do you argue and don't go to bed — I can not be wrong, 
 nor, either, you ever be right. 
 
 Min. Oh, Professor, we get higher and higher, I feel it from 'the 
 motion of the car. 
 
 Te. Higher and higher, in faith, and deeper and deeper down in 
 science. Is there not a point where their lines, kept on running, 
 in infinity, and so bending as a circle may meet in Christ ? 
 
 Hymn of Science on Christ. 
 
 1. I mean to stand up for the Freedom of Man, in the Sky, as on 
 Earth. 
 
83 
 
 2. But with. Freedom comes Sin, and with Sin, as freedom from 
 
 sin, comes Christ ; 
 
 3. As the chick from the egg ; as a chick, in his case, from the 
 
 egg of the thought of a world as thought by the Lord, in 
 Time. 
 
 4. The Trees need no Christ for they are skves, to the will of the 
 
 Lord, but the son, in his Freedom, aiAd Sin. 
 
 5. The Law will not do, with sin, in its will ; for it will not and 
 
 cannot obey ; 
 
 6. Nor mere Grace will do it, for it pays not for sin, in its will, 
 
 and its damage to Justice and Life. 
 
 7. Then here comes Christ, to save you from sin, and Freedom 
 
 and Justice and Life, ■ ; 
 
 8. He pays for your sin by paying for his coming as Christ. 
 
 9. He asks, not as Law, he offers no Grace without a fair bar- 
 
 gain in turn ; 
 
 10. He asks you, and asks in the name of the Lord, for he loves 
 
 you, to die for forgiveness, to sin, 
 
 11. And pays for bringing this message of love, to the Law of the 
 
 Lord with his Life. 
 .12. Then you plunge to His Death, to this Current of Love which 
 breaks your reluctance and hate, 
 
 13. And from the depth of this death, on his shoulders of love, he 
 
 then lifts up your will, and the will of a world, as his own. 
 
 14. There is Freedom in this, and Justice, and Life. 
 
 15. There is now no Law ; 
 
 16. And yet there is no sin ; 
 
 17. There is Freedom from Sin, and a Unit of Love in the hate of 
 
 the world, 
 
 18. And Redemption, in Freedom, from Sin. 
 
 Now examine an egg, and examine a chick, of this world, and 
 this^ egg of a world with its Hen, which calls you as chick, for their 
 life. And though here is the lense, and here are the chick, you 
 trace them in vain for their life. Though I showed you in faith 
 with a lense as of mind, the presence of that Hen and its life, in an, 
 egg, as the egg of a world, that is, the presence of God in his wisdom 
 as God, in this egg, of this world, as Its God, Its Saviour, Its Christ. 
 Yet this spectrum and sight of the presence of Christ in the egg 
 of the thought of this world, is, as a spectrum and sight, not more 
 and not more a mere spectre as sight, than the sight of the fact of 
 the presence of God with his Laws, at the time, in the hearts of those 
 that are now spectres, the Eomans, as a fact of their language or the 
 3 
 
. 84 
 
 sight of the fact of the presence of God with us, in his word through 
 Christ, as a fact of our souls. Now drop this message to— Rome. 
 The creation as such of man, makes no difference in these, as to 
 Freedom, sin, or Christ. The question is only what was the intent 
 of the Lord. If the Lord intended to make a man and made first a 
 monkey, I am satisfied and travel with the intent of the Lord, 
 through the monkey. The dust I would carry with me in this as a 
 part, as the dust of a monkey, is certainly as respectable as the dust 
 of the field I now carry as man. But if the Lord intended to make 
 a monkey, and the monkey by an accident of his own (accidents,^ they 
 call it, children), became by itself, that is, in course of time, a man, 
 then I might be happy as a Beecher or a monkey, but would be sorry 
 as man. And you see, it takes more to make a monkey than to make 
 a man. It took the Lord to make the monkey, but it only took the 
 monkey to make the man-^But he never intended to make the 
 monkey, he never made the monkey, it came irom an ox— And the 
 ox? — From a deer — ^And the deer? — From a turtle — Have patience, 
 my stars, and the turtle ? — From an oyster — And the oyster ? What 
 ails you, children ? 
 
 Min. 0, it is so very close. 
 
 Te. Yes, it is, and it will get closer still. And the oyster ? From 
 a tree. And the tree ? From a stone. And the stone ? From dirt. 
 And the dirt ? From dust. And the dust ? 
 Min. Oh, Professor, I am going to faint, if it will hold on — 
 Te. It will not hold on — ^it can not, it will pass over. And the 
 dust ? From something. — And that something ? — That was— /or- 
 ever. 
 
 Minnie, children, promiscuously. Oh, Ah, air, I suflbcate 1 
 Te. Take that sentence, the shower of it will refresh you 
 (with raised voice): Forever, is — A long time — by this time, 
 all ought to have reached its final stage; aU the world ought 
 to be, either, dead, or men and monkeys 1 — Oh, then, it waa 
 nothing, it came from nothing; the difference is so very slight, 
 in infinity, it amounts to nothing. — Then your argument 
 which you offer in infinity, as something, in infinity, that is, 
 absolutely, also amounts to nothing, and I defy you not to steal my 
 time. — Oh, it is something, as an argument, spiritually, though 
 bodily nothing.— And that Argument, spiritually, and bodily 
 oothing, which charged the nothing to be something, whilst preserv- 
 ing the stages, with the last stage foreseen as Freedom, man, sin, 
 Christ, is, or we call it — God 1 
 Ch. Oh, what a terrific clap ! 
 Te. An explosion of Gases — they rose with the spectres, driven 
 
=— 35 
 
 by the wind — ^it ploughed the roots of the Apennines : Ko stage or 
 phase can develop itself into a new stage or phase, under the idea of 
 action, except under a new impulse; as subject, from the idea of the 
 object. The phase to move the hand or arm as an action can never 
 become the action to hit, so as to strike or to slay, without a new 
 impulse or idea of the actor. The phase itself as " move," may 
 develop and show itself in many forms, as to move or apply head 
 and thought of thinking as teaching, heart as mourning, light as 
 shining, these will make new species of that action to move, side- 
 ways, crossways, upward, downward, in new features as forms or 
 materials, but the phase will never become a new genus, a new 
 action, the action to hit, and to strike, except this idea of the new 
 action, as to hit and to strike, as a new genus of action, was alreadyv 
 in the impulse, as impulse or idea of that action. Arid thus, idea, 
 as present in the first stage, is what either keeps the stage, or moves 
 it to another stage, creating a new action, and that idea holding the 
 whole, and which, knowing all the stages, either keeps each or move's 
 as to place and time, and each time meaning each of the stages, in its 
 kind, either as a mere station, or just in this its number as stage or 
 final phase, is thought, as God's, though a later phase or stage may 
 pass or have to pass through previous stages, while its thought as 
 new stage must always have been present with the start as impulse. 
 We have four main stages of created things, and as many sub- and 
 sub-sub-phases, and though the line of transit is sometimes close, as 
 between night and day, still their lines are lines, and meant as lines, 
 as night is night and day is day, and day is not night, and night is not 
 day, for us, and as thought of the Lord who meant sleep, as night 
 and work, as day, and so meant to separate night and day, and to keep 
 them separate, to whatever extent they may merge and look both 
 like night when compared with his final day, or may look like day 
 when measured by death as death of the eye, or mental blindness^ 
 and though it may take in counting as it took always, an " evening" 
 and a " morning" to maike with the day, a " day"-— and thousand 
 years are befoi'e him like a day. The rest is madness — not science 
 —as chaos or monkeys. And there is no chaos, see these stars ! 
 And there is no monkeys, see these children! ever present 
 living God, I thank thee for these children — though I might thank 
 thee sometimes for a monkey, too, as critic, but all in its place. 
 
 Min. O, the stars shine now out again beautifully, they were dim 
 for a time. 
 ' Steph. But, Professor, with whom were you talking? 
 
 Te. Perhaps you heard my thoughts, the air is so very light. 
 
 /S'iepA. How can we hear your thoughts ? 
 
36 
 
 Te. Just as you see my words— here they are ! 
 
 Gh. The Ghosts! 
 
 Te. The men, and women — the explosion has changed them, to 
 men and women again— now they are sweeping by to stand forever 
 as fixed stars, of confession of thought by the spectrum of their lan- 
 guage, among the stars, and witnesses to the presence of the Lord 
 with his laws, among the heathen where these heathen themselves 
 were not present with their own consciousness — ^but we must hurry 
 home, and overtake the night, otherwise, we will arrive too late at 
 night time at Philadelphia, and Wanamaker has closed if we wanted 
 to deliver the balloon — 
 
 Anita. It is not his balloon- — 
 
 Te. The bigger would be the suit of clothes, children — and we 
 might indeed, mistake Smith's Island, from its glare, for Philadel- 
 phia — And such a spectrum, for the country of its own madness, was 
 the murder of Garfield — the Teacher-President — ^whose spirit is 
 with us in these days of the fight — 
 
 Min. Do you mean to — 
 
 Te. I mean to — and that presently — and to smash — obstacles — 
 
 Min. But if they will smash you — 
 
 Te. They won't. They cannot, they are dead — before the fight — 
 But let the Dead now bury the Dead, and consign their bodies to 
 the grave — our case is the Living — their souls are with us and the 
 Laws of the Universe, — a kind of migration of soul, in this, of this 
 soul of the heathen — a wander and change as soiil, without leave — • 
 from youth as mankind to manhood as mankind, from childhood as 
 understanding to an always more perfect day — ^more perfect forms 
 — the seeds as planted as seed by the Lord in the past, now bloom- 
 ing as tree — more binding as mankind, more present as laws, more 
 deeper as feeling — more shining as light — but also, more guarding 
 as guardian, more purer as life ? And so one people goes rolling over 
 another people — and over itself— in times of weakness — and new 
 strength is gained from a time of delay and rest, and it leaps with a 
 bound where it would have crawled in dejection and new blood is 
 infused into the sluggish veins of man and mankind, and so at tliese 
 hands of the dead, we come to the Living — and the thought of th6 
 Sky of the North which smashed the Eomans — 
 
 Three times — that is, as a Defini as one of the Representatives of a cer- 
 tain method of teaching told me, as a " definition," of that Defini you will 
 
 yet see what this Defini is, children—" I always tell my pupils, when you 
 can say, one, two, three, that is the Defini " — which definition is a spectrum 
 of the substance of that method, and which as method again, itself is but a 
 spectre of teaching as it needs for success a body of time yet wants to teach 
 without having that body and so, floats, hke a groan or a sigh in the air, and 
 
37 
 
 which, as a method of pupils, is again a spectrum of the gullibility of these 
 pupils, and which gullibility of these pupils is again a spectrum of the times, 
 the laziness of the times — so you see, children, the spectra multiply as soon as 
 one is touched — brought about by hundred methods, affecting the public : 
 the clown cracks its jokes to them, the minister speeches his speech to them, 
 Patti sings for them, Wanamaker signals for them — the weather, at the store, 
 so that the " dear creatures " have nothing left to them — or there is nothing 
 left to them but to go for it, not the weather, but that store, and to go for 
 them that have the money, and for them, to go for the money and they are 
 in a hurry and want to leave — by the next steamer — for Europe — for the 
 moon — for they are going — everywhere — except home — ^ 
 
 Min. Oh ! Professor, where are you going to ? 
 
 Te, To Berlin, we are off, a hundred thousand miles a minute, a second, 
 around the world, sideways, crossways, all ways like a blast, a whirlwind in 
 a circle, to dry up the swamps in which grows that method and to come back 
 by that circle which is the only straight line because it is absolutely crooked, 
 that is, any point at that line if a straight line is put opposite that point, will be 
 found straight whilst the whole is crooked — which is the reason that here, that 
 is, there, in Philadelphia — everything is so lovely straight — for each good 
 Philadelphia child — and citizen — of Philadelphia because they see, each, always 
 but one point, never two of them together, and so everything seems to them so 
 lovingly straight whilst the whole is crooked — crooked as to the four elements : 
 fire, water, air, and earth, and the three R'S of the schools— making^even in 
 all, and nobody is able to keep straight unless he gets crooked to that line — 
 unless he jumps that line — and goes straight through — with a crash, like the 
 Bullitt Bill — or a passage^through the Public Buildings — at the time that 
 stone fell off the Coat of Arms, of Pennsylvania — with Independence — and 
 by magaanes where the public sits on benches, to see the fight in its leaves, 
 and where there is no more thought to take a part in it, than as at a circus, 
 in the ride or at fireworks to take more part than simply to see it— when the big 
 rocket goes off, ah! — and then all is over — no joining of hands in thought, 
 no partnership of interest— all excitement, of the moment— and to the limit of 
 that magazine and the likes of its " Public " — show me a man who writes 
 for magazines and I will show you a man whose soul saw an undertaker and 
 is to be left at home when he goes to see the publisher, and when he sees the 
 publisher, then the '■ public " Is with him and he, the publisher sees the public 
 and not the soul — and if a woman writes — for magazines then it is double 
 high pressure of tongue, for she has to make up in boldness "what she lacks 
 in rights — and has to have her heart in thinking and that is horrid while if 
 she has her thought as heart it is glorious — and the fault of fawning — 
 
 Min. What is fawning, Professor ? 
 
 Te. Wagging a tail where you ought to have some teeth, blacken boots 
 where are no boots to blacken, for a penny — no fault of our or your own 
 people, no braver people on the globe, like wax, for teaching, like steel for 
 fighting, daring, bold, generous, ingenious, inventive, at once the vivacity of 
 the French, the stubbornness of the Dutchman, the pluck of mind of the Ger- 
 man, the pride of the Spaniard, the fearlessness of the Huguenot, the dogged- 
 ness of sturdy wit and business of the English, and the Irish, with bias of creeds 
 enough to make it savory, with pride of country enough- to hold it together, 
 with aims lofty and sufficient to expand it over the universe— daring the devil 
 to peep out of Hell, jumping at Heaven if it is yet miles off— riding Uke a 
 
38 — 
 
 burly boy on the topmost part of the shoulders of Time and crowing for 
 pleasure— standing at half-cock when at rest, standing with the hair-trigger 
 when ready for action— a fly can make it fly off— a wave of the hand can put 
 it at rest^but the fault of the Leaders who corrupt this boy and put fleas in 
 his ear and talk nonsense to get at his inheritance and pick his pockets whilst 
 I tell him get down, Sir, and learn your lesson otherwise I am afraid when 
 school time comes you will be kept in or get a licking, you are n»t yet fit for 
 this world of ours, you belong to another, not that you had to learn America, 
 for you have it in your bones and that is the difference between an American 
 and a foreigner that he, the American, has it, freedom in his bones whilst the 
 other has yet to learn it as the same kind of difference is between us and 
 Christ, that he had God in his soul and we have to get Him through Him and 
 that Centennial has turned his head, from what he heard his elders say to him 
 of it, if he had seen it himself, he would have been kept sober, from .its 
 logic — invite the Kings to celebrate a RepubUc — he would have laughed at it 
 though they swallowed it and it was put down perhaps with a view to busi- 
 ness that it might be wE^gged as a tail of the Republic but I am afraid the 
 tail this time, wags the Republic as ever since that Centennial everything is a 
 market — it is not the loss of money but a principle which makes us poor to 
 call stealing smartness and so make it perennial — ^will not some woman take 
 care of that boy, in his wildness for he is all left alone with himself, and God 
 is far off, in the Churches, and he won't mind Bridget— the reason is be is an 
 Ameiican and Bridget js Irish, though Bridget is of age and that might make 
 a difference, but it does not, and his father is away, on 'change, left early, or 
 at the North-pole, or the South-pole, or around Cape Horn, until we have the 
 Canal, and then we will have the fight and the decision of the question 
 whether we are we, or somebody else, that is, whether we are for us, or 
 somebody else, that is, whether a piece that belongs, not to us, though it is a ' 
 part of the world will have to be controlled by us, or by — Bridget and the 
 fight of our households will be the fight of the world and Lord God in Heaven 
 will fix it in his wisdom and justice, for that boy and for Bridget and our Ladies 
 are verita:ble Queens, but that is the trouble, where is the subject? for a queen 
 without a subject is like a " shadow without a shade," children, magnificence 
 without giving any benefits to those that seek that shadow — and the cry goes 
 all over the Land ; Where is the Nigger, to do our work — and is joined in 
 by Bridget, but the nigger is nowhere, and is coming from abroiad — and they 
 try to keep him and are corrupting already the minds of the young to keep 
 this nigger^ — by abridgement of suffrage, eh ? — under pretext of some Big 
 Church which is harmless without Relics and so they go and scrape the relics 
 from all corners of history and their households to feed their own vanity and 
 so with this, themselves as food very meet for that Church, to its big mguth — 
 and it smagks its hps and says : well done, give us more, where is thg next 
 corner-grogshop that will detract the living not in piety but in feasts to 
 corpses — of the past, for I feed on corpses — and so, aiding their fear of that 
 Church, instead of killing it — by culture of the present, and interests different 
 from those I saw in a reply I got when I told him who is now a bishop 
 that students could now read the New Testament in Greek, in sixteen lessons, 
 and he told Me with a sneer that coming from within and shooting outward 
 with a whim and zest bespoke more a future coming of horns of cattle than 
 
 of the Holy Ghost's that the " Church had no interest in such things " what 
 
 things ? to be able to read The Word of God in the Language he spoke it in 
 
39 — ^ 
 
 to us, in sijcteen lessons— pray what interests has then that thUrch interests 
 in? kettledrum and hops and cries and speculations — at sea-shores? maybe 
 you belong to that church, then I carry you as Christ's but drop that church 
 or, its " bishop " — stop your waste and you want no nigger — • — and the new 
 nigger that is coming over grows over night to twenty times the size of a 
 Lady, sucking in with astonishing rapidity all that is poison in our atmos- 
 phere, leaving away all that is wholesome and manly and womanly— though 
 this may be the Lord's way to raise the nigger, on purpose, to lower our pride 
 or to compel us to change methods— to change us, not freedom ! ! leave what 
 is good and change what i? bad — and so, as the President serves to them 
 and the alderman serves to them and the minister runs the machine for 
 them and the choir sings for them, and the whole is merely a ques- 
 tion of money they cannot see why the teacher can not learn for them, 
 in twenty lessons, a language, German, Latin, Greek, French, Spanish, 
 Italian, Dutch, Russian, anything at all except English which takes six- 
 teen years of school and life time — but French and German — they merely 
 need to jump at it as language to get it — and the rest, as the leaders tell 
 them, — ^though we teach all about French, German, Greek, etc. "each in 
 a time amounting as space of time to not more than the time between 
 morning and sunset and have by such teaching as time and reason why ? 
 sent students to College — as you know, children and have heard of it — and a 
 writer once said there was no time in the world's history where a first-class 
 nund would get such a respectful hearing and attention as now, ridiculous ! 
 attention means, first the other and not your self, with its whims, notions, 
 hobbies and there is no chance for any mind all over the world, to get a hear- 
 ing except he gets it as my friend the Senator, then prefect got it when he 
 quelled a certain little rebellion of ill will among the boys of some college by 
 taking it for what it was, not a questiqn of intellect but of will and sailing in and 
 taking hold of, knocked them into as many corners as there were columns 
 around the building, and so supplied what was missing — or as Sherman went 
 to the South, straight through it — to make them spell " United States " not, as 
 " States — United," or as I got it in a case with a friend who always before had a 
 good hearing, as to school reforms, but which hearing latterly seemed affected 
 or he was embarrassed, by the tinkling of rings around him, the natural form of 
 evolution it seems, of a union of freedom and selfishness, until I told him in 
 a way of voice that suited his ailing : that I could not see why they should 
 be permitted to run pay schools, for money, on untaxed property — and now 
 he thinks me a genius with benefit undoubtedly sometimes for those schools 
 — and that laziness of work goes all over the world, there are too few that 
 do work and too many that do not work and merely prey on the work of 
 others — and the cry comes from the mine and the workshop : they kill us 
 with work — though labor given as a curse, was meant as a blessing if we 
 understood its way to lead to blessing — and so, understanding, not fists, will 
 change that curse — and if now a book is written and they want to say 
 something about it without having read it, I will tell them what to say, of this 
 book : horrid, atrocious, outrageous, unheard of, a book to quote or as they 
 may quote and adapt to its case, the reputed words of the Old Duke, on 
 "Schiller's Robbers," "if I had had to make the world and would have 
 known that such a book was to be written in it, I or we would not have ma,de 
 it " — ^let us quote the High School Primer, Manual, no, not the High School 
 Primer, the Congregationalist on the High School Primer, — the book of the 
 
^40 
 
 " Tropflein, " children, and of the " Staar " and the '• Kinder und der Mond." 
 and the class book for thirty free classes in these last years for the Public 
 Schools of Philadelphia— we can only live, and breathe, in his words : " we 
 began to wade into its pages, but speedily got beyond our depth. As a con- 
 spexus of the general distribution of compliments of action, reduced to objec- 
 tive Poles (H2) and a usarius of German conjugations in "Umlaut," quack! 
 quack ! it is square inch to the foot ; with Singular but double back action par- 
 allelepipedon in green covers— but there, we need not go further. The author 
 is either a geniufe, or— something else (P. S.) private, to our printer: no occa- 
 sion for correcting proof of foregoing paragraph" — that will relieve us — and 
 save me a " Postscript " — 
 
 Sleph. Professor, the car is on fire ! 
 
 Te. It shines but does not burn, we have entered the northern atmosphere 
 where everything is charged with the electricity of thought — strike any chord 
 and it will flash fire as an electric light hung in the sky to illumine sur- 
 roundings and show by their shadow the size of men we have to deal with on 
 earth below — I want to settle with that public before I give it any other book — 
 and what will hinder when once the idea of having " fee simple " in trusts 
 whether these be truth, or money gets into the head of clerks that they do not 
 run away with the money of the company as this editor and editors run away 
 with this and other books — and of that book, you will say : ot an impudence 
 indescribable, a boldness unbearable, a directness appalling — ploughing 
 through icebergs as if they were butter, sailing over and wiping the clouds as if 
 they were cobwebs, riding us down and treating us as Press as what we are. 
 Daisies sometimes, and Darlings sometimes, and generally dunces, kicking 
 away the body of the public of to-day as if it was the carcass of a mad dog — 
 good only to substantiate Professor Thompson's of the University of Pennsylva- 
 nia : " the actual increase of insanity in American Society shows that we cannot 
 go on as we have been going, unless we are prepared to reconstruct society 
 inside of the walls of the insane hospital " — and proving this as truth — in us, 
 and that is the worst of it — and that public is a beast, sitting on its haunches 
 waiting to be fed, with taffy and all the windmills are at work — the people of 
 yesterday that is dead sitting in judgment on the people of to-day we call the 
 Public — and so no man ever but lies when he speaks to the Public and so no 
 man ever but has to speak the truth when he speaks to the people for his own 
 conscience as people stares him into his face whilst with the public there is the 
 lie, the past sitting as an incubus on the present consulting its ease and so he 
 must lie, not to disturb its ease — and of that book you say : ridiculous, absurd, 
 preposterous, pretentious, highly dramatic, out of date — ^laying claims to new 
 wonders of science, as of mind, as if there were any new wonders of any new 
 science, except cookery, and as if there was a time of wonders — the old won- 
 ders of yesterday being already stale. Telegraphy, Telephony, Steam and Elec- 
 tricity—and they are Elephants that have absorbed, in their bulk, all that there 
 was of science, anywhere, as we know who have gone over the whole of it, 
 all, the whole world, and seen nothing but ourselves, and elephants and 
 megatheriums, as a first stage, and monkeys as the last, and no mind, not a 
 vestige of it except what little we put into it ourselves, the whole being but a 
 huge show of matter, and if there was anything that was new and could be 
 seen, would not we with the heads of drunkards, as logic, and bellies of glut- 
 tons and dyspeptics, as digestion of truth, and souls as of dogs, you know, or 
 stone, or dirt waiting for the publisher to shape it, the public to see and ex- 
 
• 41- 
 
 amine it, the minister to sniff and question it whether it be found acceptable to 
 good society, have seen it— long before ? But the question is, how to get at 
 it — ^now, since it is out — stop it — by silence — that would only echo it, and 
 they will think we are dead, treating it, and talking of it, in earnest, that 
 would be horrid, nothing more horrid than to be in earnest, on anything ! ! — 
 ' making fun of it ? then they will think we are hurt, we will catch his wires, 
 his wire — and cut it, and if we are thundered by it — to perdition — and so they 
 caught it, and you see, children, we are safely back to where we left off, our 
 subject, the Northern Sky — only its other end as line of subject — the thought 
 as Sky having been changed into Sky, by our rapid American Flight, that is, 
 action, from Pole to Pole — as Berlin and Rome, our journey— 
 
 with its classes of will as action — ^hail ! NortUand home, of men of 
 thought and men of action — ^how the air is bracing, bracing to the 
 fight- 
 Tune the harp 
 Draw your sword 
 Trust in God 
 Keep your powder dry ! — 
 
 Min. Oh, Professor, see that beautiful bright line of stars shooting 
 up, up, from us, towards the north, now white, now orange, now red, 
 what can that be ? And there is another one shooting out again 
 from us, straight out, as white, and blue, and indigo color. Do you 
 see them? 
 
 Te. Of course, I do. If I had not seen them before you could 
 not have seen them. They are the phases of sound as you saw them 
 beforfe with the Latin, now seen too, as phases of color, that is, light, 
 and I can read them ? 
 
 Nell. You can read them ? 
 
 Te. Why not, Nellie? Are not the colors, phases of light, 
 those phases as light which before you saw as lines and phases of 
 vowels ? And are not the vowels and they stand here as light, simply 
 the phases of the motion of the voice from the heart in sound, as you 
 had them with Latin and as they stand in that natural order of 
 phases as two lines, in the mouth ? And are not can, may, and 
 Will, the motions, that is phases, of the heart, as will of \h.e inner 
 man, and shall, owght, and mwst, the motions of heart, as will of 
 an "outer man" and indicated as such phases of will as you hear by 
 phases of sound, in spelling? So the phases and lines as you 
 saw them with Latin, as phases of light in lines, are the white, 
 orange and red and from these, and opposite to them, the indigo 
 and blue ; as phases of sound, of the heart, they are as the same 
 lines, the a, the e, the i, and then from us, the o, and the u ; and as 
 phases of will and as the same lines they are, as will of the inner 
 man, the words of the upper line, the can, and the may, the wiil, 
 
42 
 
 and as will of the "outer man"— that ..''outer man," O mark it chil- 
 dren !— the shall, the owght, themwst ! and burning as such phases of 
 will, with the light of the phases of sound in spelling/ Keep these 
 stars, and a copy — ^here is it — as stars for you life — ^you will never, 
 seeing these stars in their lines and the meaning of these their two 
 lines, get astray. Each star, therefore, a triple star, of sound, meaning 
 and color. And so it is three things in nature, what you see, these 
 phases as lines that you see : as light they are colors, as sound they 
 are vowels, and as motions of the heart itself, they are will as phases 
 of such will — and in speech they are words with phases of meaning 
 as words, and found, when examined, to express these their phases" 
 of meaning as words by phases of sound or their spelling as words,' 
 in Grammar. 
 
 Copy of the Constellation of the North 
 
 as Classes of Will, as action, each 
 
 star a triple star, of sound, 
 
 meQ,ning and color. 
 
 Where are the Eomans, the Greeks ? Where are these classes of 
 words as helping words of mood, of potentials, in Greek and Latin? 
 They are swallowed in the actions, the verbs. Look sharp at them, 
 these words, stars, colors of will that rose with Christianity, children, 
 and never forget them : 
 
 "I Will" 
 
 "Imaj/" 
 
 * 
 * * 
 
 * 
 * * 
 
 "lean" 
 
 » 
 * * 
 
 * * *^ 
 
 "I shall" "loMght" "Imwst" 
 
 Min. And here is a new line blazing out between them from the 
 white : as yellow, green and purple. 
 
 Te. No line, Minnie, only the reflex of the two lines, as eitheir and 
 neither which where they meet and mingle as opposite stars make the 
 German " Umlaut," — the absorption of the form of the sound of the 
 vowels ol the lower line, by the force of those of the upper, holding 
 as line of reflex, the meaning of both lines, lie innear and the outer 
 man, and so, with the mystic, all absorbing comprehensive "werden," 
 
- — ^43 — 
 
 " to bescoQie," in its souiifi ^^4 laeaning at tlie start being tlie pivotj 
 hinge, children, oja whieh swings all wilfts tbouglit, of the world. 
 
 Ch, How do they read ? 
 
 Te. They read as middle-line — grasping both and meaning either 
 and neither along, 
 
 (Werden) kbnnen diirfen 
 
 mogen miissen. 
 
 Anna. I see them as yellow, green, violet— i 
 
 Te. But you remember, they are not a line^-they are only a re+ 
 flex of two lines upon each other so you must, to locate them as 
 colors, read them with and among the colors of the other lines— 
 
 Min. O, I see a rainbow ! They are a rainbow with its curve 
 towards us — ■ 
 
 Te. A rainbow of thought, at night, without the sun and without 
 calling in the aid of that moon. Eead, the colors— 
 
 Minnie and other Children. Here they are, the red, orange, yellow; 
 green, blue, indigo and violet — all are there. 
 
 All Children. AH all there, the vowels there as lines in the order 
 of the rainbow. 
 
 Te. The German sky of will as thought of action, in the colors of 
 the rainbow, a brood of chickens of thought in the sky— catch them, 
 here is the copy : 
 
 u 
 
 A) o u 
 
 the mother color and sound, of white light and unbroken sound froii^ 
 which sprang the chicken, of colors and sounds, as A, left out, In 
 Sanscrit, an old language, children, the mother is still with all the 
 brood. 
 
 Wil. A new constellation — 
 
 Te. For the hea,ds of Europe-r-And yet I know another constelr 
 lation, or sight, more bright than this, not of fixed colors, as rainbow, 
 of will as t^ipught, ba^ gl^ifting as Z^e, shifting and changing in 
 colors and filling the sky. 
 
 Minnie and Children, see, Professor, what happens "v^th oujp 
 
44 
 
 Eainbow, — ^it breaks up iiJines — ^between the old first lines of tbe 
 vowels — ^new lines — shooting up, from us — ^in all colors — ^instead of 
 lines in colors, we have now colors as lines — shifting, quivering, vanish, 
 ing, coming and going between our former lines— now rising, now sink- 
 ing — a waving and vanishing — a contest of colors — ^now all lines 
 burning as one color and now all colors running and burning as one 
 line — a waving, a mingling, a fairy-dance in the sky ; you hear their 
 lai^hter but you hear not their feet — and now one line stands out 
 distinct and trembling, by itself and now it breaks and bursts into 
 many lines, into many colors — all will — all life — all will of action, 
 all action of life — one thing as all colors, many things as one color— 
 
 Te. A Eainbow of life and colors, — ^not of thought, but of life, 
 more varied than thought — the language of life transcribed into 
 colors — ^the colors of life transcribed into language — 
 
 Ch. A language of colors — 
 
 Te. A language of life — a language in colors as Life. The Life of 
 a Language, in the coUrs of the shy ! The English Language^- 
 
 Nel. The AURORA Borealis— 
 
 Te. Life as language ! The " Umlaut " of the Abe! the rainbow 
 as Thought changed, into lines as Life — every line a meaning — 
 
 Anna. ^^ Every thought a sound." 
 
 Te. How can you know ? 
 
 Anna. I read it in your book. 
 
 Te. Then say the whole, the quotation as applied to English. 
 
 Anna. " Like an angel I would be 
 
 With these fleshly bonds unbound 
 In communings heavenly — 
 
 Every thought a tuneful sound." 
 
 Te. And yet a reflex only, this Northern Light, of the big "I " of 
 your grammar, as it stands in your soul, on the background of speech 
 and as this big " I " itself, is but a reflex of that bigger " I " of Chris- 
 tianity, that we drew between those lines, as a feature of time, to the 
 stars, and with which big " I," when you live, you will live and of 
 which, if you die you would die as your alleged first cousins, the 
 Eomans, did of yore. Happy people that has in thought the Sky of 
 the North and in Life the Will and the Clime of Italy — may you 
 never get smaller — ^by getting larger — than yourself. And over 
 there, that speck of light, on the Excuse of a Eiver, a streak of light 
 now, is Berlin, the great city and home, of wisdom — and the helmet 
 of William, the Emperor, who " takes no presents " as I know — ^fi-om 
 letters of the Emperor's himself— then he ought to buy what is 
 offered as presents, to keep the run of what is offered with letters, 
 to his Academy — and this Academy too, the great light — 
 
45 
 
 Min. They look so dim. What kind of light do they burn there ? 
 
 Te. The very worst candle-grease stuck on holders of tradition. 
 I told them plainly all about the verb as I told you, children, and 
 much, and many things, more — and they heard it with open mouths. 
 
 Anita. What did they say ? 
 
 Wil. Don't you hear, they heard it with open mouth, and how 
 can they say anything when their mouth is open ? 
 
 Anita. I thought they had shut it since. 
 
 Te. They haven't ; and so they still stand with open mouth, look- 
 ing west, a monument to themselves, unless I shut it on invitation, 
 or request of the Emperor — ^by repeating the message. 
 
 Anita. They may get lock-jaw. 
 
 Te. They might, and it would be a pity and as they are otherwise 
 good men, and it would be bad if they could not say what they know, 
 and use their mouth, we wiU relieve them — ^from risk — give them 
 this that will enable them to shut their mouth and open it at ahy 
 time they may have something to say on science. Eead it to them, 
 Minnie. 
 
 Steph. Will they hear it? 
 
 Te. Of course, they will— they hear everything, but do not always 
 say something — 
 
 Min. In what light of reading, Professor, shall I give it ? 
 
 Te. In the light of the car. 
 
 Min. I mean as what message. 
 
 Te. As Minnie's message, to the Academy ; it goes over Philadel- 
 phia — ^they have direct hues. 
 
 Min. For the Academy ! (reading): Copy. To the President and 
 Vice-president of the Sections of the Great American Association 
 for the Advancement of Science — ^presented at their yearly meet- 
 ing, last faU, in Philadelphia — Family News ; BiETH of a 
 
 New Sciekce, 
 
 The Geometby op Thought, or the reduction of forms of Geo- 
 metry to Thought; a science able to demonstrate the identity of 
 motion and action, their laws being the same, only the one is nega- 
 tive, the other positive in its character ; a science which will free 
 the circle of its centre, the square of its lines, by substituting " poles;" 
 which will give the moral value of a curve, imposing laws on beauty, 
 and so, shooting along on these outlines, of created facts, trace brood- 
 ing mind, hovering over dust, in its intent. 
 
 This science, applied to languages, gave successive spectra of the 
 Boman and Qreeh mind, and then, with the transfer of the material 
 of these languages to other languages, with keys special and general. 
 
46 
 
 successive spectra of tlie people that speak these languages, En^ish 
 included' — "spectrum" here, as self-acting record of the psychic in- 
 fluences at work in the mind in the moment and act of speech — fhe 
 •" spectrum " having first been found, realized, in German. 
 
 The discoveries are stated in the reverse order from that in which 
 they were made, bringing them back in this order, to their place 
 of origin, Speech. 
 
 Collateral. — Test, definition, ^' poles:" points of related contrast 
 on a line of action, which where they act (exchange their contrast 
 on that line) create the square, and where .they react (assert their 
 contrast on that line) create the circle ; where is the center, except 
 in the poles, the idea of the poles, as center divickd? 
 
 Oh, Professsor, that is what we had. 
 
 Te. I know, Minnie, and coming now from you they may take 
 what they did not want to take or took in a way that requires an 
 oiling — ^when coming Irom me. It is coal oil from our Penmgrl- 
 vania mines, of thought and science. It will enable them, first to 
 lubricate their jaws, this as a first phase, to move their jaws as a 
 second, to close them or say something as a third, and make me 
 hear something as a fourth and final. The first two would be seen 
 on them, the last two would be seen and felt by us. Now give it to 
 them for a second reading, whilst we leave — 
 
 Steph. It will be too dark for them to read liie paper. 
 
 Te. It carries its own light, as a part of the light of the car, — 
 
 And now we are off, and might face the great Luminaries, of the papers, 
 across the sea, that hang like ignus fatui over the pool of the present, if we had 
 the handle and not the hroom, and there is but one column yet that is firm, 
 though it stands on crutches, and by the time this is printed and read, it may be 
 gone, and when it is gone, the whole country will bend over it in grief and col- 
 lapse— for he was "as one in suffering aU, that suffers nothing," "a man that 
 fortune's buffets and rewards hath ta'en with equal thanks," and trust in duty 
 was the sky of his soul, and as with Grant, so it was with Lincoln, and this was 
 the greatness of their souls inborn, and so we cannot replace them, for they were 
 reared in times when a great sorrow hung yet over the country, and this kept their 
 minds sober, and nobody knew where it would burst, and all that man could do 
 they knew was, trust in God and trust in one's duty, and this trust was that sky 
 of their soul, and it was rewarded, whilst the sky of those that are reared in 
 prosperity is a parlor papered with greenbacks, and yet this system seems the 
 only thing yet needed by progress to complete its lines. And I will cable it into their 
 heads as the latest "quotations" from the " clbaring house" op science, and 
 make it click around them that from the sound they shall think it is a kind of 
 Jews' Exchange, held at the Worlds' Croat-roads, in open markets, whilst it is 
 a Thuwder-storm of the Holt Ghost coming down in modern Methods) 
 and I will argue with them, like Krupp's Hammer, until from the jelly of their 
 points, they shall cry out : Save the classic, sand their trains of thought, by 
 new methods of teaching the dassics, you save the schools as seats of lewrning, 
 and with this, your own methods of life and liberty ! For in all other studies 
 we are led to facts, by mind, Irut away from the main fact, mind itself, whilst 
 n language, literature and art, mind leads back to mind, forming angles of sur- 
 
47— • 
 
 vey and rest. And in all other studies the thing you study is always seen as 
 one thing : there is but one Arithmetic, one Geography, one Astronomy, though 
 there are methods of treating that one thing, whilst in language you see that one 
 thing, language, as many things of the same kind, languages, compelling to com- 
 ' PARE. And if Lord God spoke, and speaks, to us in three Languages, through 
 Hebrew as Father, through Greek as Son, and here, as Holy Ghost, in English, 
 why deprive those who may wish to learn, of the enlargement of mind following 
 from the study of languages as with every new language a new mind comes be- 
 fore us, and compel us to remain boors and babies in matters of mind, thinking 
 every other boor and baby must just look like us until diiferentiation— noticing 
 of difference, cliildren— rin this, is a first step to culture. And all what mind 
 does now, it does as slave of the body, making it more lazy, whether inventing a 
 spring-bed, or a parlor-car, or a telephone, these short-cuts, of means, ordering 
 a sample of whisky as quickly as a copy of the New Old Testament, but having 
 not the power, nor have they the will to change the whisky in a Testament, for 
 whisky makes it " lively," and lively pats best, and they all without exception 
 follow what pays best, and so work us downward instead of upward— whilst 
 from those angles and nooks and corners of rest, of lihguistic studies, and art and 
 literature, there spring the monarchs of the world of mind, great souls, great 
 architects of new structures of mind, of new creeds, that house the millions in 
 their agonies op soui. when they are bewitched by the wiles op the 
 
 CaEUISTS AND BEWILDERED BY THE FREAKS OP THE PHYSICISTS — and hoW 
 
 ridiculous, how utterly ridiculous, to boast of wastes, that is, efforts on lines 
 where, at the \ies% we cannot equal a daisy or the chemistry op tee fields, 
 and neglecting those things in which we can rival an angel, and we should stand 
 at tlie head of creation ! not trying to catch its taili! and all we do catch of it 
 now are mostly gew-giiws, of imitations, as tinsels of feathers, in caps of vanity, — 
 and from these angles of rest spring the liberators of countries that break chains, 
 and do not forge them, by raising issues on the conditions of the "tails of 
 insects," to mislead the masses as to their own eondition, the discoverers of Xew 
 Worlds, new homes, new havens for the Millions, of new means for them 
 TO LIVE when given up by the rest, the proud egotists and "Knights of Matter," 
 and so of ' 'Darkness' ' and this even if they were stockholders in an ' 'Electric Com- 
 pany " — and Grant's mistakes in persons were mistakes not of his but of defects 
 on just that line of want of practice, of mind with mind, and he was a brave man 
 who spoke freely on matters of education also on his own behalf, in his messages 
 — ^and which, all the rest of these proud "experts" and monks of science which 
 want to hide the open light of revelation, as freedom, and the rights of man, and 
 common sense under the "masteries" of a craft — called " microscope"^the 
 Better to beguile, and claim to lead the age, by their own processes and the mode 
 op handling them will only speed the processes which will eat up the Millions, 
 
 ■ both body and soul, if not checked themselves by a thunderbolt prom 
 HEAVEN that will THROW them back to the abeof knowledge, compelling them 
 to learn their lessons over again, in a different light— and this admixture of 
 light and even if it were only a drop, into the processes of the age may change 
 the character of the whole "com,pou7id" — as a drop of blood shed at the cross- 
 roads of Times, and absorbed into the consciences of the times, has changed, 
 redeemed the blood op all times— and by precipitating— "seMKwfir," children- 
 boast and barbarism, in our present "culture" and "civilization" may save 
 culture and civilization— and men will spring from these angles of culture a .d 
 rest that see not alone themselves and their own lines, but other lines, too, and 
 the texture made from all and will strive to make that texture— very unlike, in 
 this, to those wild one-horse-line men of energy who see nothing but themselves, 
 whose works are vast, and fast, but whose errors are just as vast, and fast, and 
 killing— aai this System will give peace to your souls, children, and everywhere 
 from its certainties— 
 
 And here is Paris — and here we will drop a rose — to the grandchild of the 
 
man that sent that message— Victor Hugo— here is the copy— let your 
 sisters read it, at home^— the only lines here, as to French save some from 
 Harvard : that the " excellent preparation enabled him (the writer) to 
 take it easy for some time waiting for the class to catch up" — and the 
 whole, "preparation," were four lessons : 
 
 " Paris, le 20 Fdvrier, 1882. Monsieur, M. Victor Hugo a re^u 
 votre travail sur les verbes fran^ais et me charge de vous adresser ses 
 remerciements et ses felicitations. II vous est tr6s reconnaissant des 
 sentiments que vous lui exprimez et sa sympathie vous est entifire- 
 ment acquise. Croyez a mes meilleurs sentiments, Richard Lesclide. 
 " Monsieur Ch. Schaeffer, 125 N. 17th St.,, Philadelphia, U. S. A." 
 
 m'L Who is Victor Hugo ? 
 
 Te. Who was, Willie. He is dead. 
 
 WiV. Who was Victor Hugo ? 
 
 Te. Who is, Willie ; for he lives ! A writer and poet of France ; a 
 baby, as man, in character, and the rugged^ cliff that projects its preci- 
 pices into the sea, representing at once its fury and its collapse ; a riddle, 
 as a bundle of giants fighting themselves and the whole world ; the throb 
 of the heart of a Titan (if you ever heard of these, strong men that 
 stormed the heavens) under the mountain, with the mountain's that weighs 
 on him; the fragrance of the prairie, with the hiss and the rush of the 
 lava that devours it, singing in this its own pain; the eruption, too, with 
 its thunder and smoke; the man of Europe that had a soul — for Freedom ! 
 
 Wti. Three cheers — for him — for his memory. 
 
 Te. Three guns of mourning. The ship of state of Freedom, as Europe, 
 plunged with his death, head foremost, into the sea. Let it lie, as ship, 
 at the bottom, and float its flag in the breeze. 
 
 Three times three guns, of mourning ! Now drop the rose. They will 
 find it in Europe and deliver it with the "care of" that last line, as address. 
 But hasten — otherwise the rose might be miscarried as to its address, this 
 time, and from a mistake, perhaps, of the carrier, in reading — if dropped 
 here — near the Delaware — where — we land — 
 
 Min. Oh, Professor, why did you ask us at the beginning of our lessons 
 whether we could read and write? Didn't you know we could ? 
 
 Te. I asked you to show that your age itself would be no obstacle to 
 take up these things with you, and so would the same age not be in the 
 case of others, provided they or you knew how to read and write, just as, 
 knowing that Willie would ask the question when it came to the point of 
 four classes of verbs in French against seeming only one in English, and 
 having had to prepare the balloon for the survey of the Endings, I kept 
 and held it ready to let it fly, at once. And now, children, don't forgetthe 
 "Broad Avenue," of the Endings of the Present Infinitive, that 
 here divides the Verbs. 
 
FOURTH SESSION. 
 
 Study on Stem Changes. Regular and Irregular Verbs. Straight and 
 Jumping Changes. The Fight. 
 
 Te. Now, children, there is another difference in the verbs which you, 
 perhaps, have noticed, or if you have not, you could have noticed easily. 
 This is in the kind or character of the stem changes as to the place where 
 they occur with the word. If I say, examine your stem changes, that is 
 the change you wrote in your copy books, can you see any difference as to 
 the point or place of change? Nell. Some have the change outside. 
 Te. Which do you see? Nell. Aim-er, Fin-ir, they have outside an e 
 and i. Te. Examine others, compare them with the form of the stem in 
 the Inf. Wil. Voul oir has a change of the word, the stem. Te. How? 
 Wil. The Inf. has voul- and the Fut. stem change is voud-. Anna. I see 
 half a dozen. Te. Give them, or some of them. Anna. V-oir has only 
 a v- as stem, and the Fut. has ver- , ven-ir has a change altogether, changes 
 • the ven- into viend. Beulah Dee. Av-oir changes into au. Sieph. Et-re 
 into se. Min. Val-oir changes into vaud. Wil. Some have no change. 
 Te. Give some. Wil. Dev-oir has no change. Anna. Vend-re has no 
 change. Steph. Trai-re has no change. Te. They may possibly have 
 changes of the stem in other tenses or forms. Now mind, children, verbs 
 which make the stem changes outside, by an addition to the stem as it is in 
 the Inf , we call regular verbs, and their stem changes are the stem changes 
 of all verbs of that class. Verbs which make the stem changes by changing 
 the word itself, the stem of the Inf., are called the irregular verbs, and the 
 kind of changes, as it is a change of the verb, is a question more or less with 
 the verb itself. They all are running, each, a ticket of its own ; they are 
 bolters, whilst the regular verbs follow the regular ticket of the change of the 
 Conjugation to which they belong, without a scratch. But examine closely 
 vSt-ir. Min. That has an outside change, it adds the i. Te. This, then,, 
 would not make it an irregular verb, but it has another important change ^ 
 in the Past Participle or Perfect Participle, children, which constitutes it an 
 irregular verb. It is the ending of the Perf. Participle that sometimes too, 
 determines whether a verb is regular or irregular, even if there should be no 
 change of the stem either in the Past Participle or elsewhere in the verb. 
 Verbs of our lists or cut, that are understood to be irregular, though they 
 
 — 49 — 
 
— 50 — 
 
 show no stem change in the Future tense which we treated, are made irreg- 
 ular from changes in other tenses. Verbs called or enumerated as irregular, 
 must have somewhere a change which deflects from the regular form, as stem, 
 or ending of Perf. Participle, or they would be regular. 
 
 There are some verbs of the first class, or conjugation, that also soipe- 
 what change the stem by doubling a letter, or changing an accent or taking 
 one, where before they had none, but this is rather a matter of " euphony" in 
 cases where the former simple letter comes before a letter, an <?, which is 
 either not sounded at all or only a little, and has nothing to do with a 
 change proper, for its own sake, of the stem. 
 
 Let us now look back a little ; regular verbs are therefore those verbs 
 which have the stem changes, if they have any, only where ? Ch. Outside. 
 Te. Irregular verbs are those which have the stem changes, all, or some of 
 them, if the irregularity is not in the ending of the Perf. Participle, where? 
 Ch. Inside, as change of the word. Te. This is as in English. Compare 
 loved and sung. Loved, from to love, alters the stem or word by an out- 
 side addition, -d or -ed, and is called a regular verb ; sung, from to sing, 
 changes where? Ch. Inside. Te. And here, the vowel. And further, 
 French verbs may become irregular verbs by merely having irregularities, 
 in the ending, where? Ch. In the Perf. Participle. Te. This differ- 
 ence in the formation of a stem change, as a change either outside or inside, 
 and possibly an irregularity in the ending of the Perf. Participle, is all the 
 difference that exists between the regular and irregular verbs. Wil. Is that 
 all ? Te. That is all. Wil. That is not much. Te. Your charts, now, as 
 you recollect, contain the regular and the irregular verbs. Our Large Chart • 
 here, on the wall, contains the regular verbs, that is, specimens of each class, 
 for all regular verbs of that class, because all. regular verbs go exactly like 
 those given, and the two Auxiliaries, to have and to be. The chart of the 
 Irregular Verbs contains all the irregular simple verbs, and such compounds 
 as switch off from the simple irregular verb -by a sudden, unexpected turn 
 in either its meaning or form. For instance, "you say," in French is: 
 vous dites — specially irregular, instead of disez; but when you say, you speak 
 evil, curse, then you say, or use in the compound, not dites, but disez; 
 the verb approaching again a more regular form. The reason is that when 
 you use the words, "you say," all the meaning is in the "saying," but when 
 you say, "you say or speak evil, curse," then the main meaning is in the 
 "evil," whether this is conveyed by word of mouth, or by gesture, action 
 or in any other possible way, drawing with chalk, making faces, writing, etc. 
 So the "saying," as such, stands in the background, and then uses a more 
 regular form, and such deflections, from a simple verb, we would give. Regu- 
 lar forms are always, in all languages, intended as more tame, less striking, 
 as expression, than irregular verbs, which change their bodies by twisting 
 themselves with more or less violence through the tenses, whilst regular verbs 
 change, so to say, only their outer garment. Wil. They, the irregular 
 
— 51 — 
 
 verbs, are a kind of Zoo, zoological garden, Professor, are they not ? Te. 
 They are. and I will make you their keeper. Wil. With a salary? Te. 
 Willie, I hav'nt got one, a regular one yet myself, how can I give you one? 
 I will give you a badge to wear that is worth many salaries. Ch. To us, 
 too? Te. To all of you. Wd. Wnen, Professor, will you give it to us? 
 Te. When we are through, to-morrow, to-day, at any time. Anna. I 
 wonder what it will be. Te. It will be a kind of a little cage, with some 
 wild and a specimen of all the tame animals in it. They wont hurt you, 
 you will be quite familiar with them by the time we are through. You will 
 feed, that is, tend them now. and when you are grown, they will feed, that 
 is, help you. , Min. I am anxious to see that badge; and how can it con- 
 tain so much when you call it a little cage. Te. It is large enough for its 
 purpose, and more than large enough; and if you want to see it, just look 
 straight ahead. Min. Ahead! where t)? 7>. To our lessons. I see already 
 the badge, it stands out before me in all colors of the rainbow. Min. That 
 is a most wonderful badge. Is it a diamond? Te. Much more precious 
 than all the diamonds of the world. If sold for its worth, it could bring 
 more than all the diamonds of the world if sold, could buy of life, liberty 
 and independence for schools. Ch. Then let us go ahead, quickly, to get 
 that badge. Te. We are getting to it now. 
 
 But there is another feiture connected with these stem changes, and 
 in which all verbs share equally, whether they are regular or irregular; 
 namely, whether the stem changes are straight changes or crooked, jumping 
 changes. The straight changes go straight through a tense, as we saw in 
 the Future; the aim-e- of the stem as stem change, was the same change for 
 all the persons, so the vaud-, ver-, se-, au-, etc. The crooked or jumping 
 changes, jump from one place, tense or mood, person or number, into 
 another, or are at some pla es straight and in others crooked. I will first 
 chalk off their race or jumping ground, as tenses, moods, etc., giving the 
 E iglish for these tenses and moods too, and then choosing signs, mark the 
 places where alwavs the .same kind of change jumps to ; the same kind of sign, 
 meaning always the same kind of change in a verb for the places. And as 
 all verbs jump the same way, when you afterwards see one of the signs with a 
 stem change on our charts, and you know that that one sign means all the 
 places that have the same sign on the square for that change, would you not 
 know, easily, where to apply that change, namely, to all the places having 
 that sign on the square f Ch \ thmk we would. Te. Now the tenses or 
 moods that belong to the square are with their English, as follows: — Present 
 Participle {E.\\^\%\\, . . . ing, loving;) /mfierfect /mlicative (English, I loved, 
 I sang;) Present Indicative (I love, I sing;) Imperative (love thou, sing,) 
 and Present Subjunctive (I may love, sing.) The signs we use are star (X), 
 ring (0)» and square (□). Now I will draw the square and put in the signs 
 (drawing.) I abbreviate the names of the tenses in English, so that it will 
 not take so much room. 
 
— 52 — 
 
 Pres. Pakt. 
 
 X 
 
 Imp'f. Ind. 
 
 Present Ind. 
 
 Impekat. 
 
 SUBJ. 
 
 Sing. I,. . 
 
 X 
 
 o 
 
 — ' 
 
 D 
 
 2, . 
 
 X 
 
 o 
 
 o 
 
 D 
 
 3, • • • 
 
 X 
 
 o 
 
 D 
 
 n 
 
 PI. I, . . . 
 
 X 
 
 X 
 
 X 
 
 X 
 
 2, . . . 
 
 X 
 
 X 
 
 X 
 
 X 
 
 3. • • 
 
 X 
 
 n 
 
 D 
 
 □ 
 
 Tell me all the forms that have the star (X) change; tell me all the 
 places that have the ring (O) change ; tell me all the places that have the 
 square (□) change. How many stars? Ch. One, two, three— thirteen. 
 Te. How many rings? Ch. Four. Te. How many squares? Ch. One, 
 two — seven. Te. The change at one of the places must be the change for 
 all the places having the same sign, and if one, that first star, was '' Wana- 
 maker," what would be all the other stars? Ch. Wanamaker ! Te. And 
 if one ring change was "Strawbridge," what would be all the other rings? 
 Ch. Strawbridge ! Te. And if one of the squares was " Cooper and Conard," 
 what would be all the other squares? Ch. Cooper and Conard! School- 
 marm, Assistant (perhaps from Boston). That makes it local. Te. Like the 
 Public Ledger and the Pennsylvania Rail Road ; they annex the rest — we 
 are not in Boston, as they said when I was in Boston we were not in 
 Chicago; therethe ten lessons might do, but in Boston they would "see." 
 Anita. Well, but what did they do ? Did they see ? Te. Of course, they saw. 
 Anita. What did they then do ? Te. Nothing, but invite me to read them — 
 something. Anita. And when they had heard it, what did they then do? 
 Te. Again, nothing. Anita. That is very local. Te. And we have to 
 annex them to make them general, in their locality ; if we could make them 
 general, in their locality in Philadelphia, that would be just the thing for 
 us and for them, we would get local and they would get general ; that is just 
 now the trouble with us, we are no place now, only a reflex of places, of all 
 places, in heaven and earth, and they are a reflex on all places everywhere. 
 It would be like a consolidation of the universe, to combine Boston and 
 Philadelphia. But we never could get local from "Wanamaker" & "Co.," for 
 they are general, and as long as we have Independence Hall — "we" means 
 the rest. But, children, it is not necessary or understood that all verbs have 
 all these changes at the same time. Some have only one, others two, others 
 have all three, others none, but whenever there is a change, that change 
 comes back, recurs, children, at the same places, and this in regular and 
 irregular verbs. A few single words, in ordinary verbs — the auxiliaries 
 
■ —53 — 
 
 are very irregular at these places — fall off from the order of this line, then I 
 give the deflection from the rule of change, on the chart with the change. 
 But all this was the reason that no one thought there was a law at the bottom 
 of this change, it was so covered up by the variety of its action. But now 
 where it is known, it is all plain enough. 
 
 Now write out the changes of this square in the forms of " Wanama- 
 ker," star (x)j "Strawbridge," ring (0)j "Cooper and Conard," square 
 (Q). Shorten the words and instead of Cooper and Conard, say only 
 "Conard." Draw your lines and put names of tenses in columns; keep 
 the Present Participle out of the line of the persons, ist pers. sing. The 
 first form of Imperat. is blank (dash). Ch. (Drawing.) 
 
 Pres. Part. 
 
 Wan 
 
 Imperf. Ind. 
 
 Pres. Ind. 
 
 Imperat. 
 
 SUBJ. 
 
 Sing. I, 
 
 Wan 
 
 Strawbr 
 
 
 Con 
 
 
 
 
 2, 
 
 Wan 
 
 Strawbr 
 
 Strawbr 
 
 Con 
 
 3. 
 
 Wan 
 
 Strawbr 
 
 Con 
 
 Con 
 
 PI. I, 
 
 Wan 
 
 Wan 
 
 Wan 
 
 Wan 
 
 2, 
 
 Wan 
 
 Wan 
 
 Wan 
 
 Wan 
 
 » 
 
 3. 
 
 Wan 
 
 Con 
 
 Con 
 
 Con 
 
 Te. Now change this into a verb. Suppose here is boi-re, to drink, 
 from your chart irregular verbs; see it, in your charts, the verb's are arranged 
 alphabetically. The stem changes belonging to this square, you see, are 
 star change (X), buv- ; the square change (□) boiv-. The ordinary stem 
 is'boi-. Wherever there is no change given for a place, you use the 
 ordinary stem. Underline the star changes, and put the ordinary stem in 
 capitals. It will show better. Ch. (Writing.) 
 
— 54 — 
 
 Pres. Part. 
 
 X buv- 
 
 Imperf, Ind. 
 
 Pres. Ind. 
 
 Impekat. 
 
 SUBJ. 
 
 Sing. I, 
 
 X buv- 
 
 O Boi- 
 
 
 Q boiv- 
 
 
 2> 
 
 X buv- 
 
 O Boi- 
 
 O Boi- 
 
 □ boiv. 
 
 3. 
 
 X buv- 
 
 O Boi- 
 
 Q.boiv- 
 
 Q boiv- 
 
 PI. I, 
 
 X '^«z'- 
 
 X buv- 
 
 X bup- 
 
 X ^«»- 
 
 2. 
 
 X i^'^'- 
 
 X buv- 
 
 X hiiv- 
 
 X buv- 
 
 3. 
 
 
 X buv- 
 
 Q boiv- 
 
 □ boiv- 
 
 Q boiv- 
 
 7>. Now take another verb: Prend-re, to take, look into your charts. 
 It happens to have the same kind of changes as this boi-re (star and square, 
 no ring change.) I had better write it on the board, too — 
 
 Q prenn- 
 prend-re (X pren-) 
 What are the changes? Ch. It has a star change, X pren-; a square change, 
 □ prenn-; no ring change ; the ordinary stem is prend-. Te. Now what 
 are all the thirteen star changes? Ch Pren-. Te. The seven square 
 changes? Ch. Prenn-. Te. The rest, or the form in the place of the ring 
 changes? Ch. Prend-. Te. Willie, give first person plural. Present Subj. 
 Wil. Of course that must be pren-, all the first and second plurals are stars, 
 pren-. Te. Anita, give 3d plural, Pres. Ind ? Anita. That is square, it 
 must be prenn-. Te. Nellie, give 3d sing. Imperat.? Nellie. That is 
 square, it must be prenn-. Te. Anna, give 2d sing. Imperat.? Anna. 
 That is no change, stem— -prend-. Te. Willie, give all the stem changes of 
 this verb in Pres. Imperat., slowly? Wil. Sing. — 'blank, =prend, ''prenn-. 
 Plur.— 'pren-, =pren-, ^prenn-. Te. Anna, give Pres. Ind., Sing, and Plur., 
 stem changes, slowly — spell it ? An. Prend-, prend-, prend-, pren-, pren-, 
 prenn-. Te. Present Participle. Wil. Of course, pren-. Te. Why, Willie, 
 again, of course? Wil. The Pres. Part, is a star change, and prend-re has 
 a star change, and that is pren-. Te. Now, another verb; take mouv-oir, 
 to move, children, see your charts. Here is the verb and its changes : 
 
 O meu- Q meuv- 
 MOUV-oir 
 
 (to move.) 
 
 What stem change of this square do you not see there? Ch. It has no star 
 change. Te. Then, in those places of the stars you take, as you are not 
 
— 55 — 
 
 ordered to change, what? Ch. The ordinary stem. Te. What is that? 
 Ch. Mouv-. Te. Children, slowly now, what is the second plur., Pres. 
 Subj.? Anita, Nellie. Mouv-. Te. Why? An. The first and second 
 plural throughout are star or Wanamaker changes, which that verb has not, 
 so it is here, noouv-, its ordinary stem. Te. What is third sing., Imperat. ? 
 Nell. That is meuv- Te. Why? Nell. That place is a square place, and 
 the square change here is, meuv-, so the change is here, meuv-. Te. Third 
 sing., Pres. Ind., what is that? Ch. That is "ring" (looking at diagram 
 of mouv-oir) that is meu-. Te. And Pres. Part. Ch. No change, mouv-. 
 Te. Now, another verb. Take v-oir, to see. See your charts. Anita, 
 write the verb with the stem changes that belong here, on the board. An. 
 (Writing). 
 
 O voi- Q voi- 
 V-oir (X voy-) 
 
 Te. What will be first plural, Pres. Subj.? Ch. All first and second 
 plural, star changes, voy-. Te. Third sing., Pres. Ind. and Subj. Ch. 
 Ring and square, it is here the same change for both, ring and square, voi-. 
 Te. Now, once more. How many star places are on this square? Ch. 
 Thirteen. 7>. How many ring places? Ch.Yoxa. 7>. How many square 
 places? Ch. Seven. Te. But how many changes do I need to give or do 
 you need to learn, for each of these kinds of changes, to have all the others of 
 the same kind? Ch. Only one. Te. And so, three notations, one for each 
 kind of changes, will cover how many changes? Ch. (Counting) twenty- 
 four. Te. And if a word, or as I may add here, words, fall out of the line 
 of the rule of changes, where is this noted ? Ch. With the change. Te. 
 Now write the word All-er, in these changes from your chart. Observe : If 
 a number of words or letters are given in succession in the place of a change 
 with the verb, then this succession as such, if nothing else is said, means the 
 persons of that place in their order. Any notation given with a place, of 
 course, means only that place. And if no dash is given anywhere on the 
 charts after a word, or rather the letters of a word, then the form as you see 
 it, means always a full form. Now, Stephen, copy on the board what you 
 see of the verb and such changes on your charts. Steph. (Copying). 
 
 O Vais, vas, va Q aill — 3d plur. 
 2 Imperat, va Pres. Ind., vont. 
 
 i- 
 All-er 
 
 Te. Write now the Wanamaker square in all-er, children, one of the 
 worst verbs in French. What kind of change do you not see noted. Ch. 
 It has no star change. Te. And what, therefore, do you take in the places 
 of the star? Ch. The ordinary stem. Te. Draw your lines first and then 
 fill out. Ch., (Drawing and writing.) Will. I am already done. Te. 
 
-56- 
 
 How so quick ? Will. I wrote all the changes of a kind at once, at a time ; 
 all thtaJ-'s, and then all the aill-'s, with that one exception, and then the 
 vais, vas, va, etc. That goes like lightning, and you can hardly miss a thing 
 or form, everything is absolute, sure. Te. That is good, that helps a great 
 deal. Read me your Imperative — spell it out. IVill. Blank, va-, aill-; 
 plur.— all-, all-, aill-, that way it is much more difficult to write quickly; it 
 is sure too, but one has to go slower. Te. But do you use the verb this 
 way, all five or six forms at a time, in speech? Anna. Only one at a time. 
 Te. Now see, Willie, whether you do not know it that way. What is 
 third plur., Pres. Subj. of all-er? Will. O, that I am sure, it is aill-. Te. 
 Why? Will. It is "square," and that is aill-. Te. And the third sing., 
 Imperat. Will. Oh, that is nothing, it is square, that is aill-, too. Te. 
 And the first plur., Imperf. Will. All first and second plur. are star 
 changes, it has none, it is all-. Te. 'And the third sing., Pres. Ind. Look 
 at ydur writing. Will. Oh, I know it, that is va. Te. And children, you 
 are done, I suppose, by this time; third plur., Pres. Ind. — don't look at 
 your books. Ch. Vont ! this time, extra. Te. Good. Show me now 
 your books. Ck. (Showing.) 
 
 
 Prbs. Pakt. 
 
 all- 
 
 Impekf. Ind. 
 
 Prbsent-Ind. 
 
 Impbkat. 
 
 Sunj. 
 
 Sing, i., 
 
 
 all- 
 
 vais 
 
 
 aill- 
 
 
 2, 
 
 
 all- 
 
 vas 
 
 va 
 
 aill- 
 
 3. 
 
 
 all- 
 
 va 
 
 aill- 
 
 aiU- 
 
 PL i; 
 
 
 all- 
 
 all- 
 
 all- 
 
 all- 
 
 2, 
 
 
 all- 
 
 all- 
 
 all- 
 
 all- 
 
 3' 
 
 
 all- 
 
 vont 
 
 aiU- 
 
 aill- 
 
 Te. The pronouns, you see, we leave away again in our writings. We 
 know them from their use with the Future. And the forms that have no 
 dash here, what are they as such forms, given without a dash and understood 
 to be as such ? Ch. Full forms. Te. Tell me the forms given as full forms 
 here, of this square. Ch. Vais, vas, va, va, vont. Te. Now, children, 
 what have you to know or to learn in order to use this square with verbs? 
 Ch. We have to know the rules of this square and stem changes as they are 
 given with the verbs, ring, square or star, or where there is not one, of these 
 changes, then we have to use the ordinary stem, and this, then, with its 
 
— 57 — 
 
 ending and meaning in English. Te. But suppose you would not learn 
 these stem changes with us, one square, one ring, one star, would that help 
 you anything with the verb ? Ch. We would have to learn them with the 
 verbs, and instead of one star change, we would have to learn thirteen, and 
 instead of one square, sevep, etc. Anna. And then we would not know 
 where they come in. Te. It would be a mere matter of memory to know 
 when or where, and whether a change comes in or not. Here are some 
 colored pencils, run them through your writings in all-er ; all stars or star 
 places, blue ; all squares, yellow ; all rings, red. Ch. O, that looks nice ! 
 Te. Now, whether we say blue change, star change or Wanamaker change, it 
 means the same thing, and so with the square, yellow, and the red, ring ; 
 and if I would write these changes each always on a given place with a verb, 
 the ring change on left upper corner, square change right upper corner, star 
 change after the verb, would that not be as good a notation of the change, 
 its kind, the place it is meant for, as the signs themselves ? Wil. We 
 could leave away all the signs with the stem changes themselves, noting only 
 by place. Te. So it is noted on the very large printed chart of the irregular 
 verbs, such as Victor Hugo had it, of which your copy is a photograph, 
 photo-lithograph, with the colors maintained. On "our large Chart" of 
 the regular verbs and the auxiliaries, you see the signs left away with the 
 auxiliaries, their stem changes being noted only by position and color. 
 These changes in the auxiliaries are so numerous that ihese changes, of the 
 Wanamaker or color and sign square in the auxiliaries, you learn better ready 
 made, in their order of persons and tenses, from an extra chart. The other 
 forms of the auxiliaries are as straight for learning from our large chart as 
 the rest of the verbs on that chart. And what do we learn from this Wana- 
 maker square, and the notation of the stem changes of this square with the 
 verbs? have we anything to do with the endings or spelling, except in cases 
 of a special irregularity, as a full form like vais or vont, where we get stem 
 ending and spelling at once? Ch. Only the stem changes. Te. The end- 
 ings and spelling we get separate — from this, our large chart ; we made 
 already a beginning with the Future ; what was the ending of all Futures ? 
 Ch. -rai. Te. And what was the place where we noted the stem change of 
 the Future? Ch. " Immediately above the verb. " Te. Now look at your 
 all-er as you wrote it, or as Stephen wrote it on the board. What is the 
 Future of all-er? Ch. I-rai. Te. Give me that Future in full, read it from 
 the chart; the r is given but once, with the first person. The spelling you 
 know from your writing. Ch. Irai, iras, ira, irons, irez, iront. Te. Write this 
 on the board, Anna, mark the pieces, stem, ending and spelling, where there 
 is any. Anna (writing on board): i-rai, i-ra-s, i-ra, i-ron-s, i-re-z, i-ron-t. 
 Te. And what do these mean? Ch. I shall go, thou wilt go. Te. All 
 right, but where is the I, thou, in French ? Ch. It is not in our answer, but 
 we know it: Je, or before a vowel, j', tu, il, elle, nous, vous, ils, elles. 
 Te. Now, I think, children, that is all very plain, both as to the Future and 
 
-58- 
 
 tbe Wanamaker square. Do you think it would transgress the capacity of 
 any one to learn and comprehend this? Ch. I think not. Te. And yet 
 there are people who say it takes them longer time to learn the rules of that 
 square than to learn the French verb. Wil. How long is the French verb, 
 in the books? Te. Fifty-two pages by the yard stick, in Fasquelle's Gram- 
 mar. Wil. Oh, Professor, I know that square now already, forward, back- 
 ward, up or down. Te. I think you do. And don't you think it is not 
 more than fair and meet to inflict such a terrible punishment on such stub- 
 born ill-will as will last them forever, that is, as long as that stubbornness of 
 ill-will lasts, and frighten evil doers and prevent a recurrence, and not by 
 me, but through the mouth of children ? Ch. I cannot see how they can 
 not see it. Te. Neither can I. They don't want to see it; they are afraid 
 of it, as the tailors- were of the sewing machine, first, when they heard of 
 it, and then when they saw what it did ; or the monks were of printing. 
 Anna. I think that is very foolish. Te. These things have now been before 
 the country in German, Latin, Greek, French, for many years, and yet what 
 is the result of all of it? Nothing b'lt ridicule, disdain, indifference. 
 Think of the agony that has been inflicted only in these years, by all these 
 many times fifty-two pages of verbs alone, in all these different languages, 
 on all the big boys and the small boys, the little girls and the tall girls, on 
 all the young men eager to learn, and all the young women eager to advance, 
 and kept back and embarrahsed in their efforts and blasted in their hopes by 
 the toils needed to disentangle themselves from the coils of the verb alone, 
 not to speak of the other items of the languages ; and so losing interest in 
 their struggles, and when they are through, think they have struggled in vain 
 and lost life for nothing. If it had been a college endowment or increase 
 of salary, the college masters would likely' have seen it, would they not? 
 Anna. I think they would. Te. A teacher who steals his pupil's time is a 
 thief, and worse than a thief, because he steals what has been placed in trust 
 with him, his pupil's time, to whom he holds in this, the matter of time, the 
 relation of guardian, and what when once lost, he can never replace. I wish 
 that the children, with their own mouths, would repeat this statement as 
 their own opinion and as they understand it. All children. A teacher who 
 steals his pupil's time is a thief, and worse than a thief, because he steals 
 what has been placed in trust with him, and he can not replace. Te. And 
 as they say they can not "see" it, is it not fair that we help them to see? 
 Are you ready ? Ch. We are. Te. Then write the square as we had it, but 
 instead of the Wanamaker, Straw bridge and Conard changes, write now the 
 star places, dunces; the ring places, foolscaps; and the square places, 
 ganache. Ch. What is ganache ? Te. Dunces in talk. Have you written 
 it ? Ch. We have. Te. Then read it to me. How does it read ? Ch. 
 (Reading) : 
 
59 — 
 
 Pres. Part. 
 
 Imperf. Ind. 
 
 Present Ind. 
 
 Imphrat. 
 
 SUBJ. 
 
 dunces 
 
 
 
 
 
 
 dunces 
 
 foolscaps 
 
 
 ganache 
 
 
 dunces 
 
 foolscaps 
 
 foolscaps 
 
 ganache 
 
 
 dunces 
 
 foolscaps 
 
 ganache 
 
 ganache 
 
 
 dunces 
 
 dunces 
 
 dunces 
 
 dunces 
 
 
 dunces 
 
 dunces 
 
 dunces 
 
 dunces 
 
 
 dunces 
 
 ganache 
 
 ganache 
 
 ganache 
 
 Te. Now change the name of Tenses into those of cities, Washington, 
 Baltimore, Philadelphia, Boston, New York, in this order, and the persons, 
 singular and plural, the single ones or those of the singular into Teachers, 
 Professors, Headmasters, and those of the plural, in their order, into Schools, 
 Colleges, Academies, what will you get ? Ch. (Writing). 
 
 
 Washington. 
 
 Baltimore, 
 
 Philadelphia. 
 
 Boston. 
 
 New Vork. 
 
 
 dunces 
 
 
 
 
 
 Teachers 
 
 
 dunces 
 
 foolscaps 
 
 
 ganache 
 
 Professors, 
 
 
 dunces 
 
 foolscaps 
 
 foolscaps 
 
 ganache 
 
 Headmasters 
 
 
 dunces 
 
 foolscaps 
 
 ganache 
 
 ganache 
 
 Schools 
 
 
 dunces 
 
 dunces 
 
 dunces 
 
 dunces 
 
 Colleges 
 
 
 dunces 
 
 dunces 
 
 dunces 
 
 dunces 
 
 Academies 
 
 
 dunces 
 
 ganache 
 
 ganache 
 
 ganache 
 
 Te. Now what are, from the diagram, the teachers of Boston ? Ch, 
 Blank. Te. The professors of Baltimore? Ch. Dunces. Te. The pro- 
 fessors of Philadelphia? Ch. Foolscaps. Te. The headmasters of New 
 York? C4. Ganache. /"(t. The headmasters of Philadelphia ? C/?. Fools- 
 caps. Te. The academies of New York? Ch. Ganache. Te. The acade- 
 mies of Baltimore? Ch. Dunces. Te. The colleges of New York? Ch. 
 Dunces. Te. The colleges of Baltimore and New York ? Ch. Dunces. 
 Te. The colleges of all the cities? Ch. Dunces. Te. They, the "colleges," 
 are first person plural, that goes all through as same change; and the schools 
 of all the cities? Ch. Same way, dunces. Te. Dunces, all around, and 
 the teachers of all the cities? Ch. Some are dunces, some are foolscaps, 
 some are blank, some are ganache. Te. And the head, in front of all, at 
 Washington? Ch. We don't see any. Te. But suppose there was one, 
 what would it be as the head of stars here? Ch. The head of dunces. Te, 
 That may suffice — now back to our Tenses. But suppose they would mend 
 and change, would they not be pearls, jewels, darlings ? Now, if I give you 
 one "star" as pearls, what will be all the stars? ' Ch. Pearls. Te. And' if 
 I give you one "square" as darlings, what will be all the squares? Ch, 
 Darlings. Te. And if I give you one "ring" as jewels, what will be all 
 the rings here? Ch. Jewels. Te. Write out this square with the changes, 
 stars, pearls ; rings, jewels ; and squares, darlings ; let the dunces become 
 "pearls," ^& foolscaps, "jewels," and the ganache, "darlings," what do- 
 you get ? Ch. (Writing). 
 
■6o — 
 
 pearls 
 
 ALTIMORE. 
 
 Philadelphia. 
 
 Boston. 
 
 New York 
 
 pearls 
 
 jewels 
 
 
 darlings 
 
 
 pearls 
 
 jewels 
 
 jewels 
 
 darlings 
 
 pearls 
 
 jewels 
 
 darlings 
 
 darlings 
 
 pearls- 
 
 pearls 
 
 pearls 
 
 pearls 
 
 pearls 
 
 pearls 
 
 pearls 
 
 pearls 
 
 pearls 
 
 darlings 
 
 darlings 
 
 darlings 
 
 Teachers 
 
 Professors 
 
 Headmasters 
 
 Schools 
 
 Colleges 
 
 Academies 
 
 Te. What will now the professors of Baltimore be ? Ch. Pearls. Te. 
 And the professors of Boston ? Ch. Jewels. Te. And the teachers of New 
 York? Ch. Darlings. Te. And the teachers of Philadelphia? Ch. Jewels. 
 Te. What they are — because they are going to mend and have already 
 mended to some extent — and the schools of New York ? Ch. Pearls. Te. 
 And all the teachers? Ch. Some are pearls, some are jewels, some are 
 darlings, except Boston. Te. Why? Ch. They are "blank." Te. Now 
 change the stars into darlings, and the rings into pearls, and the squares into 
 jewels, what will now all the schools be? Will. Oh, I can say it without 
 writing. Te. Why? Wil. The schools are first person plural, and these 
 are now all stars, darlings. Te. And the teachers, first person singular? 
 Ch. Some are darlings, some are pearls, some are jewels, except Boston. 
 Te. Why? Some children. They are blank. Little girl. Why are all the 
 Boston teachers always b'ank? Nellie. Because they are Boston teachers. 
 Anita. But why, then, are they, as Boston teachers, always blank? Wil. 
 Don't you see^-as teachers they are the first person, and Boston is in the 
 Imperative Mood, so they, as Boston teachers, are blank. Te. They are 
 singular, first person, and can not command themselves ; and as they can not, 
 of course, command anybody else in that mood in which Boston is, they are 
 blank. The teachers in the other working moods, as first persons, are not 
 blank. Ch. Are you not a teacher yourself. Professor? Te. No. Ch. What 
 are you then. Professor ? Te. I am a grandfather, one of your uncle's, Sam. 
 Ch. Uncle Sam? Te. "Uncle Sam" is everybody and everywhere where 
 any good is being done for the country. Ch. Then you must have many 
 grandchildren ? Te. So I have, and some nephews, here and abroad, and 
 it is for them that we inflect the "dunces." Wil. That shows the action of 
 the square. Te. To all pearls, jewels and dunces. But now, children, take 
 all the teachers, and professors, and schools, and pearls, and jewels, and dar- 
 lings, and dunces, and foolscaps, and Wanamaker's, and Strawbridge's, and 
 Cooper and Conard's, and "buv's," and "boiv's," and "prend's," and 
 ■"pren's," and "prenn's," and the endings, and the spellings, and multiply 
 each single set of stem changes to the number of hundreds of verbs, and 
 put them in a hat and shake it, and put a schoolmarm on one side and the 
 children on the other, and toss the hat and draw answers, and tears, and 
 
— 6i — 
 
 Te. And there is that other method that wants to learn "like a child," and a 
 child learns ten thousand lessons, ten lessons a day for all the days of three 
 years ; and then it knows nothing but the sounds, and no spelling, and read- 
 ing, and writing, and they want to do this in twenty lessons, and this with 
 pupils that have the heads full of other things than learning, and are as far 
 from the conditions of a child as memory, and attention, and absorption of 
 what it sees and hears, as the moon is from the earth, and yet they want to 
 do it without the conditions, and play bootblack to a lazy times that wants 
 to know but not to learn and is too lazy to think even what it requires to 
 learn like a child, and think they are children when they spend money for 
 the fun of the thing — of a few phrases or a summer time spent in pleasure — 
 and when they have learned nothing, except they knew what they did learn 
 not like a child — in that case they would learn with profit, and it would be 
 just the thing for them, but otherwise such talk makes wind, but gives no 
 knowledge, and when left alone, they are; helpless like children with their 
 own texts they can not read, though they talk them — still they think there is 
 the show of something, the phrase, and nobody knows how much or how 
 little is behind it, and it sounds, as phrase, correct ; not even they in their 
 innocence of pleasure know, for they never saw, that is heard, the language, 
 only so much of it as the professor shows by his gestures ; whilst with us, in 
 its full force, at once stands out before the pupil the language, but with 
 means, too, to master it in this, its force, without a master, and be brought 
 by ten lessons of such work as green students, to college. You don't expect 
 me, children, to stand back and hang the head and be bashful, because they, 
 the public, don't want to see it ; we sail in rather and blow the trumpet, and 
 blow the trumpet, and blow the trumpet, till they have to hear it and the 
 walls of "Jericho" go down. My students can never make a "show" of 
 the ordinary kind, the deeper the seed is laid the less they can make that 
 show of surface, but the harvest is secured, or they make such shows, if you 
 will call these shows, as we had them the other day at five Commencements 
 with green classes, that had had, each, sixteen lessons, divided between Ger- 
 man and French; when I walked with a copy of Tel6maque into the class- 
 room and made them read, parse, translate, with the help of a few words 
 given, and then say by heart and sometimes write by heart, too, the first 
 sentence, five or six lines, as much as there may be written on a blackboard, 
 of any one page of three hundred pages they might give and which they gave 
 from book, and they did it correctly, and one of the classes was in the Phila- 
 delphia School of Design, if any one wants to ask ; and here, children, you 
 have the whole of the verb from top to bottom, and when you are through, 
 nobody can teach you anything more of the verb than what you can do 
 yourself by practice. And it is important to free the student as quickly as we 
 can in these times of hurry and change from the lead-string of the teacher, 
 and to throw him upon himself — and this is with many a question, too,, of 
 money, at least of time — and what you save at one point you can use at 
 
— 62 — 
 
 another ; and so, though getting away from our square, we are getting back 
 to it, as a means of saving time. And they stand out, these squares, in the 
 different languages like electric lights along the roads, cheering the pupil in 
 his efforts and shortening the work of the teacher, doing the trudgery as by 
 electricity or steam, and freeing the soul to soar up into the beauties of the 
 thing, the reading and talking and take rambles, too, after things — bal- 
 loons, children, we did that in time saved, whilst saving new time by the 
 balloon — and to come to these, the reading and talking, in almost no time, 
 not by understanding, but with understanding, and that is all the difference. 
 The talking as such must be learned by talk, but understanding must be 
 secured, too, if you have not time to learn only like a parrot ; and this 
 understanding is sped and laid deep by this kind of work. And so led and 
 aided by similar kinds of works over the whole of the grounds, the student 
 can say that he knows a language as far as knowing is based on a hold on its 
 principles, and the rest presses on with this knowledge, and the certainty, 
 .and the satisfaction, and the love of the thing as kind of work and kind of 
 study, — but then, children, in this square, after the changes of this square, 
 there come the "endings" and the "spelling," too. Wil. O, that is noth- 
 ing, I see it from the chart, and the more comes here the more comes else- 
 where, too, in books, and we had to get it there. Te. It is not much here. 
 Wil. Professor, does that square not look like a ladies' shopping bill or memo- 
 irandum book? One day they go only to Wanamaker's, another to Wana- 
 maker, and Strawbridge and Clothier, or Strawbridge and Clothier, and 
 •Cooper and Conard, and then on other days, they may coaimence with 
 Strawbridge and Clothier, and then go to Wanamaker, and bring up with 
 Cooper and Conard. Te. And on days where there is no change, then the 
 square looks like a day spent at Cook's, by ladies, buying underwear ; but 
 ■on dry-good-days, they do like the square. That is the reason they take so 
 amazingly to it. The next step, children, in the system, is the annexation 
 •of Boston. Not to take when seeing, invites taking. And so they are 
 ^' taken'' from to- day ; and once they belonging to us, we shall easily belong 
 ito them, and they, from their practice, will "see it." 
 
 Now write for the next time, to keep you busy, the Future of the first 
 six verbs in large print, on your chart of irregular verbs, and take a wilk in 
 the "square." It looks like France — variety and unity, diversity and rule- 
 that is beauty, that is France: Le Jardin de Versailles, the "Garden of 
 Versailles," Versailles, near Paris, children, as I call it on your chart, meaning 
 the principle of French gardening seen as applied by language to itself. 
 Some ask: What has that word to do here? O nothing, for you, grave 
 heads, only to please the children. It pleased one grandchild, I know, and 
 it will please one more, and others, when they are grown up. 
 
FIFTH SESSION. 
 
 The Tenses of all Verbs, Simple and Compound, in full. The Verb Com- 
 pleted. The Children's Rewards. Copies of Chart. 
 
 Te. Now children, we can now finish the verb in "no time." But 
 first, show me your Futures ? Ch. (Showing). Te. Now read them, spell 
 the words, I will sound them and you say it again ; give only the French 
 for the pronunciation. Ch. (Reading") absoud-rai, achet-e-rai, atquerrai, 
 i-rai, amen-e-rai, amoncell e-rai. Te. You see, some take accent or double 
 letter in the Future, verbs of the first Conjug As to these, you con- 
 sult afterwards, list in books, I gave some of each kind. You will see 
 that the same feature of accent and doubling, in these same verbs, is also 
 in their red and yellow stems. It is cauied by the spelling — this in the 
 ordinary English sense— of these forms. Now, PRESENT PARTICIPLE ; 
 enling—^wA. it, Willie, Pr. P., on chart. Wil. and other children. I see it, 
 we see it — ant. Te. Full form, the t is spelling and is not heard. Stem 
 cnange, if occurring (Pres. Part., is one of the forms of the Wanamaker 
 square) what? Cn. Star. Te. N(jw read me the Pres. Part, in your four- 
 teen verbs; the four regular verbs and the two Aux. on "our large chart," 
 and the eight on your cut, or from the chart of the irregular verbs. Read, 
 each child, three, as far as it goes, say it, \yhen you come upon a stem 
 change. Ch. (Reading) aim-ant, (stem change) fin-iss-ant, dev-ant, vend- 
 ant, 'Stem change) ay-ant, (stem change, in accent) et ant, voul ant, (stem 
 change) voy ant, viv-ant, vSt ant, ven-ant, val-ant, (stem change) vairqu- 
 ant, (stem change) tray-ant. They all mean in English . . . ing, loving, 
 finishing, etc., as you know from the notation of the meaning of the Pres. 
 Part., when it was given as one of the forms of the Wanamaker square. 
 
 New Tense, IMPERFECT (Past) INDICATIVE; ending under the 
 "Im. I.," of the chart, on top. Stephen read it, with "spelling." 
 Steph. Sing., ai-. Te. With the "spelling" Steph. Ai s, ai-s, ai-t. 
 Plur., ion s, ie-z, ai-ent. Te. Stem change, Anna? Anna. Star; it is one 
 of the Wanamaker square. Te. Stem change the same as Pres. Part., only 
 in the auxiliary avoir, there is a deflection. We take these auxiliaries in the 
 Imperf., as we did in the Pres. Part., from our large chart, though for the 
 square at large in these Aux's, you have an extra chart. Give Imperf Ind. in 
 the 14 verbs, children ; take each three again, changing your turn ; only first 
 
 -63- 
 
-64- 
 
 person— the stem change of the Imperf. Ind. is one of i\ie Jumping changes, 
 but in the Imperf. Ind. itself, as you have noticed on your squares, it is straight, 
 there is no break. Where is a change of stem in one of your verbs, mark it 
 again, but now, by saying only, change, we know it means, stem change. Ck. 
 (Reading) aim-ai-s, (change) fin-iss-ai-s, dev ai-s, vend-ai-s, (change ay-, but 
 it is said : Imperf. Ind. regular, so, av-) av-ai-s, (change of accent again) 
 et-ai-s, voul-ai-s, (change) voy-ai-s, viv-ai-s, v&t-ai-s, ven-ai-s, val-ai-s, (change) 
 vainqu-ai-s, (change) tray-ai-s. Te. Next Tense or Mood, CONDITIONAL; 
 ending — "r" of the Future, with ending of Imperf. Ind., with the spelling: 
 r-ai-s, first form in left upper corner. Stem Change ! Who can see where 
 there is the notation that directs a stem change as for the Conditionali 
 Nell. I see it in Key I., under the gold line. "S'M" means stem; a line 
 above this means Future and Conditional; so its stem change is noted above 
 the verb, and is that of the Future. Te. Read the verbs — note again where 
 change occurs. Ch. (Reading): (change) aim-e-rai-s, (change) fin-i-rai-s, 
 dev-rai-s, vend-rai-s, (change) au-rai-s, (change) se-rai-s, (change) voud-rai-s, 
 (change) ver-rai-s, viv-rai-s, (change) v6t-i-rai-s, (change) viend-rai-s, 
 (change) vaud-rai-s, vainc-rai-s, trai-rai-s. Te. The stem change, you see, 
 is throughout that of the Future. Ch. Has that Conditional anything to 
 do with the Future, that it is here again, the r of the Future? Te. The 
 Conditional, "I would, if," is a suspense between the Future and the Past 
 in meaning; put in the "if" and the Past is a Future, that is, it is not done 
 what you talk about; take away the "if," and the Future would be a Past, 
 it would be done or was already done. So you can not forget now its forms, 
 ending proper, of Imperf. Ind, and helping letter r as of the Future. Wil. 
 I think I can never forget that Conditional, a suspense, in letters. Te. 
 Give me Conditional of etre, without the book? Wil. Se-rai-s. Te. Third 
 plural. Conditional, v-oir; spell it. Nellie. Ver-r.ai-ent. Jir. Why did 
 you put that dot in? Nellie. To mark that "suspense" as you called it, 
 to show that it is made of a part of the Future and in part of the Imperfect. 
 Te. And what is its meaning as Conditional ? Ch. I would, if — . Te. I 
 would, should, love, eat, drink. New Tense or form : PERFECT PARTI- 
 CIPLE, where? Buelah Dee. I see it; top line, "P. P.," that means 
 Perf. Participle. Te. Here the classes differ in endings. Read them. Ch. 
 I Conj., e, 2, i, 3 and 4, u. Te. If a stem change occurs, or the form is 
 otherwise irregular, it is noted as you see in Key I., under the verb. Give 
 me Perf. Part, in your fourteen verbs ; if a change occurs, and the form is 
 not straight by the rule of the classes, say again "change." Ch. (Reading) 
 aim-e, fin-i, (ch.) d-u. Te. What is the change here? Ch. It is in the 
 stem ; the u is regular. Te. Inside change of stem, of dev- to d-, this makes 
 it irregular. The verbs of the third conjugation are actually irregular verbs 
 counted, as representing, each, not itself, but a certain class of verbs, with 
 
-65- 
 
 would again confuse other forms, especially the Infinitives of other verbs. 
 In some grammars, the verbs of this third conjugation are left out entirely 
 from the list of regular verbs. The stem of the verb for us here is dev-; 
 next verb, vend-re ; the / under it, in parenthesis, is not or has nothing to 
 do with the Perfect Participle ; it is or refers to the vowel of the Defini, 
 children, the next form we come to. The way to mark a change that means 
 the Defini, children, is given in Key I : you have to see it under the verb in 
 parenthesis, as you see that D, meaning Defini, there. Now we have seen or 
 heard of all the Tenses that are meant by notations, explaining the meaning 
 of stem changes as contained in Key I; what are they? Anna, Nellie. 
 Notation above the verb, immediately, means Future and Conditional ; line 
 below, Perfect Participle, and if a notation is given there at the side, in 
 parenthesis, then it means Defini. Te. Now go on with your verbs, vend-re, 
 Perf. Part.? Ch. (Reading) vend-u, (ch.)eu, (ch.) 6te; voul-u, v-u, (ch.) 
 vec-u; (ch.) vet-u. Te. What is the change here? Ch. Ending, instead 
 of i, — (ch.) same as in vSt-ir, ven-u, val-u; vainc-u, (ch.) trait. Te. The 
 meaning of Perf. Part, is: loved, seen, conquered, finished, as you got 
 the explanation of the Participles before. Now, new form, DEFINI, (Past 
 Definite). What is the Definite ? A side form to the Imperfect. What is 
 the difference ? Children, do you see this pencil (showing the pencil length- 
 wise) ? Now, if you see an act in mind like this pencil as a line, showing a 
 line of occupation or engagement in the past, that is Imperfect, but if (turn- 
 ing the pencil and showing the point) you see an act in mind as a point, 
 showing the kind of occupation as differing from other occupations as this 
 lead-pencil shows its kind of pencil as point, that is the Defini, Past Definite. 
 Now, if you say, I wrote my lesson, showing you at this lesson, and its 
 writing, that is Imperfect; but when you say: I wrote my lesson, meaning 
 either the writing as writing, that you wrote it and did not learn by heart, 
 or that you wrote a lesson and did not play, that is the Defini ; or, we could 
 say it shorter : if you want to describe yourself by a line of action in the 
 past, that is Imperfect ; but when you want to describe the action, that is 
 Defini. And the Perfect Tense is the efl'ect of an action on the Present : 
 I have dined — that is not a description of the dining, but of the effect of a 
 dining on the Present. The Perfect describes an effect; the Imperfect, 
 yourself; the Defini, the action. The Perfect is the end of that line of the 
 pencil, as point of effect, the Imperfect, the line. The Defini, the point 
 only, not as line, but as point only. Now you see what that genius meant 
 with his "definition" of the "Defini." "One, two, three;" he meant the 
 point, but could not say it, because he did not see it, though he might have 
 talked to his pupils for half a year to make them see the point, namely, that 
 neither they saw, nor he either. This is an aid which this system affords, or 
 might afford to the "talkers," to talk to the point, though, it seems, they 
 can not see this point, either. Tih^vix, endings ("D") Minnie? Min. 
 "Defini /- or u-," "s. P. P.," what means "s P P?" Te. "See Perfect 
 
— 66 — 
 
 Participle;'— xl the Perfect Participle is in i, the Defini is i-; if it is in u, 
 the Defini is u- ; if it is not so, the Defini is marked in parenthesis below the 
 verb, back of the place of the Perf. Part., as you saw this in Key I. What is 
 said under the head of the Defini, of the ist Conjugation (" i C.")? Min. 
 It has singular, ai, a-, a. Te. What does this dash after the a- mean ? Wil. 
 That means the spelling of the second person singular. Te. The "a" form 
 continues, with an e, for the i Conjug. in the plural ; now give me endings of 
 Def in full, with the "spelling;" second plural has j- instead of z, as we 
 saw already in the "spelling. ' ' Ch. Do we add the ordinary spelling endings 
 all through ? Te. Yes, you do ; wherever a dash shows the need of a 
 "spelling." Don't forget or overlook the accents in the plural ; the grave 
 accent from the left to the right, makes the sound broad. 
 
 Ch. Either i-s or, u-s or, in i Conj. ai 
 
 i-s u-s a-s 
 
 i-t u-t a 
 
 i-me-s fl-me-s a-me-s 
 
 i-te-s u-me-s a-te-s 
 
 i-r-ent u-r-ent e-r-ent 
 
 Te. You see the difference in the three columns is only in the vowels, 
 and the absence in the spelling of the " a " form, of the s and t in the first and 
 third singular. Wil. That "a" form in thesingular looks just like a Future. 
 Anna. Only the r is wanting. Te. Now, children, the Defini of your four- 
 teen verbs. If the Perf. Part, has already an s, you do not add another in 
 the Defini, in two verbs, the i- of the ending of the Defini sits inside the 
 word, an n comes after it, and then the "spelling." You have here to look 
 first, to the regular form of the Perf. Participles and to the verbs themselves, 
 if not a change is marked, there ; and then again, if the Defini does not 
 differ again from the Perf. Part, as given or understood ; this, the verbs, 
 soon will show. Go ahead. Where the Def. differs from Perf. Part., and so 
 a Defini is marked, extra, under a verb, say it. Ch. (Reading) aim-ai, 
 fin-i-s, d-u-s ; (marked) vend-i-s. Te. Why marked ? Ch. Perf. Part, is u, 
 but Defini is i-. Te. Go on. Ch. Eu-s, (marked, new word) fu-s, voul-u-s, 
 (marked, same as vend-i-s) v-i-s, vec-u-s, (marked, same as vend-i-s) veti-s. 
 Te. And yet there is a difference; in vend-u, the u of the Perf. Part, was 
 regular, and the Def. differed from the u ; in vet-i-s the Perf. Part, in u is 
 irregular, and the Def. takes the regular vowel of the Perf. Part, of the 2d 
 Conj., z'-; goon. Ch. (Reading) (marked / inside) vin-s, val-u-s ; (marked) 
 vainqu-i-s, (trai-re, no Def.) Te. The meaning of the Def. is like the 
 Imperfect, with the difference in the kind of meaning as understood. 
 
 New Tense or form: IMPERFECT SUBJUNCTIVE, meaning: I 
 might (love, eat, drink, sleep), the straightest form of all verbs in all languages. 
 
 School-marm, Assistant : Professor ! Te. The straightest, because it 
 
-67- 
 
 the chart, our "Large Chart," in the right upper corner is the ''Imperfect 
 Subj." Wil. Oh, I see it! "Im. Su." I read it already. 7>. Now 
 direct the cook; I am the cook: "Imperf. Subj.," children, write this in 
 your book. Willie will dictate as to the rest. Wil. "Imperfect Subjunc- 
 tive ;" " I Sing. Defini (i S. D.) and se^ Te. Well, then, take any D6fini, 
 for instance, fin-ir; Def., what? Ch. Fin-i-s. Te. Now write this six 
 times, for the persons, with se. Got it ? Ch. We have it. Te. Now go 
 on, Willie, read from the chart ; the abbreviations in English, of course, 
 won' k trouble you. Wil. "Plural no e." Te. Cross it out, the "e," 
 children. Go on, Willie? Wil. "i Conj. — ajse." Te. Make a note of it, 
 children, when you come to a verb of the i Coiy., you have to change the 
 ai, of the ending, first to 2^s, before you add the se ; what next ? Wil. 
 "Third singular circumflex; no sse." Te. Give circumflex there, to the 
 vowel, i, u or a, and cross out the sse. What next ? Wil. Nothing more. 
 Te. Plenty of it — look at Endings, Jmperf. Ind., Plur., left side of chart. 
 What do you see on the left side of the ion- and ie-, of the Imperfect Ind. ? 
 Wil. Also "Subjunctives." Te. Now we are here in a Subjunctive, so, 
 children, give the ion- and the ie- for first and second plural. Wil. And 
 now? Te. Now give the " spelling " — sing the old song — except -first per- 
 son singular, which you see on chart as se, has no dash. Have you got it, 
 children ? Ch. We have. Te. Now run a line through your writing, down- 
 ward, that will on the right, have all what we wrote or operated upon, as 
 forms belonging to the formation of the Imperf. Subj., including the s of 
 the Defini, and on the left leave untouched all what we found ready made as 
 Defini, except the s, and put what you have on the right side, to any Defini, 
 or the rest of Defini, as set down on the left, and you have the Imperfect 
 Subjunctive of any verb in the French language. School-marm. How with that 
 change of the ai, of the first Conjugation, into af. Te. That was already 
 mentioned and it proves how strong the rule is in this Tense or Mood, tKat 
 it changes the ai, which, as such, is an exception, back into the rule of the 
 s, aj. Now show me your books — but before that, put under your writing 
 what kind of piece each part is that you used. Ch. (Writing and showing) 
 
 fin. 
 
 fin - i - s - se 
 
 s -se 
 
 fin - i- 
 fin -i- 
 fin-i- 
 fin - i - 
 
 s-s^ 
 
 s-s\ 
 
 S - Si\ 
 
 D^iini. Imperf. Subj. 
 
 ion- 
 
 le- 
 
 Endings. 
 
 ent 
 
 'Spelling.' 
 
— 68 — 
 
 TV. (To School-marm). ^Vill you try it with awy verb? School-marm. 
 I see it. Te. It is hardly worth while to make forms, all is so even, obvious, 
 but we will try a few. Anna, give me Imperf. Subj. of fai-re, Def., fi s— 
 look at your writing— spell it out. Anna. Fisse, fisses, fit, fissions, fissiez, 
 fissent. Te. Nellie, give me same in prend-re ; D6f., as you can see on 
 your chart, pris. Nellie. Prisse, prisses, prit, prissions, prissiez, prissent. 
 Te. Willie, give me same in voul-oir ; make it yourself. Wil Def., voulu-s ; 
 Imperf. Subj., voulusse, voulusses, voulftt, voulussions, voulussiez, voulussez. 
 Te. Children, give me, all, Imperf. Subj. of mour-ir, to die; make it 3four- 
 selves. Wil. First question : Defini, that may be made regularly from Perf. 
 Part., or it may be irregular and given with the verb. We have to look for 
 mour-ir. Anna. "Perf. Part., mort j Def., mourus." Nellie, Willie. 
 Then it must be mouru-sse, mourussej, mourOt, mourussions, mourussiez, 
 mourussent. Te. But give it to me now in et-re. Wil. O, I know it, Def., 
 fu-s; Imperf. Subj., fusse ; fusse, fusses, fut. Te. In avoir. Anita. I know 
 that; Perf. Part., eu ; Def., eus ; Imperf. Subj., eusse, eusses, eut. Te. But 
 now, lastly, in ten-ir. Nellie. (Looking at chart irregular verbs). I do not 
 know what that will sound, but it must be tin-s-se. Te. And so let it be 
 till you know what it will sound ; but you will come very near its sound, 
 when you first say, as in English, rang; then, as sound, "rangs," and then, 
 the r changed into t, "tangs," then you have it. Wil. Professor, can I 
 scribble that Tense and its formation in my book? Te. You can, Willie; 
 it will help you a great deal to recollect, the mere writing of it. Wil. I like 
 that Tense, everything so even and varied. Te. Like France, variety and 
 rule, as you heard before, that is beauty ; just like the Wanamaker square. 
 Wil. You mean his store? Te. I do not mean his store; I do not mean 
 here Wanamaker ; do you suppose we had nothing to do but to run Wana- 
 maker. I mean that square of our jumping changes with "Wanamaker" in it. 
 Anna. " Wanamaker " fe' " G?. " Te. Right, Anna, that " Wanamaker " 
 alone would not have helped us anything, not for more than his places ; 
 how many? Ch. Thirteen. Wil. You do not mean Thirteenth street? 
 That is his places. Anita. You do not mean the whole of Thirteenth street? 
 Wil. No, he left something for the Public Buildings and Market street, and 
 for some up-town and down-town people. Te. Willie and Anita, he ought 
 to put you in his store windows, as show boys. Anita. Oh, Professor, not 
 me. Te. If he could, he would ; he concocts always some impossibilities, 
 which they make possible, he and his chroniclist. Anita. How so? Te. 
 To make people read what they write. They are probably the only writers of 
 the age whose writings are read. Min. That is, it is large print. Te. Large 
 print or small print, they are read. Anna. Those of the others are also 
 read, Strawbridge and Cooper and Conard. Te. They follow his style ; I 
 have a mind, to follow it, too. Miit. He sets the fashion in French. Te. 
 
-69- 
 
 itself, variety, rule and beauty ; you will like it. Min. I like it already 
 now, though I have not yet seen much of it. Te. Much of it ! Nearly 
 the whole of it ; the verb is three-fourths, in French, of the trouble in 
 French. Min. But we have not yet seen much of the verb. Te. Nearly 
 the whole of it — five years' work — in five minutes we are through. Min. 
 Oh, Professor, I know, I have heard people say they had worked ten years at 
 it and are puzzled. Te. And I know people, I am one of them, it took 
 them two, three months to send a message to' Europe, now it may go in a 
 minute, a second. Min. Yes, that is the telegraph ; that is a new thing. 
 71?. And here is the telegraph, too, in French, a new thing — " Wanamaker " 
 & "Co." — and now let us go back to our square — the square on our chart, 
 Willie, not over there on Market street or to Eighth and Ninth streets. We 
 have yet to do some work on that square — the "e" forms of spelling on 
 that square, also some endings — Wil. Are there many ? Te. There are no 
 new ones that we don't know, except three letters, that is all. Wil. Is that 
 all? Te. Tell me the forms that belong to the square, names of Tenses or 
 forms in English. Wil. ^'Present Participle.^' Te. This we know in its 
 ending, Willie, what is it ? Wil. -dJiX. 7>. Next. Wil. "Imperf. Indica- 
 tive." Te. This we l^now, Nellie, what is it? Nellie. Ai-s, ai-s, ai-t, 
 ion-s, — . Wil.'i^o^,"Pres. Indie, Imperat., Subjunc." Te. These forms are 
 all dumb, mute ; we have come here upon the "Berlin Academy," they have 
 no sounded endings, except the two blue star lines, or, as we met them first, 
 "Wanamaker" Ym&s,, first and second persons plural, z.r\A. these forms, in the 
 first two columns here, Pres. Ind. and Imperat. are : first person, on-, second 
 person, e-, as you see them given under the square, as by a note ; but the same 
 persons in the last column, Pres. Subj., we have had already — where? 
 Anna. With the Imperfect Subjunctive ; you referred us to the Imperf. Ind., 
 where it was said that the Subjunctives have ion-, ie-, in first and second per- 
 sons plural, and so, as this is a Subjunctive, the first and second plural are, 
 with the spelling, ion-s, ie-z. Te. So the WHOLE first and second blue line 
 plural has, either, the first and last column, ion- and ie-, and the two tniddle 
 columns, Pres. Ind. and Imperat., on- and e-. The .auxiliaries in these 
 persons of the Pres. Subj. have no i ; this you see on the chart ; they sound 
 then on- and e-. Wil. But what will become of the other forms ? How 
 do we hear them? Te. You hear \\\s. stem, ordinary or changed. The 
 "spelling" goes right on the stem, and the "spelling" you do not hear; so 
 you hear only the stem — you see this note here on our "large chart :" ring 
 (O) and square (□), mute forms, abbreviated as O D ""^ F, just above 
 Key I., and this, as to the word "stem" (S'M), in the place where these signs 
 are given with verbs. Wil. Then all the seven "squares" would sound the 
 same way, and all the "rings" the same way? Te. They do; on our large 
 chart you see triangles used instead of squares, that makes no difference, 
 it means the same thing. Wil. Then we would be done with that square ? 
 Te. As to the endings, yes; but there is something left, the "spelling," and 
 
— 70 — 
 
 this makes some trouble, not with us. I made you a little chart, but give 
 it to you here, too, on the board. 
 
 The " e" spelling forms of the Wanamaker square occurring with ''mute" 
 forms, in the singular. 
 
 Write this on your slate, as you have the chart. Put down for Imperat., 
 third sing., as ''spelling''' for afl verbs, e instead of "A" Now run a line 
 to the right, to the Present Suljunctive, singular ; that line means the carrying 
 of the "e" form to the Subjunctive singular, which is e, e-s, e, for all 
 verbs, (in life the e came or went the other way) ; now run a line to the left, 
 and put again the e, e-s, e in the Present Indicative for the First Conjuga- 
 tion (and such few verbs of another Conjugation that follow it in this), 
 that is all. The Auxiliaries, from their nature and tendency to differ and be 
 crooked, get in the Subjunctive and third sing. Imperat., crooked or differing' 
 from this, and so, children, become whole or in part, in these forms, again 
 regular in "spelling," that is, take to the s, s, t, as you see on the charts. 
 The First Conjugation and the auxiliary av-oir, have e also in the second 
 p£rs. sing., Imperat., and mind, children, the Subjunctive'.? throughout, and 
 the Imperative third person sing, and plur., use the particle "que" ("that"); 
 this you see just above the gold line in the middle of the large chart. 
 
 These "e" forms you see also on Our Large Chart, in the "Spelling;" 
 as it is abbreviated, I will read it to you in full — follow the letters, after the 
 "Spelling:" "Singular, s, s, t; Imperative, third person, e, Subjunctive 
 Present and first Conjugation Pres. Ind., e, e-s (this s is understood from 
 the dash as second person singular), e; second Imperative, first Conjugation, 
 and av-oir, e." In the 3d plural there is the ordinary spelling, -ent. Wil. 
 And all what is not given here as the exception of such "e" forms, everywhere 
 follows the ordinary spelling ? Te. Yes, except those few four or five verbs, 
 that in the Pres. Ind. have x, x, t, instead of s, s, t, and this, then, is given 
 with the verbs. There is a rule of "euphony" affecting some verbs of the 
 fourth Conjugation ; where the stem of verbs of that class ends in t, c, or d, 
 they take in the Pres. Ind., not the / of the third pers. sing., as the Present 
 sing, is a mute .form, and this letter t would then come directly on these 
 letters of the stem. Now show me the drawing of your "e" forms. Ch. 
 (Showing). 
 
 Pres. Ind. 
 
 Imperat. 
 
 
 Pres. Subj. 
 
 / Con^. 
 
 
 
 All Verbs. 
 
 e 
 e-s 
 
 
 
 e 
 e-s 
 
 
 ^ 
 
 e 
 
 e 
 
 
 = e 
 
 "Note. — Spelling for first Conj. and av-oir: also in second 
 Imperat. sing.,.*?; auxiliaries go back in the Pres. Subj. and Im- 
 perat.,. whole or in part, to the s, s, t." 
 
— 71 — 
 
 Give me Pres. Subj. singular of any verb; observe the square change of 
 the stem if needed, for instance, of all-er. Ch. (Looking up the verb in 
 their list of irregular verbs, for the stem change). Wil. I could have 
 recollected it— the stem change is aill. Ch. The form is : aill-e, aill-e-s, 
 aill-e. Te. Give it of mouv-oir. Ch. (Looking into lists). It is meuT«-e, 
 meuv-e-s, meuv-e. Te. Give it in et-re; this you have to see from that 
 "Special Chart,'' or "Page,'' for these forms of the auxiliaries, though you 
 find it also on our " large chart." Wil. Oh, that is where the auxiliaries get 
 crooked, that is, differ from the rule of the Subjunctive Present by getting 
 straight — here it is : soi-s, soi-s, soi-t. Te. See also third singular Impera- 
 tive. Wil. Soi-t ; but av-oir differs not so much from the rule of the Pres. 
 Subj., it takes its ordinary spelling only in the 3d person singular, Subj. 
 Pres. and Imperative, ai-A Te. AND, as we are at it: examine ist and 2d 
 plur., Pres. Ind. of St-re, where a new stem or spelling comes in — "somme-s," 
 " Ite-s " — this comes from the Latin. And you see the av-oir gets straight to 
 its stem in the Imperf , and Pres. Ind. plural. Anita. And is crooked in the 
 third person plural, Pres. Ind., ont. Wil. And so is et-re, sOnt. Te. And 
 examine the Pres. Sing. Ind. of et re, there is a mixture of stems — sui s, es, 
 est. Anita. And I see the i in the Pres. Subj. plural, first and second per- 
 son, is crossed out, in gt re ; and in av-oir. Wil. The Professor told us 
 that. Anita. But here I see it. 7!?. Now children, you learn these forms 
 of the Wanamaker square, the sign or color places in these verbs, av oir and 
 gt-re, best straight from this your "Special Chart," adding the pronouns: 
 J'ai, tu a-s, il or elle a, but it will be good to observe the marks I put, as 
 lines, under the letters wherever there is anything the matter with the word 
 or letter. This will give you the best kind of knowledge, by heart, and at 
 the same time intelligently as to the spelling. Wil. I am pretty sure I 
 know already most of the forms of the square in these Auxiliaries, both by 
 heart and as to the "spelling." Te. Let us try: third sing. Imperat. of 
 et-re ? Wil. It is one of the forms that switch back to the rule and thereby 
 become acting differently from the rest, like an animal that broke loose 
 from the crowd when this is kept in its lair, and when the others break loose, 
 goes back to its lair — it is soi-t. Te. You are or will make a first rate 
 keeper of the Zoo — you are observant. Wil. But, Professor, the salary — 
 I forgot almost — you said you would give us a badge or badges. Te. Just 
 wait a minute — as says my little Louis or Lewis — not my own grandchild, 
 he is too young yet, but another little bright boy I teach, "Just wait a 
 minute " — tell me first, all of you, what have we to do to make any form — 
 we speak here of simple forms — of any French verb, with those means at 
 hand, as charts, our "Large Chart," representing the main grand bulk and 
 staple of all- that belongs to the verb, containing all the Regular verbs and 
 the Auxiliaries, in full, and our Lists o[ Irregular Verbs, showing Stem Changes 
 and names of verbs, also irregularities of Perf. Part., or Defini, and 
 then, as a mere convenience, this "Special Chart." Wil. We go first 
 
— 72 — 
 
 for the Endings on the upper part of that chart— I scribbled them all in my 
 copy book, and the " Spelling," I also put that in my copy book ; and then 
 the Stem, or changes, which we get for the Regular Verbs and Auxiliaries 
 on "Our Large Chart," and for the Irregular Verbs, on the List of these 
 verbs, called the chart of the Irregular Verbs. Te. Now, try, give me Defini, 
 second plural, of fai-re. Wil. (Musing.)' Not first Conj., so i- or ii (look- 
 ing at "Large Chart " and scribblings in copy book) second plural, i-te-s or 
 u-te-s— Def, "see Perf. Part."— Perf. Part., irregular, Def., not like it, 
 given,— f-i-, f-i-te-s. Te. Anna, gi\^e third plural, Pres. Subj., "square" 
 form, of mouv-oir; spell your answer. Anna. "Square form," mute; 
 spelling, third plural, -ent.; stem, as on chart, changed, meuv-, meuv-ent. 
 Te. Meuv-ent, add pronouns, and "que," before vowels qu'- (like je 
 changed to j'). Anna. Qu'ils or qu'elles meuv-ent. Te. And what does 
 this mean? Anna. (Consulting chart for meaning of mouv-oir) : that 
 they may move. Te. Now change this into: "that they might move," 
 Imperf. Subj. Anna. (Looking into charts). Def., from Perf. Part,, 
 "mu-s;" Imperfect Subj., mu-s-se, third plural, qu'ils or qu'elles mussent. 
 Te. Now change this form into. the same of av-oir. Wil. I know it — Te. 
 Let Anna say it, in full ; spell it out. Anna. Qu'ils- or qu'elles eu-s-s-ent. 
 Te. And this of et-re. Wil. "Wait a minute" — says that boy — (throwing 
 a glance at Def of et-re on Large Chart) qu'ils or qu'elles (spelling) fu-s-s-ent. 
 Te. And the third plural Conditional of fin-ir. Wil. I don't forget that 
 "r" and "ai" of Conditional — ending and spelling, -rai-ent ; fin-ir has a 
 stem change for Conditional, like Future, these above the verb (spelling) 
 fin-i-r.ai-ent. Te. (Pronouncing) finiraient ; and with pronouns? Wil. 
 lis or elles finiraient. Te. And what does it mean? Ch. They would 
 finish. Te. Now, Anna and Nellie, what is die, or conquer ! in French ; you 
 had the verbs — take, Anna, the die ; Nellie, the conquer ; Imperative, second 
 sing., "mute;" " or" is "ou" in French. Anna. Ring place, ring change, 
 in"mour-ir;" second sing, general spelling: meur-s. Nellie. Vainc-re, no 
 ring change ; second person sing. , general spelling, -s, vainc-s. Te. What is : 
 to conquer or to die ? Anna and Nellie. Vainc-re, ou mour-ir. Te. Vaincre, 
 ou mourir, pour le President (for the President); I heard it in Paris before 
 you were born, but he got faithless to his trust, and so like all traitors to 
 truth and trust, he was swept away, and this, by a German. And now, 
 children, if you have any COMPOUND FORM in English, and want to 
 have it in French, you take just the pieces as they stand and render them as 
 pieces into French, but pronounce them as you mean them, as a whole. 
 What is: — '■'They shall have been loved'" — in French? I will cut the pieces, 
 and Willie, Minnie, Anna, Nellie, you take the pieces, in this, the order of 
 your names: "They | shall have | been I loved. Wil. "They" — ils or 
 elles. Minnie. "Shall have" — what is that, Willie? Wil. That is third 
 
— 73 — 
 
 But we had so much since — that ride. JJ^tV. Then make it from the chart ; 
 you see the Future stem of av-oir, au, don't you? And the endings of the 
 Future {J^), third plural ; you don't see the r with the -ont, but it is meant, 
 from the first person singular. Mtn. Au-ront? Wt7. Of course, auront. 
 Te. Say the two words together — they shall have — in French, Willie. Wi/. 
 lis or elles auront. Te. When a word closes with a consonant, and the next 
 opens with a vowel, we commonly in French make that consonant heard 
 with that vowel — ils or elle-s-auront — Anna? Anna. "Been;" Perf. Part, 
 of et-re, ete, it is under the word, on the large chart. Nellie. "Loved;" 
 Perf. Part., i Conj., of aim-er, aim-e. Te. But, children, Perf. Part, are 
 sometimes like adjectives in French, as I told you once before, they show 
 in the Passive voice, that is, when they are real adjectives, number and 
 gender. When it is plural, they must have an s at the end, and when it is 
 feminine, an e, for this feminine, with the ending. What will then here be 
 the form of aim-e, with the ils, "they?" Anna. Aim-e-s. Te. And; with a 
 feminine, singular. Nell. Aim-ee. Te. And with feminine, plural. Nellie. 
 aim-ees. Wil. That is very exact, complete, it helps to see the form. 
 Anna> But would not the ils or elles show it, that it is plural and feminine. 
 Te. It would show it as fact to the understanding, but not as fancy, as a 
 picture. If you say : they are broken, meaning six plates, how many cracks 
 do you see? Ch. Six. Now these six show as a picture to the mind in 
 the s of the plural. Anna. But what has the feminine to do with that ? 
 that makes, or I think could make, no difference. Te. If six men are 
 cracked, is it the same kind of crack as if six women were cracked ? Wil. I 
 think it would make a difference. In the case of the men, the crack would 
 go through the head ; in the case of the women, it would go through the 
 whole women. Te. Why, Willie? ^//. Well, the men have more to do 
 with their head, and when they get cracked, it affects more their head, but 
 the women, are the whole body. Te. You are a philosopher, too good for a 
 keeper of a Zoo ; I make you Assistant Professor. Wil. With assistaitt's 
 salary? Te. Yes, with assistant one-half part of my salary. Anita. But 
 you said, Professor, you had not any. Te. The bigger the chance for Willie. 
 If I had one, it would be fixed. He would have a chance with something 
 that is limited, but now he has a chance at something that is nothing, and 
 so, unlimited, and so the bigger his chance. Anita. I should prefer the 
 limited. Stephen. So should I! Rest of children. So would we! Te.' 
 Then suppose we' go .into partnership, limited, to-day. Ch. What is that. 
 Professor? Te. In partnership limited each partner bears before the public 
 only a part of the responsibility; so with us and the book we write, I bear 
 the expense of the printing, and you, for the book. Ch. But with the in- 
 come, the salary? Te. That goes to you, limited. Now that crack, that is, 
 that difference in gender as feminine, comes out in the "e," and in the 
 case of a plural, with the "s" of the plural; the notation of this is given on 
 our Large Chart in a note to the " Perf Part.," under " Key II," as— "Pa." 
 
— 74 — 
 
 (Passive) "infl.," (inflected). Now give me: To have \ loved. Anna. 
 Av-oir I aim-e ; is there an e, if feminine ? Te. No, Anna, it is not Passive ; 
 the Passive takes that inflection because the act is shown on the actor, and 
 shows as adjective, a quality of the actor, and as such is naturally affected 
 to some extent by the sex — this as sex of words called gender. To have black- 
 ened — that shows on some one else, as black ; to be blackened, shows on your- 
 self, the party blackening; and so, to have cracked, shows on the plate, but 
 to be cracked, shows on the man or woman, and then, as Willie had it, with 
 a difference. Anita. Professor, you make us almost philosophers. Te. No, 
 children, you give me a chance, unlimited, to be one, and I improve it, limi- 
 ted ; you will read this all in the book, and you can think of it. Now say : 
 having been loved, Nellie, — having — been — loved. Nellie. (Looking to large 
 chart for the having) ay-ant — et6 — aim-e (masc), aim-ee (fern). Te. And as 
 we have or had two Imperfects, Imperfect and D6fini, so we have two Plu- 
 perfects ; the one compound with the Imperf., the other with the Defini, 
 and they differ as Pluperfects, as the Imperf. and Defini differ themselves in 
 meaning, consequently, Anna : I had loved, with Imperf. Anna. J'av-ai-s — 
 aim-6. Te. Now with Defini? Anna. J'eu-s — aim-e. Te. Now, Nellie, 
 I had been loved, with Imperf. : I had — been — loved. Nellie. J'av-ai-s — 
 ete — aim-e (or aim-ee). Te. And with Defini ? Nellie. Y&is — ete — aim-e 
 (or aimee). Te. The compound with the Defini is called Past Anterior; 
 the other, with the Imperfect, is the common "Pluperfect;" and as you 
 have Present, Past and Future time for the ordinary Tenses, so you have 
 the Present and Past also for the Conditional : I should love, I should have 
 loved ; and these as Passives, I should be loved, I should have been loved, 
 no Future Conditional extra, because the "should" is already a kind of 
 Future. Give me: I should have {Qow^xXxo'o.zS) — been — /opir^, in French ; read 
 it off the chart (if needed), its parts. Nell. J'au-rai-s | ete | aim-e or aim- ee. 
 Te. And so in the Subjunctive, you have Present and Past — that I may love, 
 that I may have loved ; and these, as Passive, that I may be loved, and that 
 I may have been loved, or, as past, not as act, but as condition, negatived 
 by the use of the Imperfect Subjunctive, simple or compound : that I might 
 love, that I might have loved, or in Passive, that I might be loved, and that 
 I might have been loved. Anna, Nellie, Willie, Stephen, give me these four 
 in French. Anna, "that — I might love," Imperf. Subj. of aim-er, i Conj., 
 from Def. Anna. Que — j' aim-a-s-se; is it that? Te. Yes, it is. Nellie, 
 compound "that — I might have — loved,'' Imperf Subj. of av-oir, with "loved." 
 Nellie. Que | j' eu-s-se | aim e ; is it that? Te. It is ; Willie, Passive, "that — 
 I might be — loved," Imperf. Subj. of fit-re. Wil. Que | je fu-s-se | aim-6; 
 is it that? Te. It is; Stephen, the worst; take time; examine the pieces; 
 "that — I might have \ been \ loved ;" compound form of 6t-re, with "loved ;" 
 the compound made with av-oir, Imperf. Subj. of ^v-oir. Steph. Say it 
 
-75- 
 
 Stephen. (Slowly reading and picking up forms). Que — j' eu-s-se — ete 
 — aim-e; is that right? Te. Children, is that right ? " That "—and then 
 go on. Ch. Que — je — eu-s-se — ^j'eusse — ete — aim-e; that is right. Te. 
 Now say this rapidly : Que j' eusse et6 aime (saying it). Ch. (Repeating). 
 Te. Now, Nellie, write first person plural of this, on board. Nellie. 
 (Writing). Que — nous — eu-s-s-ion-s — ete — aim-es, or aimees. Te. Pro- 
 nounced (children repeating) Que nous eussions ete aim6s or aimees. 
 
 The Rule for making Compounds, you find at the foot of "Our Large 
 Chart:" "Compounds, as in English," abbreviated as " Cmp a i E" — 
 and so, children, from " Our Large Chart " and the List of verbs, called the 
 Chart of the Irregular Verbs — you copy these all, those in large print, during 
 the summer — any other form, simple or compound, of any verb of the French 
 Language. Write down on your slate, under your last exercise — "End of 
 French verb total, for children and adults. ' ' Wil. Is that all ? Te. That is 
 all. Take up any of the forms of the fifty-two pages of Fasquelle's Gram- 
 mar, and see whether you can not make it with your charts. It is a good 
 book and it would pay to have a copy of it. Wil. Oh, Professor, wouldn't 
 you give us a copy of "Our Large Chart," I scribbled its contents, the 
 endings, spelling and verbs, in my copy book, all except the color forms of the 
 Wanamaker square in the Auxiliaries, at the bottom of the Chart, because 
 we had them as a Special Chart, but I should like to have it as a whole. 
 Te. Yes, Willie, here are TWO ; the abbreviations in English explained on 
 one, below, on the other around it ; and here is some Text, too, for your 
 older brothers and sisters ; if they can not get on alone with it, help them 
 out. And here are your BADGES, both in colors of the rainbow, and in 
 gold ; wear them either way. Children. (Looking at them and examining 
 them) : Oh, the Postage Stamp ! The Postage Stamp ! Our Large Chart ! / 
 
 Thunders of collapse of colleges and schools, pieces of plastering fall from 
 the shock, from the ceiling, and from beneath an old former sign board over the 
 door, covered by it, appear in letters of gold, shooting like rays of lightning, 
 and as with a golden spray and hue, over the whole length of the rooms, the 
 words : — 
 
First National School of America! 
 
 COMF-LETE CURRICULUJVE. 
 
 NO OPTION. 
 
 NO WASTE OE YOUTH AND TIME. 
 
 FIRMNESS. DISCIPLINE, KINDNESS. 
 
 THE AMERICAN SYSTEM. 
 
 University and Kindergarten Combined. 
 
 Principal. 
 
 Manager. 
 
 Chestnut Street. 
 
 PHILADELPHIA, PA. 
 
 (all Graduates of the Normal School) Teachers. 
 
 Janitor and Keeper of the BaHoon. 
 -76- 
 
CONTENTS-SPECIAL. 
 
 Preface 
 
 Main Contents 
 
 First Session. 
 
 The Subject — Incidents, Tenses and Modes. 
 
 One Tense introduced. 
 
 Page 
 
 Study, introduced 5 
 
 French — "The Verb," 5 
 
 Tenses, Time. Modes of Noting Tmie... 6 
 
 Accent 6 
 
 Augment. Pres'ent and Present' 6 
 
 Fare'well and Farewell' 7 
 
 Past, Present and. Future Time : Signs.... 8 
 
 From the '\ left to the right" 8 
 
 Future Tense, "Binding," 9 
 
 Modes, some modes : Participles, Infinitive 9 
 
 Voice.; 9 
 
 Other modes 9 
 
 Root, Stem 10 
 
 Changes of Stem 10 
 
 One Change — Mode of noting it — Future. 10 
 
 One Form in Full 10 
 
 List of Charts ( WorkingCtiaAs and Verbs.) 1 1 
 Second Session. 
 The Work of the Children with the Charts. 
 One Tense, the Future Tense — One form, 
 
 in the fourteen verbs II, 12 
 
 One Tense, the Future Tense, in one 
 
 verb, in full, without Pronouns.... 12, 13 
 
 "Spelling" Letters (Silent end letters) 
 
 introduced 13 
 
 The Pronouns of the Verbs 13 
 
 One Tense, the Future Tense, in one 
 Verb, with Pronouns in French and 
 
 English in full. 14 
 
 Preparing for the balloon 14 
 
 One Tense, the Future Tense, in all the 
 verbs, with Pronouns in French and 
 English in full, and the name of the 
 Verb, as Present Infinitive, in French 
 
 and English added 14, 15 
 
 Practice of this, with the Verbs 15, 16 
 
 Third Session. 
 
 Study on Endings. Classes of Verbs. The 
 
 Ride Through the Sky. 
 
 IN THE balloon. 
 
 Study on Endings 17 
 
 Classes of Verbs — " Conjugations" 17 
 
 The Ride Through the Sky. 
 Classes of Verbs in Latin — the reasons 
 
 why 18 
 
 Classes o{ Actions 18 
 
 Explained by Willie 21 
 
 Classes of Vowels 23 
 
 How the Clashes of Vowels got in Latin 
 
 into the Clashes of Verbs 23 
 
 HailColumbi^! The "New Rome"... 24 
 Classes of Actions as seen and heard 
 
 as classes of verbs 24 
 
 The Storm of the Signs : 
 
 "Impulse" 25 
 
 "Motion" 25 
 
 " Contact" 26 
 
 "Effect left 26 
 
 3 
 
 4 
 
 "Deponent" Verbs 26 
 
 The Transit Class 26 
 
 The Verbs in their Classes, Oi fingers 
 
 and hand. 26 
 
 Classes of Verbs, as Classes of Actions, 
 
 in French 27 
 
 The Ghosts of the Ccesars shaken out 
 
 of their graves 27 
 
 Vocal "Spectrum" 28 
 
 Other Spectra : — 
 
 Hamlet 28 
 
 Judgment Day 28 
 
 Ho w to get a good picture 28 
 
 Quadrant of Infinity 29 
 
 The center in its poles 30 
 
 Need of Christ ; bushel and peck ; 
 
 the rosebush and the rose 31 
 
 Reconciliation of Freedom with 
 Justice through Infinity. The 
 
 L ogic of Forces 32 
 
 Higher and Higher! , 32 
 
 Hymn of Science on Christ 32 
 
 Challenge to the " Physicists" ... 33 
 
 Application 33 
 
 Evolution and Logic. , 34 
 
 The Children in a plight 34 
 
 Explosion of the Gases 34 
 
 Finishing Strokes. 
 
 The divisions in Nature as Phases 
 
 of action 35 
 
 Fixed as intent by the Laws 
 
 of Action 35 
 
 The children as children, and 
 
 not as monkeys 35 
 
 The Ghosts as stars, and wit- 
 nesses of the Presence of the 
 
 Lord among the Heathen 36 
 
 Garfield 36 
 
 " Migration of Soul" ' 36 
 
 '' From the Dead to the Living".. 36 
 The "Northern Slcy" 36 
 
 The American Flight, Part I. 
 "Smashed the Romans: three times" 
 — "Defini"— Methods, Z<22z«^j-i-^ 
 The Spectres multiply — Wana- 
 maker and Patti — Off to Berlin ! — 
 A hundred thousand miles a minute 
 —Philadelphia— The Bullitt Bill— 
 Magazines — " The fault of . the 
 , Leaders" — "Get Down, Sir!" — 
 Difference between American and 
 Foreigner — The " Flea in the Ear" 
 — Need of some women for that 
 Boy— Bridget, and the North Pole — 
 Where is the " Nigger " — The Big 
 Church — Tke Bishop — Foreign 
 " Niggers " — German, and any 
 Language, in " Twenty Lessons ! ' ' 
 — "Harvard" — "First Class Miml" 
 — Means "to be heard" — lllu - 
 trated — The Bo-'k and the Critic — 
 
 ■7T — 
 
■78- 
 
 Quotation — "The Car is on fire !" 
 — Daisies and Darlings of the 
 Press — A deas/— The only "new 
 Science, Cookery' — The men with 
 • the souls of dogs, "you know " — 
 
 and so they "caught it!" 36-41 
 
 Modern Spectra. The Northern 
 Sky, with its classes of Will, as 
 
 action 41 
 
 Copy of the Constellation of the 
 North, as classes of will as action, 
 each star a triple star of sound, 
 
 meaning and color 42 
 
 "Umlaut" 42 
 
 A Rainbow Spelled 43 
 
 "Aurora Borealis" — The Rainbow 
 of Life, the English Language... 44 
 
 Berlin — The Academy 44 
 
 Remedy against Lock-jaw ; Family 
 
 News, read by Minnie 45 
 
 The American Flight, Part IL — 
 Handle, and not broom — Grant. 
 The New System — Its Claims — 
 Save the Classics ! — Kinds of Study 
 — One thing seen as two things — 
 boors and babies — tnind as slave — 
 evolution, or development down- 
 ward — means to turn it upward — 
 Study of matters of mind — Infusion 
 
 of Light — Effects — Peace 46-48 
 
 Paris — Nenia. 
 
 Dropping of theroj^ 48 
 
 Home Again. 
 
 Explanation : The Reason Why as 
 to the " Do you know how to read 
 and write?" — Foresight in the Pre- 
 paration of the Balloon. The Ave- 
 nue that divides, here, the Verbs 48 
 
 Fourth Session. 
 Stem Changes. Regular and Irregular Verbs. 
 Straight and Jumping Changes. The Fight. 
 
 Examining the written verbs 49 
 
 Outside and Inside Changes; Regular 
 
 and Irregular Verbs 49 
 
 Additional Feature which may constitute 
 
 an Irregular Verb 49 
 
 Review of the preceding 50 
 
 Review of Charts again : The Chart of the 
 Regular, and the Chart of the Irregular 
 
 Verbs 50 
 
 Notation of deflections in Compound 
 Verbs, from the form of the Simple 
 
 Verb 50 
 
 Willie and the " Zoo ; " " salary," pros- 
 pect, and the "Badges;" 51 
 
 Other Changes : Straight and Jumping 
 Changes. The"Wanamaker" Square. 51 
 Principles; the Race and Jumping 
 Ground ; Signs ; Illustrated : Names, 
 Verbs. Boi-re, boiv-, and buv- ; 
 prend-re, prenn- and pren-; mouv-oir ; 
 v-oir; all-er 51 
 
 Recapitulation 56 
 
 Use oicolorsin the square 57 
 
 The Square in Action, Fighting 
 
 its way 58 
 
 Blank! 60 
 
 The Square in peace ; methods in schools 60 
 
 Other methods — learn "like a child!" 61 
 Ladies' " shopping and memorandum 
 
 book" 62 
 
 Lessons for next time 62 
 
 " Le Jardin de Versailles " [French 
 
 Gardening applied to Speech) 62 
 
 It pleased one grandchild, and it will 
 
 please others 62 
 
 Fifth Session. 
 
 The Tenses of all Verbs, Simple and Com- 
 pound, in full. The Verb Completed. The 
 Children's Reward. New Text, abridged. 
 
 Formation of 
 
 Present Participle 63 
 
 Imperfect Indicative 63 
 
 Conditional 64 
 
 Perfect Participle 64 
 
 The Third Conjugation considered m gen- 
 eral. Out of line 64 
 
 Synopsis of Contents of Key 1 65 
 
 Formation of 
 
 Defini ; Definitions; line, point ; Per- 
 fect, point oi effect of line 65 
 
 Endings in full.. ^ 66 
 
 Imperfect Subjunctive ; "pepper-pot;" 
 Willie dictating, from " Our Large 
 
 Chart;" Diagram 66 
 
 Closing Work : Endings of the " Wana- 
 maker " Square, (Key II.) ; the mute 
 forms of that square ; the spelling of the 
 forms of that square; the " e" forms of 
 the'spelling of that square ; Diagram.... 69 
 The movements of the Auxiliaries, on 
 the " Wanamaker" Square; to be ■ 
 
 learned from " Special Chart" 71 
 
 Practice and survey of these movements, 
 
 with "Special Chart" 71 
 
 Recapitulation : Construction of simple 
 
 verb forms, from the Charts 71 
 
 Compound Verb Forms. 
 
 Principle; illustrated 72 
 
 Carrying of Consonants 72 
 
 Perfect Participle, "inflected;" the 
 reason why ; the "cracks," with a 
 
 d'iilerence, as explained by Willie 73 
 
 Partnership, "limited" 73 
 
 French Modes and Tenses explained in 
 
 English 74 
 
 The two Pluperfects 74 
 
 Formation and Practice in French, of 
 
 Compound Verb Forms 74 
 
 The "Worst of All" 74 
 
 " End of French Verb total, for Chil- 
 dren and Adults "... 75 
 
 The Children's Request, and Rewards.... 75 
 
■79- 
 
 Contents, special, vfith. their pages 78 
 
 Index, of topics affecting the structure of 
 
 the Verb 79 
 
 Text " for older brothers and sisteis "... 80 
 
 Charts. 
 List in general See front of book, page 4 
 
 Working Charts : 
 
 " Our Large Chart " Fol. Charts I 
 
 Blackboard Copy of Cut from Chart Irreg- 
 ular Verbs Fol. Charts III 
 
 (Chart of Irregular Verbs, in full, used 
 incidentally, 
 
 See here Fol. Charts XHI-XXIV.) 
 
 Special Chart, of forms of Auxiliaries in 
 the "Wanamaker Square ;" also, "e" forms 
 in general, of the "spelling" of that 
 square Fol. Charts XII 
 
 Materials. 
 Children's Copy Book, five pages. Here, 
 
 with Willie's scribblings, Fol. Charts V-XI. 
 Advertisements, given here as ^part of the 
 
 Contents of the book, see/)-o«/of book, p. 4. 
 
 INDEX 
 
 ON TOPICS AFFECTING THE STRUCTURE OF THE VERB. 
 
 Auxiliaries, II, 12, 15, 71. 
 
 Badges, $1, 71, 75, Fol. Charts II. 
 Blackboard Copy of Cut from Chart Irreg. 
 
 Verbs, 11, Fol. Charts III. 
 "Blank," (X) ($2, 62). 
 
 Carrying Consonants, 73. 
 
 Chart Irreg. Verbs, II, 71, Fol. Charts XIII- 
 
 XXIV. 
 Circumflex accent, 12, 66, 67. 
 C/aw« of Actions, in general, 18; in French, 27. 
 Classes oiWerhs, Conjugations in French, 17. 
 Colors applied to Wanamaker Square, 57. 
 C(7OT/o««i/ forms, formation of, 72, 75. 
 Conditional, 9; formation of, 64; compound, 74. 
 Copy book. Children's, Fol. Charts V-XI. 
 Crooked Stem Changes, see "Jumping Stem 
 
 Changes." 
 Cut from Chart, Irreg. Verbs, 8 Verbs, 11. 
 
 Deflections of Compound Verb forms from 
 
 Simple Verbs, 50. 
 Defini, definition, 65 ; formation, 65 ; Endings 
 . in full, 66. 
 
 Euphonic Changes, Stem, 1st Conj., 50 ; 
 
 "Spelling," 4th Conjug., 70. 
 Endings, General, list, see "Large Chart," 
 top, -vi'Ah. " Note," under Key II ; 
 Children's copy-book, Fol. Charts, 
 VI ; Special Tenses and Modes. 
 Infinitives, 15, 17, 48; "Sub- 
 junctives," 67, 69 ; Pres. Ind. and 
 Imperative, 69. 
 "e" "Spelling" forms, "Wanamaker Square," 
 
 69, 70. 
 Future, formation, 9. 
 
 Imperative, explained, 51 ; formation, 69, 70. 
 Imperfect Ind., explained, 51 ; formation, 63. 
 
 " Subj., 66. 
 " Irreptlar Verbs, " 49 ; Chart, Fol. Charts 
 XIII-XXIV; Blackboard copy of Cut 
 from Cht. Irreg. Verbs, see "Blackboard." 
 Jardin de Versailles, 62. 
 Jumping Stem Changes, 51. 
 
 Key I, referred to, 65. 
 
 Key II, see " Wanamaker Square." 
 
 " Large Chart," ID, 50, 57 ; Copy, Fol: 
 
 Charts I. 
 " LeamingViks: a Child," 61. 
 
 Mood, explained, 9. 
 
 Mute Forms (ringand square places in "Wana- 
 maker " Square), 69. 
 
 Participles, explained, 9. 
 
 Partnership, "limited," 73. 
 
 Perfect Participle, meaning, 9 ; formation, 
 endings, 64 ; effect of irregularities 
 in ending, 49 ; " inflected," 73. 
 
 Pluperfects, tvi^o, 74. 
 
 Present Indicative, meaning, 51 ; formation, 
 
 69. 
 " Participle, explained, 51 ; formation, 
 
 endings, 63. 
 " Subjunctive, explained, 51; formation, 
 69, 70. 
 Pronouns, personal, for verbs, 13. 
 
 " Que" with Subjunctives and 3d Sing., and 
 P!ur. Imperative, 70. 
 
 " Regular Yeihs," 49. 
 Pool, see " Stem." 
 
 " Special Chart," 71; Fol. Charts XII. 
 " Spelling," (silent end letters) general, 13 
 (70); "e" forms, 70; Fol.Chai'ts 
 VI. 
 Stem, of Verb, 10. 
 Stem changes, 49. 
 
 5a4;»»f^zV«, explained, 9 ; Present, 69; Im- 
 perfect, 66 ; compound, ex- 
 plained, 74 ; formed, 74. 
 
 Teaching, French Verb in Schools, 60. 
 Third Conjugation, abnormal, 64. 
 
 Voice^ explained, 9. 
 
 " Wanamaker" Square, 53. 
 
 "Zoo;' of Verbs, 51. 
 
 TAcy^K— Correction : page 20, line 12, put "stunned" in parenthesis, as an explanation of "struck." 
 
1 t^icjur uLuer i:>ruLn.eri> ana omtn ; 
 
 All above the gold line are the sounded endings of all verbs, 
 under their proper heads of Tenses or Modes in English, with the 
 exception- of the Infinitives, which are given with the verbs, and a 
 gold note under the colored square. 
 
 Below the gold line are first : the spelling (" Sp.") or silent end 
 letters, which you see but do not hear in verb forms, and, then, two 
 keys explaining the meaning of stem changes or full forms given with 
 the verbs ; Key I explaining this meaning by position, according as a 
 change is written above or below the verb ; Key II, by colors or 
 signs, the color or sign found with a change as given with a verb, 
 referring the change to the places that have the same color or sign 
 in the square, the same color or sign meaning always the same places, 
 and so showing as a recurrence on the square, of signs, dX fixed places, 
 the recurrence of changes on that square in the verb, if they once 
 occur, dX fixed "gtXdiCes, and so a new law of the French verb; if a word 
 singly deflects from the rule of changes, it is given with the change. 
 
 The rest are the verbs themselves, given in the Present Infinitive 
 Mood, which shows the Conjugation, with their stem changes around 
 them ; the regular verbs through the middle, the two auxiliaries at 
 the foot of the chart, and a few notes ; compounds, as in English — see 
 foot of chart. 
 
 Example, for making Verb Forms. — Required: Pres. Part, of FIN-ir. 
 Process — ending (see " Endings,") -ant. " Spelling " — none needed, -ant given as 
 full form of ending (no dash after it). Stem, FIN-, ordinary ; but you see direction 
 to change for " Pres. Part.," in the FIN-ir (X -iss-), the star meaning, here, always, 
 "Pres. Part." (see colored square), consequently, stem for Pres. Part., FIN-iss-, and 
 the form — FIN-iss-ant. This FIN-iss-ant, standing here as fixed and unfailing as 
 Pres. Part, of FIN-ir, as in any grammar. So any other form ; where a dash 
 follows the ending, the "spelling" has to be suppHed in the place of the dash — 
 from the lists ("Spelling.") 
 
 Note.— As the reprint of "Our Large Chart," in its original size and shape, is not as distinct in the 
 transfer on the Charts, as it can be made from type, I give it here, on these pages, without a transfer, direct 
 from type. 
 
 P.O. 
 
 U.S. 
 
 —^ THE FRENCH VERB ?^ 
 
 (Four Reg. Conjug's, and Auxil'6) ' 
 
 IN FULL 
 FROM TYPE. 
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 PHILADELPHIA. 
 
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ADVERTISEMENTS: 
 
 Lecture — English. 
 
 Cuts — Greek, Latin. 
 
 Specimen Pages — Grerman, " High-School 
 Manual." 
 
 Publications — " The American System." 
 
 Diagram — Explaining System. 
 
 Papers — Old, Philadelphia. 
 
 Expenses — Public Ledger of System. 
 
 (X'lie folios seeu ou pages are those of tlie plates.) 
 
THE "WROUGHT" LA:NGUAGE. 
 
 INTRODUCTOEY TO A COUESE OF LECTUEE8 
 
 ON THE 
 
 PHILOSOPHY OF THE ENGLISH LANGUAGE; 
 
 OR, 
 
 ffiwgUsIt ^xpteitted on ^xmipU m& 3t&nt«& to ^Jau'. 
 By Peof. C. C. SCHAEFFER, 
 
 LATE PEOFESSOR OF THE GERMAN LANGUAGE IN THE UNIVERSITY OF 
 PENNSYLVANIA. 
 
 [ABSTRACT.] 
 
 Special Theme of English Pabt of Lectuee. — By what gen- 
 eral quality does English pronunciation differ from that of any 
 other language? 
 
 MY friends, though we may not agree 
 as to anything else, we certainly 
 shall as to the magnitude of the task 
 in the course before us. Yet, could you 
 see the labors which underlie it, the 
 Charts which have been made, large 
 and small, then you would think if 
 there are any results to be obtained by 
 honest digging, they probably have 
 been brought out here, though even 
 then you might doubt whether they 
 were at once in such a shape as to 
 make them accessible to all. 
 
 They were not so originally, but, 
 thanks to the class-room, they are so 
 now. 
 
 Among these Charts, to which I 
 have just referred, is one, the " Square 
 Inch," or, representation of the or- 
 dinary Latin model verbs, showing 
 every voice, mood, tense, number, and 
 person of each and all of the follow- 
 ing, viz., the common model verbs, 
 Amo, Moneo, Regn, Audio, representing 
 the four regular conjugations; the four 
 deponent verbs, Hortor, Tueor, Fruor, 
 Molior ; the verb in " io " in third con- 
 jugation, Qapio ; the verb both depo- 
 
 nent and in " io," Patior, and the 
 auxiliary "sum" — the whole being 
 printed from type on the space of one 
 inch square. 
 
 If, on examination, the notation of 
 any one form of any of these verba 
 should be found wanting on the 
 " Square Inch," I would not press any 
 further the claims of the system. But, 
 if the Chart is complete, as it is, then 
 I would beg to see in the saving of 
 time effected by simplification in this 
 one important item, which is but a 
 type of many others of a similar kipd, 
 the prospect of new National schools, 
 wherein the Classics can be taught and 
 kept side by side, with the study of the 
 so-called " exact " sciences. 
 
 Who will plead the dropping of the 
 " CLASSICS " from want of time, when, 
 with a copy of the "Square Inch " en- 
 larged, one-half of the inflectional 
 forms of Latin can be taught and 
 learned in an hour or two? 
 
 Who will plead it, for convenience, 
 that is money's sake, where that want 
 is supplied? 
 
 If we had the statue of Olympic Zeus, 
 
 Entered according to Act of CongreBs, in the year 1875, by C. J. C. SCHAEFFER, in tlie Office of the Librariaa 
 
 of Congress, at Washington. 
 
 244 2 
 
THE "wrought" language. 
 
 245 
 
 which was made of gold and ivory, 
 would you counsel the breaking up of 
 the statue to enlarge with the gold 
 pieces on the nature of gold, or to 
 illustrate with the ivory pieces a lec- 
 ture on ELEPHANTS ? Gold was part, 
 and ivory was part ; but the statue of 
 the god, made in the image of man, 
 was a whole; and man, made in the. 
 image of God, is a whole; and in 
 studying language, we study that whole. 
 
 Will any one fight the "classics," 
 and with what? With the Natural 
 Sciences ? 
 
 But Language itself is a science — 
 the chief of sciences — giving unity and 
 a definition to all the others, and teach- 
 ing, not the nature of stones, reptiles, 
 insects, birds, but the nature of man. 
 
 Let us, then, join in teaching the 
 Natural Sciences with the Science of 
 Language, as Logic incarnate, at their 
 head. 
 
 As this assertion of the scientific 
 nature of Language is so novel that 
 your minds naturally require some- 
 thing more than a mere assertion to 
 feel assured of its truth, it is my pur- 
 pose now to show you some of the phil- 
 osophical reasons or principles upon 
 which all language is based, and by 
 the use of these "keys" to unlock be- 
 fore your eyes, vast and hitherto un- 
 visited chambers of thought. 
 
 It was as early as twelve years ago, 
 that, in order to explain the "Umlaut," 
 ormodification in German of the vowels 
 a, o, w^ into a, o, u, I presented for the 
 first time, in public, a certain little dia- 
 gram, showing the natural position of 
 the vowels in the mouth in the moment 
 of utterance. The explanation was 
 afibrded by a certain contrast of the 
 vowels visible in this their position, 
 such contrast consisting in the diifer- 
 euce of the direction of two lines which 
 we are to regard as the lines of the 
 vowels. 
 
 * Pronounced as in the English words father, 
 open, true. 
 
 A, 0, and u* were put in this order 
 on a horizontal line ; e and if were put 
 in this order on a line starting from 
 the other line at the point "a", more 
 vertical than the first and yet follow- 
 ing it in its general direction. A curve 
 bending around a and enclosing the 
 lines, indicated the cavity of the mouth, 
 the throat being at the point "a;" 
 thus : 
 
 Diagram showing the natural position of the 
 vowels in the mouth, in the moment of utter- 
 ance. 
 
 This diiference in the direction of 
 the lines, along which the vowels are 
 Uttered, was explained as, caused by a 
 corresponding difference in the direc- 
 tion of thought when engaged in the 
 production of vowels. 
 
 The a, o, u were explained as caused 
 by an action of thought in the direction 
 of the idea of the object, foewaed; the 
 e and i by an action of thought in the 
 direction, or axis, of the idea of the 
 subject, TJPWAKD. Just as in like case, 
 hand and arm, to show these directions 
 to the eye, either press forward S^'you, 
 or rise upward ^ I, so here lips and 
 tongue to note these directions to the 
 ear engage in movements the effect^ of 
 which in one case, the lips protruding 
 and the tongue yielding, is a pushing 
 of the sound bodily forward, a, a, u; in 
 the other, the tongue rising to press 
 with its back towards the wall of the 
 mouth — the lips yielding and reced- 
 ing — is a raising of the place and 
 narrowing of the space of emission of 
 
 t Pronounced like ay in saxi, and ee in see. 
 
246 
 
 THE "WEOUGHT LANGUAGE. 
 
 sound, and thus a rise of sound, bodily 
 upward, first e, then i. So that the 
 idea of the object sounded is a, o, u ; 
 that of the subject e, and i: the "a," 
 from its place and position at the point 
 of deflection of the lines, being, in so 
 far as they deflect, a neutral vowel, and 
 as such in th^ classics neuter vowel, and 
 in so far as they are lines, the mother 
 vowel, and thus, in the classics again, 
 the feminine vowel, though as far as 
 a certain direction is a feature of the 
 lines, it counts with the lower line. 
 Personal pronouns of the first person 
 singular may therefore be expected to 
 show, as they do show, the upper 
 vowels, those of the second person, the 
 lower, and this is all brought about as 
 naturally, simply, mechanically, and 
 instinctively, as a form of notation by 
 the muscles of the lips and tongue as 
 is another form of notation, elsewhere, 
 by those of the hand and arm. 
 
 The a, o, u are, therefore, the objective 
 vowels, the e and i the subjective ones. 
 
 Further, as the line of the lower, ob- 
 jective vowels a, o, u, the horizontal 
 line, is at the same time the axis of 
 the intent of speech, communication to 
 others, the vowels located on that line 
 we may consider the positive vowels, and 
 those located on the line deflecting from 
 this (to the exclusion therefore of the 
 "a") the negative ones. Moreover, as 
 the vowels of the lower line, the a, o, u, 
 are produced by an act of inflation, or 
 accumulation of sound, we call them, 
 as we find them to be, the heavy, sub- 
 stantial vowels; whilst those located on 
 the other line, effected by a process of 
 compression, attenuation or diminu- 
 tion of sound, we call, as we find them 
 to be, the light, formal, accessory 
 vowels. 
 
 The "Umlaut" is a modification of 
 the objective, positive, heavy vowels, by 
 the subjective, negative, light ones ; and 
 if the principles involved in the fore- 
 going explanation are right, must occur 
 wherever the meaning of the word ia 
 
 similarly modified. That this is actu- 
 ally the case, we shall now proceed to 
 demonstrate. 
 
 In the first place, then, the "Um- 
 laut," as a form of grammatical inflec- 
 tion, takes place in the Plural of mas- 
 culine and neuter words, wherever in 
 the meaning Individuality is lost in 
 plurality/ for example, But, hat, plural 
 3ute. As the individuality of the 
 single hat is lost in the mass of hats, 
 so in German the positive vowel u, as 
 the exponent of the individuality of 
 the hat is modified in the notation of 
 the mass of hats as a unit, by the 
 addition of a vowel of negation, e* 
 But the names of objects, which, al- 
 though we may conceive them in a 
 plural, from natural laws exist only 
 one at a time or place, in their plural 
 form retain their vowel unimpaired, 
 that is, reject the umlaut. • 
 
 Take, for instance, Mond, moon, in 
 the sense of planet or satellite. We 
 can speak of many planets or moons 
 as a plural, but from the laws of space 
 they can only exist one by one. So we 
 say Mond, plural Monde, the character 
 of the word continuing in the sound 
 of the word. So, Tag, day. We can 
 speak of a thousand days, but in these 
 thousand days there is always but one 
 day at a time. There can be no two 
 days together as there are two or more 
 hats. When one day is, the other has 
 ceased to be or has not yet come, so we 
 say: Tag, plural Tage. So the word 
 Thron, throne, the seat of a king; 
 plural " Throne," without the umlaut. 
 
 A political earthquake may, by shak- 
 ing the kings off", change their seats 
 into chairs, which then as chairs, take 
 the umlaut, Stuhl, Stiihle, but as long 
 as they are " thrones," seats of kings, 
 emblems of sovereignty vested in one, 
 they preserve their separate individu- 
 ality. So we say Thron, plural Throne. 
 In such feminine words, however, as in 
 
 * Strictly " insertion " of e (j), into the u. 
 
THE "wrought" language. 
 
 247 
 
 the singular are generic and general, 
 and represent the idea of mass, the um- 
 laut is employed in the plural to negate 
 and destroy the generality, and thereby 
 create individuality. So Kunst, Art, plu- 
 ral Kiinste. Art is general ; Arts are in- 
 dividual : — so we use the umlaut. Arts 
 are gained from art by a process of 
 division; hats from hat by a process 
 of multiplication. The Umlaut, then, 
 as we see it here, is simply negation, of 
 what IS, like the pull of the bell in the 
 case of a street car. If the car has 
 stopped, the pull means go ; when it 
 goes, the pull means stop. So the um- 
 laut applied to words, in the case of 
 genders of opposite meaning, produces 
 opposite effects. Applied to masculine 
 and neuter words, the character of 
 which is individuality, it negates and 
 destroys individuality, and creates gen- 
 erality; applied to feminine words, such 
 as are generic in their meaning in the 
 singular, it negates and destroys gener- 
 ality and creates individuality. And 
 the same is true in all forms of its 
 action throughout the German gram- 
 mar. 
 
 Having seen in German what the 
 vowels mean in their contrast, I asked 
 myself, what do they mean in their 
 relation, as vowels of the same line, 
 that is, how do the a, o, u, on the one 
 line refer to each other, and similarly 
 how are the a, e, i on the other line 
 related. A special and superior field 
 for examination of such relationship 
 was aiforded by the Latin verb, where 
 the vowels of the subjective line, a, e, i, 
 are employed as the connecting vowels 
 of the verb, forming its main classes. 
 This led, first, to the analysis of the 
 actions expressed by the verb, and here 
 I found that all actions expressed by 
 one and the same class of verbs are as 
 much of one and the same character 
 as actions, as the verbs composing that 
 class are of one and the same character 
 as verbs, and that the connecting vowel 
 of the verb, corresponds in its char- 
 
 acter as a vowel with the character of 
 the action expressed by the verb. 
 
 But what are then these classes of 
 action ? To arrive at this in the short- 
 est way of illustration possible, let us 
 analyze here the simple action to strikie 
 so as to stun, the parts of which action, 
 are: 
 
 1. The raising of the hand of A., 
 
 2. The moving of the hand of A. 
 toward B., 
 
 3. The contact of the hand of A. 
 with B., and • 
 
 4. The effect left on B., 
 
 the first two of which we see on the 
 side of the subject A., and may, there 
 fore, call them phases of subject-nota- 
 tion; and the last two we see on the 
 side of the object B., and may, there- 
 fore, call them phases of object-notation: 
 finally, the character of each phase in 
 its turn and order we may designate as 
 follows : 
 
 1st Phase — Phase of impulse crea- 
 ted; 
 
 2d Phase — Phase of motion directed, 
 these two being phases of subject-nota- 
 tion/ 
 
 Sd Phase — Phase of contact effected, 
 and 
 
 Ath Phase — Phase oi effect left; these 
 two being phases of object-notation. 
 
 The character of the last of this 
 series of phases, as the last phase in- 
 tended, fixes the character of the whole 
 action, to strike so as to stun, as an 
 action of \he fourth order, or action of 
 object-notation, effect left. 
 
 But, if the party A., instead of going 
 the full length of the phases with his 
 intent of action, had stopped short in 
 the third phase, then we would have 
 an action of the third order, of contact 
 effected — an action of object-notation; 
 for instance here, to hit. And if he 
 had stopped short in the second phase, 
 with his intent of action, then we would 
 have an action of that order, action of 
 motion directed, but of subject-notation, 
 for instance, simply to move hand or 
 
248 
 
 THE "wrought" language. 
 
 arm. And if the raising of the hand 
 itself had been the action, for instance, 
 to give a sign or warning by that mo- 
 tion, then we would have an action of 
 that order, an action of impulse created, 
 and of subject-notation. So that we 
 see : 
 
 1. In whatever phase the movement 
 and intent of the action is arrested, the 
 character of that phase fixes the char- 
 acter of the whole action as an action 
 of the character of that phase ; and 
 
 2. As ye have phases of subject-nota- 
 tion and phases of object-notation, so 
 we must have actions of subject-nota- 
 tion and actions of object- notation; 
 and 
 
 3. That all actions must partake of 
 the character of one of these phases, 
 because they are the only forms of rela- 
 tion possible between subject and object 
 in action. 
 
 Actions must be either of impulse 
 created, of motion directed, of contact 
 effected, or of effect left, the first two 
 kinds being actions of stibject-notation, 
 the last two being actions of object- 
 notation. 
 
 Applying these phases of the idea 
 of action to the action of lips and 
 tongue in producing the voice, we find 
 on the subjective line the " vowels of 
 action," that is, each of the subjective 
 vowels is an exponent of the character 
 of a phase. — 
 
 It would be too tedious a task to 
 review the numerous Latin verbs, and 
 show that their distribution among the 
 four conjugations exactly corresponds 
 with the character of the actions they 
 express ; but there is one important ap- 
 plication of the foregoing principles, 
 which I now proceed to illustrate. 
 
 In the case of verbs which are syn- 
 onymous in meaning, if they belong to 
 different conjugations, we can clearly 
 and exactly distinguish the meanings 
 by considering in each case the char- 
 acter of the conjugation. Take, for in- 
 stance, the synonymous verbs. 
 
 1, docere and erudire, to teach. 
 
 2, ardere, urere, to burn. 
 
 3, ligare, nectere, vincire, to bind. 
 
 4, lavare, lavere, to wash. 
 Upon the following diagram 
 
 Actions of 
 
 SUBJECT-NOTATION 
 
 1. 
 IMPULSE. 
 
 Examples. 
 (1) 
 
 (2) 
 
 (3) ligare 
 
 (4) lavare 
 
 2. 
 
 MOTION. 
 
 docere 
 ardere 
 
 Actions of 
 
 OBJECT-NOTATION. 
 3. 
 
 EFFECT 
 LEFT. 
 
 emdire 
 
 urere 
 
 nectere 
 
 lavere 
 
 vmcire 
 
 such of these words as belong to the 
 first conjugation are placed in the first 
 column, such, as belong to the second 
 conjugation, in the second column, and 
 so 'on. 
 
 The headings show the character of 
 action expressed by each conjugation 
 in accordance with the principles al- 
 ready announced. At a glance, the dif- 
 ference of meaning between these syn- 
 onyms, now becomes apparent. Thus, 
 
 (1.) Docere, to teach, action of 2d 
 class, motion directed, subject-not&tian, 
 is to teach as far as the subject is con- 
 cerned, motion of knowledge directed 
 toward an object ; 
 
 Erudire, to teach, to instruct, action 
 of 4th class, of effect left, object-nota.- 
 tion, is to teach as far as the object is- 
 concerned, effect left by teaching on 
 the object, party taught. 
 
 (2.) Ardere, 2d class, to burn, is to 
 burn as far as the subject is concerned, 
 motion of fire, "flame," directed to- 
 ward an object; the name of the act of 
 setting fire, as a crime, concerning as 
 such a crime the subject, is in English, 
 therefore, derived from ardere, arson ; 
 
 Urere, 3d class, to burn, is to burn 
 as far as the object is concerned, effect 
 of contact, of fire, with the thing burn- 
 ing. The name of that effect, concern- 
 ing as such the object, is in English, 
 therefore,derived from viTeie.,combustion. 
 
 (3.) Ligare, to bind, 1st class, im- 
 pulse created, ««6/ec<-notation, is to 
 bind aa far as the subject is con- 
 
THE "wrought" language. 
 
 248 
 
 cemed: Impulse, attitude of binding. 
 "Ligabamus in agro," says, therefore, 
 Joseph ; 
 
 Neetere, 3d class, effect of contact, ob- 
 /eci-notation, is to bind as far as the 
 object is concerned, effect of contact, 
 of binding, with the object, thing 
 bound; 
 
 Vincire, to bind, 4th class, effect left, 
 oJ;ec<-notation, is to bind as far as the 
 object is concerned, effect left by bind- 
 ing, or to leave bound, and so forth. 
 
 In Greek, the character of these 
 classes of verbs is found in the " con- 
 tract" verbs. 
 
 Let us now consider, "By what 
 general quality the pronunciation of 
 English differs from that of any other 
 language." 
 
 I would say, that whilst all other 
 languages are cast languages, that is, 
 languages where each element of pro- 
 nunciation is sounded separately, Eng- 
 lish is a wrought language, that is, the 
 elements of pronunciation, under the 
 grasp of that energy which is in- 
 herent in the English character, are 
 not sounded singly as elements, but 
 together as a unit of sound. The first 
 question that presents itself here, is, 
 whence this energy, and in such an 
 abundance as to be a national charac- 
 teristic? Of course it has not grown 
 naturally on the soil of Old England. 
 There is usually as great a variety of 
 growth, in the crops, on the mental 
 soil of a people as there is on the 
 natural soil, and no such intensity of 
 growth and excess in one particular 
 direction as fairly to absorb or change 
 the other. This excess of energy then 
 was not produced organically, as growth 
 from one people ; it was brought about 
 mechanically, by a conflux of people. 
 Those that, from impulses of their own, 
 followed the current of events tending 
 westward, and came sword in hand to 
 England, were not the lazy ones from 
 home. They already represented, in 
 the fact of their coming and leaving 
 
 home, an " excess " of energy over that 
 of those who remained. These energies 
 collected, had on the island no outlet, 
 no way of development, by absorption 
 externally; so they had to develop 
 themselves, by friction, internally, the 
 result of which process was, that men 
 lost those qualities in which they dif- 
 fered, and maintained those in which 
 they agreed. Thus, energy became the 
 principal characteristic of the race. 
 This energy, as shown in life, we call 
 "Individuality;'" this individuality 
 asserted ' for all, we call "Human 
 Sights;" these human rights enacted 
 in history, we call "Magna Charta." 
 And the same energy that enacted 
 "Magna Charta" gave to the language 
 its big, capital "I," by which I mean 
 the spelling of the personal pronoun 
 of the first person singular with a 
 capital, whilst the other pronouns have 
 none, a feature occurring only in the 
 English tongue. 
 
 Having thus accounted for the pres- 
 ence of this energy as a characteristic 
 of the race, I shall proceed to show 
 some of its effects upon the language. 
 
 This big "I," then, or this con- 
 centrated energy having first created 
 walled homes — "every man's house his 
 own castle" — created a walled language, 
 fortified, at home, behind the teeth — 
 as it is the common observance of all 
 that study English in connection with 
 French, that English is spoken more 
 as if the party speaking would rather 
 keep than issue this his bond, of 
 speech, whilst French bodily, as in a 
 raid, breaks through and rallies out- 
 side of the " ramparts" — this in keep- 
 ing with the directions of the two kinds 
 of mind, the one homeward bound, the 
 other outward and abroad. 
 
 Again, the big "I," in vindication 
 of its impulses, crushed the "genders." 
 For, whilst in other languages the 
 gender is a form of*relation in action, 
 as, for instance, in German, where what 
 is force is masculine, what is form is 
 
 ;naL 
 
250 
 
 the' "wrought'^ LANGUA9B. 
 
 feminine, and what is neither is neuter, 
 in English all things as devoid of -will, 
 are neuter, except where, by some gen- 
 eral or special act of grace, in life, or 
 poetry, they are endowed with will, 
 when the particular kind of supposed 
 will as read in the action, fixes the 
 kind of gender, then as its notation. 
 A horse running away and overturning 
 in its career a lamp-post may oe desig- . 
 nated as a "he," though otherwise, un- 
 der ordinary circumstances, it might 
 appear in print as a "she," or an "it." 
 The sun as the "ruler" of stars, thus, 
 may be made masculine (though in 
 German it is feminine), and the 
 " moon," from the softness of its light, 
 may be made feminine, "she" (though 
 in German it is masculine, "he"). To 
 confound gender and sex, and say that 
 in English, "simply" there is gender 
 where there is sex, were to confuse the 
 language, if languages ever could be 
 confused from waut of knowledge of 
 their proper treatment, and to compel 
 it to use, or introduce, "gender" deep 
 down among the remotest things of 
 creation to the lowest plants and an- 
 imals, of which the language denies 
 gender, although they certainly possess 
 sex. 
 
 Again, the big "I," in defence of its 
 motion, broke up the sentences. For 
 whilst in other, transmitted and mon- 
 archical, tongues the place of the part 
 is fixed by the idea of the whole, in 
 republican English the form of the 
 whole is dependent upon the movements 
 of the parts. The English, simple, "rcT 
 publican" sentence: (1) I shall recon- 
 sider the matter, (2) after having read 
 the letters (3) which I have received, 
 changed into a monarchical or military 
 form, as in German, reads thus : (1) I 
 shall the matter, (2) after I the letters 
 (3) which I received (2) read have, (1) 
 once more consider. 
 
 And last, to prove its effects, this 
 "capital" I, in its efibrts of pronun- 
 ciation, CRUSHED THE WORDS; that is, 
 
 the elements, as has been said, are not 
 sounded singly, but are changed under 
 the grasp of mind into a unit of sound, 
 the \yord. 
 
 Take an example : here is the word 
 "Sir." Put these letters before any 
 people that ever lived, and see whether 
 in pronouncing they will get what you 
 get. They will pronounce the s, the i, 
 the r. Whatever they may get, they 
 will never get your sound. Why? 
 Theirs are cast languages. They pro- 
 nounce the individual letters. Their 
 sound of the word would be the sum 
 of the sound of the letters, not their 
 product, as in English. But now put 
 these letters sir under the rollers of 
 mind, sound them not as in a cast 
 language, but as in a wrought lan- 
 guage, and what happens? The liquid 
 strong r is driven through the trans- 
 parent feeble i; the word is sounded 
 as if spelled SV. Now, put tins before 
 any people that ever lived, and see 
 whether, when they sound it, it will be 
 anything but your English Sir, the 
 vowel sound supposed to exist here as 
 an independent sound, being but the 
 clash of the consonants in the energy 
 of the pronunciation of the word as a 
 unit. 
 
 So it makes no material diflference 
 whether we have 
 
 Sir, 
 
 bird, 
 
 turn, 
 
 beard, 
 
 work, 
 
 herd, 
 
 worth, 
 
 her, 
 or burn, 
 all have the same sound, the same 
 cause, producing the same efiFect, a 
 language, cast in its spelling for the 
 eye, being changed for the ear, into a 
 language "wrought." 
 
 You will now see, that in English 
 pronunciation everything depends; 
 Firstly, upon the character of the let- 
 
THE "wrought" language. 
 
 251 
 
 ters, and not only upon their individual 
 but also upon their social qualities, as 
 in a wrought language a letter which 
 might get along very well with another, 
 might not get along at all with a third, 
 or might show as neighbor of one let- 
 ter qualities different from those it 
 shows as the neighbor of another: and 
 further, not only upon their open and 
 obvious, but also upon their hidden or 
 recondite qualities. Take for instance 
 the sound of "all" in English. Whence 
 this touch of an o sound in all? I found 
 that the vocal element in the sound of 
 the liquid letters corresponds in the 
 case of each liquid to one particular 
 vowel sound. In the case of the I this 
 is 0. This "o" in the case of two I's, 
 or an 1 backed by a consonant, able to 
 resist the loss of sound, in a wrought 
 language is evolved in suflScient force 
 or volume to be slightly audible, so 
 that the letters all are pronounced as 
 if spelled with the part of an "o," 
 which " o " sound, as a representative 
 of the word "all," is maintained where 
 all is meant, as in "always;" though 
 spelled with but a single 1. 
 
 Secondly, upon the degree of energy 
 of pronunciation involved, which may 
 change with the meaning, use, or der- 
 ivation of the word or its combination 
 with other words or parts of words, etc., 
 etc. 
 
 Take, as an example, the word court, 
 pronounced court when meaning the 
 thing court itself, pronounced shorter 
 in court'ier, when meaning court, not 
 for its own sake, but as the notation of 
 the character or office of a party living 
 at court ; and pronounced very short in 
 coMr^'eous, when not court as form, but 
 court as force is meant, meaning, in 
 general, civil, and in the manner of 
 courts, whether inside or outside of the 
 thing court itself. And 
 
 Thirdly, on the fact that in English 
 a letter does not spend its force on its 
 place in the word, but that the mode 
 of uttering one particular letter may 
 affect all the others, as in a piece of 
 wrought iron every part of the mass 
 affects every other part (whilst in cast 
 iron the force of every part is spent in 
 its place as a part), so that in English 
 a letter at the beginning may affect the 
 pronunciation of a letter even at the 
 end. 
 
 The details of all this belong to the 
 course. But enough has been said to 
 show that English is a language unique 
 in itself, that it has not its like, and 
 probably never will have, as the con- 
 ditions which produced it are not likely 
 to occur again; that it swings as a 
 language on its own axis, can be cut 
 like diamond only by its own dust, 
 measured as a language only by its own 
 laws; how it must baffle and deride 
 any efforts to catch it with "classical" 
 rules, not made for English: how it 
 will slip through here like an eel, or 
 dash through there like a whale ; how 
 truly cosmopolitan this language is in 
 its power of naturalization of words by 
 simply "stamping" them, and indelibly 
 thereby changing their character ; that 
 every English word has more specific 
 gravity than a word of any other lan- 
 guage, because in a smaller compass of 
 sound it holds a greater meaning ; and 
 finally, that this "English" tongue re- 
 sembles more than any other known 
 language that kind of speech of which 
 the poet says : 
 
 " Wie ein Engel moolit' ich sein, 
 Ohne Korpershranke, 
 Deren Unterredung ein 
 Tonender Gedanke." 
 
 " Like an angel I would be 
 
 With these fleshly bonds unbound: 
 In communings heavenly — 
 Every thought a tuneful sound I " 
 
 9 
 
V 
 
 I, The Verb complete in the 
 
 VOICES. 
 
 ACTIVE. 
 
 MIDDLE. 
 
 PASSIVE. 
 
 II. The Voices complete in the 
 TENSES. 
 
 TENSES. 
 
 (Indlcatire Mode, 
 
 1 Sing.). 
 
 ACTIVE. 
 
 MIDDLE. 
 
 PASSIVE. 
 
 Pres. 
 Imperf. 
 
 Perf. 1. 
 Plup'f. 1. 
 
 Perf. 2. 
 
 Plup'f. 2. 
 
 "blank"' 
 
 tfs- 
 
 -ov 
 
 like Passive 
 
 a 
 
 eiv 
 
 "} 
 
 i 
 
 -oiiat 
 
 -OflYlV 
 
 -(/.ai, 
 
 Fut. 1. 
 Aor. 1. 
 
 Fut. 2. 
 
 Aor, 2. 
 Fut. 3 (Perf.) 
 
 (0 
 
 a 
 
 -ov 
 
 -. ofiau 
 -. dfiriv 
 -ovfiai 
 
 ■^ 
 
 
 t." 
 
 -ao(iat 
 
 * Like Perf. 1 and Plup'f. 1 respectively, only that the stem usually is short- 
 ened and the radical vowel changed, commonly into o. 
 
 Notes. — t; sign of reduplication. The dash in the tables, means the st^n. 
 The dots in front or after the dash, indicate the Tense signs: Ex. Aor. 1, 
 
 Middle . . d/ajv = i [blank] a J d/iTjv. The stem, as far as the placing of the 
 
 Accent — in some cases nere on Augment or Beduplication — is concerned, is 
 understood as a monosyllable. Accent, where not noted otherwise, on stem. 
 
KEYS: 
 
 Or, the origin and meaning of the Conjugations— Classes of 
 Verbs — illustrated and explained. 
 
 ECONOMY OF VERB: 
 
 1. Redundancy of 
 Forms. 
 
 2. FaralleliBm of 
 Forms. 
 
 3. Derivation of 
 Verbs. 
 
 4. Composition of 
 Terb. 
 
 6. Changes by Composition : 
 
 
 CONJUGATIONS. 
 
 
 I. 
 
 11. 
 
 TTT. 
 
 IV. 
 
 
 V 
 
 
 
 V 
 
 cresc 
 t 
 (grow) 
 
 
 s 
 
 j 
 
 f 
 
 i 
 
 • 
 
 
 u 
 
 
 
 
 
 1 
 
 ! 
 1 
 
 P 
 
 s 
 
 ■ 
 
 
 
 
 
 lX 
 
 
 aug 
 ct 
 (increase) 
 
 
 
 Rednpl. 
 
 
 
 • 
 
 
 Lengthening 
 
 of 
 Stem Vowel 
 
 
 
 
 
 No Change. 
 
 - 
 
 
 
 
 Changes 
 other than 
 the above. 
 
 
 
 d 
 find 
 
 86 
 
 (cleave) 
 
 
 No Perfect. 
 
 , 
 
 
 
 
 Perfect 
 
 Deponent 
 
 Neutr. 
 
 Pass. 
 
 
 
 
 
 Inverted; 
 
 Neutral. 
 
 Pass. ' 
 
 
 
 
 
 Irregular 
 Verbs. 
 
 
 Defective 
 Verbs. 
 
 Impersonal 
 Verbs. 
 
 tkf in Preposition, 
 
 b, in Verb. 
 
Act. 
 
 l.-at 
 
 2. -it 
 
 S-w-t 
 
 4.-it 
 
 Put. . 
 
 Pass. 
 
 zu. t. n. 
 i aea 
 
 ^ urua, a, um 
 i ae a 
 
 III., 
 
 (Supine 
 
 in. order to . , 
 
 to be . . d 
 
 having been . . d 
 
 lPerf.Part. 
 
 ' ' ' / 
 
 Fat. Inf. to be 
 
 about to be . . d 
 Fat. P. 
 
 aboat to , . 
 
 ApTpendlK (to 1st group.) \ 
 
 one tbat mnst be . . d 
 Fat. P. 
 
 i-Geniiid 
 
 from, by 
 
 res.; P. 
 
 of. 
 
 of. . ing 
 to " 
 
 ■ . ing 
 
 . '•'a 
 
 Sa gPH 
 l«^ J 
 
 - 
 
 re 
 
 to** 
 
 tor** 
 
 to 
 
 tor 
 
 te tote 
 
 mini 
 
 nto 
 
 ntor 
 
 2d Sing. 
 
 ImperaJ^plnr 
 
 3d " 
 

 |lrf>n<K!x.pfa 
 
79 
 
 Rest of "Staar". 
 
 (Explain the items of Grammar, marked in print; words in parenthesis 
 are indeclinable; words in square brackets are Adjectives, used here as Ad- 
 verbs; italics, when applied to stems, note stem changes in the word.) 
 
 (Wenn) z\x\m Bei|spie/ de|r Jaeger n'ef: 
 
 (When) to the example (for instance) the hunter cried (Tune u, ie, u) 
 
 Staarmatz, (wo) hist du? (so) schne de|r Staar 
 
 starling where art thou so cried (Tune ei, ie, ie) the starling 
 
 (aUe|mal) : (Da) bin ieh ! 
 
 always here am I 
 
 De|s Nachbarls kleinjer Karl hadlte (an) de[?» Voge^ 
 
 (of) the neighbour's little Charles had (took) (at) with, in. the bird 
 
 ein|e (ganz) besonder|e Freude (fern.) (und) mach|/e ihm 
 
 a quite particular delight and made (to) hi/a 
 
 (oefters) ein|era Bejsuch. (Als) Karl (wieder) (ein|mal) 
 
 often a visit when Charles again once 
 
 kam, war de|r Jaeger (eben) (nicht) in de|r 
 
 came (kommen, o, a, o) was the hunter just not in the 
 
 Stube (fern.). Karl fing [geschwind] de|w Voge? 
 
 room Charles caught (Tune a, i, a) quickly the bird 
 
 (und) steck|i(e ihn (in) d«|e Tasche (fern.) (und) woUjte 
 
 and put him in the pocket and would, Pres. will 
 
 (sich) (da|mit) fort|schle/ch|en. 
 
 himself therewith sneak away (Tune ei, i, i) 
 
 (Allein) (in) (eben) de|m Augen|blickle kam de|r Jaeger 
 
 But in just the (that) moment came the hunter 
 
 (zu) de|r Jhuere (fern.) (her|ein). Er dacli|te Ae\m 
 
 to the door in he thought (both Changes) to the- 
 
 KnabeJM (Qual. Noun) ein|e Freude (fern.) (zu) machen (und) 
 
 hoy a joy to make and 
 
 r/ef (wie) [ge|woelm|lich]: Staarmatz, (wo) hist du? 
 
 called (Tune u, ie, u) as usual starling where art thou 
 
 (Und) dejr Voge/ (in) de|?- Tasche (fern.) de|s Knabejj* 
 
 and the bird in the pocket of the boy 
 
 schn'e (so) [laut] er konn|^e; (Da) hin ich! 
 
 cried (Tune ei, ie, ie) as loud he could (both Changes) here am I 
 
 What position is : da hin ich? 
 
 Answer: 2d; inverted, emphasis on "da". 
 Form the three Positions : 
 
 1. Ich hin da — "straight", 1st Pes. 
 
 2. Da hin ich— "inverted", 2d Pes., emphasis on "da". 
 
 3. Thou seest, dasz (that) ich da bin — "dependent", 3d Pes., verb 
 
 "hin" completing the assertion: thou seest. 
 
 4. Question: ^m ich da? 
 
87 
 
 C^^l^.^ ^^ ^.U' 
 
 y^. 
 
 ,^^^^ 
 
 --Wt-«<--SC VM-K-^^-^ 
 
 ^^^l«.»-**Te.<*i^ ^ 
 
 ^yy.^^ 
 
 
 «-*-''^ 
 
 ■> 
 
 ^^.^, 
 
 aSL j^Z.-^^^ ^^_ ^^.^^ «r- _,. 
 
 L— ■^^r^-r*-*-*-*--^^^- 't^-x,^ ■^tC-g-^-^t^-^^ •*^~'f-r*.'^-^^<i^ C^Zt-'*--'^'*^ -ZJ¥~'^'^-M'-*-t 
 
 
 Read, parse, explain (analyze) second Strophe as marked and. cut, 
 
 yourself: 
 
 Unb fonnlfl bu be|n ^r^flaU tnir nettn|cn? 
 
 and canst thou the crystal to me name 
 
 Sl^lm gleic^lt (an) Sffiert:^ lein Sbellftein; 
 to him (it) equals, e^, i, i, in worth, value, m. no precious stone 
 
 ffilr leud^tlet, (o^ne) (je) (ju) brenttlcn 
 
 he (it) shines without ever to burn (B. C.) 
 
 !Dills ganale aBeltlall faugit er cin» 
 the whole universe, n. sucks he (it) in 
 
 33c|r ^immel (felbfi) iji a6|gc|mal|et 
 
 the heaven itself is depicted, pictured 
 
 (3n) fetnlcttt wunberlsolllctt Sting, 
 
 in his (its) wonderful ring, m. 
 
 (Unto) (boc^) \% tt)a|« e|r (son) (M) jlra^Ilet, 
 
 and yet is what he(it) from itself beams, (radiates) 
 
 («Roc^) fc^Bncr, (alg) taaXi er empifing. 
 
 yet more beautiful than what he (it) received, a, i, a. 
 
 (S*iUer.) 
 
100 
 
 2. ANALYSIS, 
 first part. Specimen; from Course. 
 
 Write out the rest in the same way. • 
 
 1. kam Nom. Haas 
 
 2. kam-si Nom. ein Abend Gen. Haus-e« 
 Iiessing 3. kam Gen. ein-.ES' Abend-^ naoh Dat. Haus-JB 
 
 Gen. Lessing-g PI. 1. kam-m Dat. ein-em Abend-e Ace. Haus 
 
 2. kam-e< Ace. ein-en Abend 
 
 3. kam-en 
 
 Nom. sein-e Thur 
 S. 1. klopf-TE Gen. sein-er Thur 
 
 2. klopf-TE-8t Dat. sein-er Thiir 
 
 nnd 3. klopf-TB (Imp'f. reg.) an Ace. Beln-.E Thiir (fem.) 
 
 3. "VERB." 
 
 Conslrucfioninfuttofa Verb, of the text, on principles. First part, specimen, from Course. 
 
 ("rufen", to call, irreg. Verb; Tune u, ie, u.) 
 
 EVEEY 
 
 Voice, Mood, Tense, Number, Person of: rvf-en required. 
 
 Pres. Ind. (Act.): Sing. 1. ruf-e [why?] Subj. ruf-« [why?] 
 
 2. ruf-s« [why?] rat-e-st [why?] 
 
 3. raf-t [why?] ruf-e [why?] 
 Plur. 1. ruf-en, etc. [why?] Plur. ruf-cn, etc. [why?] 
 
 Jmperf. Ind. (Act.) : rief [why?] Subj. rief-c [why?] 
 rief-si [why?] rief-e-s< [why?] 
 
 rief [why?] rief-« [why?! 
 
 Plur. rief-en, etc. [why?] rief -en [why?] 
 
 Fut. Ind. (Act.) I shall call, Sing. 1. (Ich) werde ruf-en [why?] 
 Perf. Ind. (I have called) : Ich habe geinf-en, du hast geruf-en, etc- 
 Subj. Ich habe geruf-en, du hab-e-st geruf-en, etc. [why ?] 
 
 Pluperf. Ind. Ich hatte geruf-en, etc. Subj. Ich hiitte geruf-en, etc. 
 Fut. Perf. Ind. 1. (I shall have called— I shall . called . have) Ich "werdo 
 gerufen Iiaben. 
 
 Same, in Passive: Pres. Ind. Sing. 1. Ich werde ge-ruf-en [why? — I be- 
 come . called] ; 2. du wirst gerufen, etc. Subj. 1. Ich werde gerufen ; 2. du 
 werdest gerufen, etc. 
 
 why? why? why? 
 
 Write out the rest. 
 
 b. As sucli. 
 
 Scff5ng Jotn tines 9Ibenti« f))St nac^ .^aufe. 
 SBer (who?) tarn nad) .£)fluj'e? Scfftng. 
 SBo^tn (where?) tarn cr? Sr fam na(^ .^aufe. 
 aSann (when?) fant cr na(^ .5)aufe? ©pat. 
 SCann !am er f))at nac^ ^aufe ? SinesS 9I6enb3. 
 
64 
 
 THE DIAGRAMS 
 
 combined: 
 
 A. DECLENSION. 
 
 CASES. 
 
 Declension of (Ck>nuuon) 
 Noun (Sing.) 
 
 Uom. who? 
 Gen. whose ? 
 J)at. I^to] yihtn ' 
 Acq. who»n ? 
 
 Sina. 
 m. n. f. I 
 
 (Endings of) 
 Definite Article. 
 
 s 
 s 
 m 
 n[ s 
 
 PlwxU, 
 for all. 
 
 r I n luniverscd] 
 . .e 
 
 Stem, de-; Spec, change 
 before — c, die ; before 
 neuter s (Nom. and Aoo.) 
 das. 
 
 DECLINED 
 like Bff. Art., as to 
 tbe endings: 
 
 1) Sdai. & Bern. 
 Pron., dies-er, e, 
 
 es, etc. 
 
 2) Indef. & Possets, 
 Pron., ein (f. — e), 
 kein, mein, dein. 
 etc. 
 
 (Aisohde: ein-er, e, 
 es, etc.) 
 
 3) Adjective, in the 
 place of the Def. 
 Article. 
 
 Ace, fem. & n., by 
 rule, like Nom. 
 
 B. CONJUGATION. 
 1. "VERBS". 
 
 Teniv 
 forms: 
 
 Pres. Inf. 
 Jmperf. 
 Past Part. 
 
 Pres. Ind. 
 Imperf. 
 Past Part. 
 
 a. Classes ofVerbs: 
 
 1- REGULAR. 
 (Conson. outside.) 
 
 2. IRREGULAR. 
 (Vocal change, inside.) 
 
 live : leh-en 
 
 — d: — te 
 
 — d: ge — t 
 
 sing : stng-e« 
 sang: sang 
 sung: ge-sung-en 
 
 3. Both Changes: 
 
 . . can kann 
 
 . . could. konn-te 
 
 ge-konn-t 
 
 b. Endings: 
 
 1. GENERAL. 
 
 Sing. 1— 
 
 I 2-St [e«. Impert-e] 
 
 1 3— 
 
 Plur. 1 — en 
 
 2—et 
 3 — en 
 
 2. SPECIAL 
 
 Pres. Ind. 
 -t [engl.:— a] 
 
 Pres. Inf.-en 
 Pres.Part.-eni 
 1. S. Pres.-e 
 
 c. Subjunctive, takes e immediately 
 after the stem if there was not one there, 
 in the Indicative ; Irreg. verbs in Imperf. 
 also change (modify) vowel, of Indicative. 
 Verbs of Both cJumges, that share in the 
 latter, refuse the former (the-e-) (konn-te, 
 Subj. kpnn-te). 
 
 Special changes additional, to those noted in the "Subjunctive": "Second 
 •change," otiireg. Verbs [sprech-e, Bprich-«<, etc] ; "Local change", or the 
 ■dropping of the "ge-" of Past Part., in all kinds of Verbs under certain circum- 
 stances ; Euphonic change, depending for its kind, upon the kind of the verb ; 
 mostly, use of euphonic e between d and t. 
 
 2. THE AUXILIARY VERBS (Forms irregular). 
 
 
 hab-en 
 
 sein 
 
 werdr-eA 
 
 ' TTse of "werde". 
 
 
 (lo have) 
 
 (tnbe) 
 
 (to become) 
 
 I become, am going to he 
 
 Prea, Ind. Sing. 1. 
 
 
 bin 
 
 
 to strike ' struck, or, bav- 
 
 2. 
 
 ha-st 
 
 bist 
 
 wirst 
 
 ( A OT. ) ^ ing been struck 
 
 3. 
 
 ha-t 
 
 ist 
 
 wird 
 
 (P.P.,PA8SITE) 
 
 Pk I. 
 
 . . 
 
 sind 
 
 
 Future Act. Pres. Pass. 
 
 2. 
 
 . . 
 
 seid 
 
 
 I shall strike. I am (Imp. was) 
 
 3. 
 
 . 
 
 sind 
 
 
 being struck. 
 
 Jmperf. Ind. . 
 
 hatte 
 
 war 
 
 ward, wurde 
 
 3* wcrbt f*la» 3^ wcrbe (tuart 
 
 '• Subj. . 
 
 hatte 
 
 ware 
 
 wiirde 
 
 gen. or wurbe) ge- 
 
 last Part 
 
 ■ . 
 
 gewesen 
 
 worden(-|e..«'',) 
 
 f($Iii3en. 
 
 l>re3. Inf. 
 
 • • 
 
 sein 
 
 "I should have been loved" 
 
 Imperat. A Pres. Subj. 
 lerf. Pluperf , etc. . 
 
 • • 
 
 sei 
 
 
 I should II loved become be.. 
 3d) reiirbe geliefit Jootben f«in. 
 
 ■ 
 
 Auxiliary: to be. 
 
— 44 — 
 
 4. In Gender, in this, that vhilst in English all things are nea- 
 ter, " it's," as being void of will, in German, what is force, is mas- 
 culine; what is /orm, is feminine; and what is neither of these, is 
 neater. So chair, Stuhl, is masculine, force, as support ; so hat, 
 sloak, shoe, boot, are masculine, force, as -protection ; so will is mas- 
 culine, force, as direction ; so looking-glass is masculine, force, as 
 reflection. " Bench," however, the original element in the idea of 
 which is not force of support, but form as hold, plurality of chairs 
 or supports, is feminine. And sofa, the idea of which as sofa, is 
 neither force as support, nor form as hold, bat the modification of 
 the action of either, in the cushions, passive, is : neuter, sofa, das Sofa. 
 
 Here they are : the arrows mean force. 
 
 1. Der Stuhl, masc./oree, the chair: 
 
 torce,BiB gravitation ; force, as cliair : force against force, der Stuhl^ 
 masculine, the chair. 
 2. The bench, feminine : 
 
 brm as hold, a plurality of chairs, of supports, the bench die Banky 
 feminine ; and, 
 3. The sofa : 
 
 As cushions, being passive, as rest, comfort, neuter, 
 Der Stuhl, die Bank, das Sofa. 
 
47 — 
 
 From this combination or association of force and form, in the idea o: 
 the feminine, it follows that 
 
 Instruments 
 are feminine. What is an instrument ? A combination for mechanics 
 ends, of /orce &nd form; a force to be modified in its action hy form 
 A clock is an instrument. Where is the force ? Tlie weight or th 
 springs. Where is the form ? The wheels. Wliere are the ends ? Th 
 regulated motion of the hands. That they move at all is due to forct 
 in the clock ; that they move regulated is due to form. We see, here 
 force and form combined, form modifying force by regulating it. A cloci 
 therefore, is an instrument made to modify action by regulating it. 
 
 Here is the saw, an instrument made to modify action, how ? B; 
 multiplying it. Where is the /orce ? The blade, the stroke. Where i 
 the form ? The teeth of the saw. Where are the ends ? The cuts ; tha 
 is, the one stroke multiplied into the number of the teeth of the sa\i 
 Instead of making one cut, by one stroke, the saw makes as many singl 
 cuts as there are teeth. A saw is an instrument made to modify actio 
 by multiplying it. 
 
 Here is a staircase, an instrument, here, of ascent. Where is th 
 force? The ascent. Where is the form? The single wooden steps 
 dividing force, as ascent. A staircase is an instrument of ascent, mad( 
 to modify action by dividing it. Instead of one long step oi leap 
 we make many small steps, one at a time. So it divides the force. 
 
 And what is the difference in kind., that is, "genus" between these 
 clock, saw, staircase ? None, except the difference in the verbs defin 
 ing their action : to regulate, to multiply, to divide. Here they are : 
 
 1. CTocA, "instrument," 2. Saw, "instrument," 3. Staircase, "instrument," 
 made /o modify ac- made to modify ac- made to modify action by 
 tion by "regulating" tion by ^'multiply- ^'dividing" it. 
 it. ing" it. 
 
 Ubr, clock, 
 " die VhT," fern. 
 
 e, saw, 
 "die Sage," /S7». 
 
 Treppe, staircase, 
 •' die Treppe, fem. 
 
98 
 
 II. PRONUNCIATION. 
 
 BLACKBOARD 
 
 (Cut): 
 
 The Little Drop, 
 
 First, oral, from 
 picture, in Eng- 
 lish; 
 
 Then, oral Ger- 
 rtian; 
 
 Then, read. 
 
 Teacher. ( Little drop . must . to the . earth . fall 
 
 \ Trop^ein - musz - zur - Erde — fallen, 
 
 S£i%Petn XMX% gur (1) (£rbe fatten, 
 
 Teacher. Must the delicate little flower moisten; 
 Musz das zarte Bliimohen netzen; 
 Blumchen - netzen 
 
 9Jiu§ bag garte (2) S3 1 it m c^ e n nc^cn ; 
 
 Teacher. Must with springs further flow, 
 
 Musz mit Quellen welter wallen, 
 welter . wallen, 
 
 2)iuf mit Quellen (3) tceiter iDaflen, 
 
 Teacher. Must the little fish also delight, 
 
 Musz das Fischlein auch ergotzen, 
 auch - eigotzen, 
 Musz - das - Fischlein — auch — ergotzen, 
 
 SWup bag Stfi^letn (4) auc^ crgC^en, 
 
 Teacher. Must in the brook the mill heat, 
 
 Musz im Bach die Miihle schlagen, 
 Miihle - schlagen, 
 Miih-le schla-gen, 
 
 2)^up tm a3ad& bie (5} 5I«u|le ft^lagen, . 
 
 Teacher. Must in the river the ships carry; 
 Musz im Flusz die Schiffe tragen 
 die Schiffe tragen ; 
 
 ajiuf im ?5l«f bie (6) ©d^iffe tragen; 
 
 Teacher. And where remained then the seas, 
 Und wo blieben denn die Meere 
 
 denn - die - Meere, 
 
 Unb wo Wieben benn bie (7) Tie eve, 
 
 Teacher. If not first the little drop were. 
 
 Wenn nicht erst das Tropflein ware. 
 
 2Benn nid^t erft bag 1. StrC^jflein tuave. 
 
 Read: todve, Siopftein, TliWt, S3Iumi^en. — Sound: d, p, u; «*. 
 
 Read: Sro^jflein, fallen, erbe, 83Iflm(^en, SWfl^Ie, mit6, SKeere, fctflaflen, 93ad^, 
 Duelte, glug, tragen, bitcien, bie (ie = ee); gildjlcin, Jociter (ei = i), ttatten, wo, 
 ctgBljen. 
 
 Say the „S£r8))f(ein" by heart, first with the picture, then without. 
 SEroljfen (drop), S r B ^ { tctn: spacing letters, German mode of italicizing. 
 
147 
 
 S. 
 
 (springs) 
 
 Quelcn bei Soni fl<cgen, aU !aut, SDort unb alt @i|}e, nnb In ben riuellen flleSt bcr 3:i)n M XrijpftetnA 
 
 (Springs of sound flow, as single sounds, words and sentences, and in the springs of sound 
 
 flows the sound of tho "Little Drop".) 
 
 Text of "Troepflein", 5. Teaching. 
 
 a. Sounds, single: 
 
 (quick) 
 Teacher : Tro&pflein, quick : 
 First child : STrbpfletn ntu^ jur @rbe fotlcit 
 Teacher: Srbe fallen, 
 Echo: — atten, fallen 
 (Srbe fallen, 
 
 Second child : SWup boS garte Sliimc^en ne^en, 
 . Teacher : 23 1 u m-^en negen 
 Echo: — e|en, ne^en 
 
 23 1 u m <^en ne^en, 
 
 Third child : 2Jiu§ mit DucHen wetter watten, 
 
 Teacher : ttJeiter, wetter, toeiter toatten 
 Echo : — aCen, ttjallen 
 toeiter toallen. 
 
 Fourth child : 2)lu§ bag gif^Iein auc^ ergS^cn, 
 
 Teacher: ou^, au^, au^ crgo^en, 
 Echo: — p^en — go^cn 
 (ox^ ergfi^cn. 
 
 Fifth child : 3Wuf tm 23a(^ btc — 
 
 Teacher : m\x^ tm 23 a ^, 23 a ^, 35tt^ bie 
 
 9Jiu9 tm 23ad^ — 
 Echo : 3}Zup tm — ac^ I bte 
 
 9«u§ im —a 4>,. 23ac^, 23 a d^ bie 
 
155 
 
 Compare: <>D t B, and •v3» V; the first has two chambers, the latter but one. 
 
 Compare: vC» N, and i/V» R- The one is open, all through, the other 
 is divided. 
 
 Compare, the JJ\,f M, and the r^JJ m W, Notice the wavelike motions 
 and bend of lines, in the SDB, connected, and flowing as it were, one into the other; 
 compare with this the stiffer forms of the SDJ, open, not closed all through, like 
 the SB. 
 
 Distinguish: % % ^, W, 3B, ^. 
 
 Again: % S?, % % ^, 9}^, % % SB. 
 
 The same, in smaller type : 9?, ^, 3?^ 9^, ^f 2B^ '^f ^* 
 
 Still smaller: Sa(|, Stum^en, SBogel (bird), SaUr (father), SRad^t 
 (night), 3flec^t (right), SSSagen (wagon), SWftgen (stomach). 
 
 And smaller still : 2», SR, SB, SB, 3t, SR, 3J, iR, 8, S, SJ. 
 
 Basis, English, curve 
 German, aagle 
 
 a, ^, c, . . 
 
 a, b, c, b, e, . . 
 
 1. o. 
 
 ©aa Xropflein fadt. 
 
 ©aa Iroijflein fattt jur Srbc : 
 
156 
 
 5. 
 
 „» a e^»" 
 
 Cttt !Bad) itt Slrttlt— The Brook of Labour.V 
 
 Der 99ad) tier Srteit treibt bie SDiiible bei (Sefiitiii^i. 
 
 (The brook of laboui drives the mill of speech, in conTeisation.) 
 
 (Sacks of grain, "Words,', waiting outside, for the work of the mill.) 
 
 ■^roipflein mug jur @rbe fatten — 
 
 little drop must to the earth fall 
 
 S)ae IriJpflein ijl runt (is round). 
 S)ie Srbe ift runt). 
 
 ■Die Srbe ifl runb. 
 
 X)a« runbe (round) Sropflein. 
 
 DicrunteSrbe. 
 
 <// 
 
 W 7/ 
 
 Z. a. 
 
 tD^iug bag jarte S3lilmd^en ne^en — 
 
 must the tendier little flower moisten 
 
 Tiai Sliimd^en ifl jort (delicate, tender). 
 
 Saxt iji tag SBtiimc^en. 
 
 etn Stumc^en ifl eine Ifeine (little) Slume (flower). 
 
 y 
 
— 234 
 
 4. BEGINNING OF GOETHE'S FAUST. 
 
 (PROLOa IM HIMMEL.) 
 
 FIRST STROPHE. 
 [The words in Italics are covered by Analogy between English and German. > 
 
 ''PROLOG IM HIMMEL." 
 
 ■DIE DREl ERZENOEL TRETEN FOR, 
 
 I. ^ap^ael. 
 
 Die Sonne font nach alter Weise 
 
 in Brudersphdren Wettgesang, 
 Und ihre vorgeschrieb'ne Reise 
 
 Vollendet sie mit Donnergang. 
 Ihr Anblick giebt den Engeln Starke, 
 
 Wenn keiner sie ergrunden mag ; 
 Die unhegreiflich hohen Werke 
 
 Sind herrlieh wie am ersten Tag.* 
 
 Unb f(^ncll unb unfiegrciflic^ f(ftnelle 
 
 ©rc^t H(^ um^er bet Srbe ^Jrodjt} 
 di mecfefcit 5>arabtefc«=J^eIIc 
 
 9Jlit tiefer, fc^auenooUet 9la(^t; 
 
 • The first four lines, indeed the fli-st two lines, already introduce and fix the 
 idea of the universe, in its fullness and completeness, both, as to time and 
 space ; in its harmony, dependence, and perfect trust. How? Analyze them. 
 
 Note 3. The poet first starts upon drawing effects and these in their fullest 
 extent: the sun in motion, with other suns. ("Tont," allusion to the "Har- 
 mony of the Spheres"). Then, passing to the earth, first to the motions of th© 
 earth, itself, then the great and obvious natural motions on its surface, he- 
 gradually, by this process of descent and individualization, brings his description 
 "lose to man, whose sphere he points at and leaves at tlie same time in " tfie clasp ■ 
 of thunder." 
 
 At that same moment, and with the disappearance of these kinds of effects 
 which, as such, are beyond man's sphere of action, the impulse discloses itself; 
 Vie material world makes room for a spiritual, the unit of the world hitherto 
 presented as a physical unit, ohano;es into a moral unit, maintained as such, as it 
 is understood, by the "messengers of the Lord." 
 8 • 
 
LIST OF PUBLICATIONS 
 
 Belonging to and Representing the American 
 System of Teaching. 
 
 CHARLES, BROTHER & CO, PHILADELPHIA, PUBLISHERS. 
 
 l.-BOSTON EARTHQUAKES. (Lectures and Monographs.) 
 
 a.— HAMLET.— Essay, with Diagram. An Earthquake of Critic ar 
 Criticisms. 
 
 ?).— UMLAUT, Centennial Sketch. Origin and Meaning of tl 
 Vowels. Explanation of the instances of the application of tl 
 " Umlaut " in German. 
 
 c— THE KEYS TO EOME.— Origin and Meaning of the Conjugatioi 
 of the Latin Verb ; Discovery of the Laios of Action. 
 
 ^S~ The great Essay that has dumbfounded the Royal Academy of Sciences, Berii 
 Prussia. 
 
 d.— THE GREAT INTRODUCTORY.-This being the Introductoi 
 to German, but at the same time the General Introductory to a 
 courses : Greek, Latin, French. Lines into English. 
 
 ^S- All these, b, c, d, with Diagrams. 
 
 e.— THE FRENCH VERB (Four Regular Con.tugations an 
 THE Two Auxiliaries), printed in full directly from type on 
 U. S. Postage Stamp; partial copy of "27ie French Verb Total, 
 chart endorsed by Victor Hugo ; enlarged, with Text. 
 
 The French Verb with this Chart is taught by the author in Ten Minutes. 
 
 2. — BOOKS, WITH Charts, and Charts Proper, with Text. 
 
 a.— GERMAN BY STEAM. 
 
 I. High School Manual, formerly High School Primer. Thrj 
 
 books in one (Gramwiar proper. Child's Story Book, with Di( 
 tionary, and Reader for Adults). Third Revised Edition, 251 pi 
 
 All the puzzles In German, Gender, Style, Umlaut, Philosophy of the Formi 
 tion of the Plural in German Nouns, e#cplained; with Diagrams. 
 
 "The Great Introductory" forms part of this book. 
 
 II. Analytical Chart.— (Diagrams of Grammar, with Explanf 
 tory Text, and Parsing of Texts of Beading Matter, by means c 
 lAnes.) 
 
 This Chart is the main Contents of the above book abridged, and is valnabl 
 as a chart even for those who have the book. 
 
 6.-GREEK BY STEAM.— Diagrams with Text. 
 
 c.-LATIN. 
 
 I. Latin by Steam.— Charts with Text. 
 
 II. Latin.— TAe Verb, The Regular Verb. Charts with Text. Par 
 of the above, sold extra. 
 
d.— FEENCH. 
 
 I. French (the main parts of French— Pronunciation, Etymology, 
 
 Verb in full, Syntax) by Steam. Charts with Text. 
 
 II. "The Feench Verb Total."— Chart endorsed by Victor 
 Hugo ; with Explanatory Text. Size of Chart, 33 x 34 inches. 
 
 y^' The Explanatory Text of the Verb in the case of either Chart or Charts, 
 is the same as that used with the Chart of the Verb as printed on the 
 "Postage Stamp." 
 
 e.— ENGLISH BY STEAM— in preparation. 
 
 3.— GLEANINGS. 
 
 a.— FEEE TRADE, and PROTECTION.— Questions, decided on Logic ; 
 Lecture. 
 
 6.— "SQUARE INCH."— This being the Paradigms of the Latin Verb, 
 eleven verbs— thirty pages in Andrew's First Lessons— simplified so 
 that the whole of them, with room to spare, is printed in full directly 
 from type on the space of one inch square. Both, original size, and 
 enlarged. 
 
 The copy enlarged, is the Chart used for instruction in the subject of the Verb, in the 
 book (see above). Square inch as such alone, of no use except with those who 
 have the book. 
 
 The Explanatory Text of Charts is printed from type. Diagrams or Charts, taking all 
 as one whole, are partly printed from type, partly autograph, or photo-lithograph or photo- 
 type print-work. 
 
 Of these works, none are without some beginning, at this date, Aug., '83. Persons who 
 may wish copies, please send word, and as soon as the books are out they will be informed. 
 Address Prof. C. C. Schaeffer, 125 N. 17th St., Philadelphia, Pa., or order through Trade. 
 
 Note. — " The Philadelphia Dorfzeitwng " is a news sheet published or intended to be 
 published in a free or unrestrained issue of numbers, to give in its supplements the latest 
 and most important discoveries and inventions, in the contents of Prof. Schaeffer' s New Sys- 
 tem. This present publication is a supplement to its first number, appearing before this 
 first number itself and intended to open the way for it, and so for the issuing within the 
 space of about six months' time, in the shape of supplements to the paper, of the whole of 
 the System. Orders may be sent for the paper, or a special supplement. The supplements 
 are sold extra, by themselves, and of the paper, only the single numbers as they may come 
 out. The contents of the paper are devoted to the interests of the System, and of Education 
 in general. The price of a single number of the paper is ten cents, and the price of a sup- 
 plement varying from twenty cents to $2. Each supplement is a whole or a unit of the 
 subject treated in itself, .either as a language or any other subject. Charts or Diagrams 
 accompany the supplements. Address for either paperor supplement, Prof. C. C. Schaefifer, 
 125 N. 17th St., Philadelphia, Pa. 
 
THE GREAT BOSTON DIAGRAM, 
 
 EXPLAINING THE SYSTEM. 
 The following diagram drawn in explanation of the systen 
 it having pleased our friends in Boston, we give here as it ma 
 please others, too, and may help theiii to understand as regard 
 the system what otherwise they could realize only wit 
 difficulty. 
 
 A B is the segment of a circle. On the line of this segmen 
 lie the, we will say, sixteen pages of Fasquelle's French Gram 
 mar, of the Paradigms of the Four Regular Conjugations witi 
 Auxiliaries, printed in full. 
 
 The teaching of the facts of these Paradigms cannot wel 
 be reduced in time, if they are taught as ready facts, it onlj 
 may be changed as time of teaching ; instead of being learned al 
 in one strain, they may be distributed among other matter, oi 
 mixed with that matter in systems designed specially for prao 
 tice, but they have, as facts, to be learned some time, anyhow 
 The time to learn them straight through may require six days, 
 six weeks, six months or sixteen months, according to the kind 
 of pupil or teachei;. And then, their knowledge hangs simplj 
 suspended on memory, and when applied in reading or foi 
 
speaking, as a guide for the treatment of other similar verbs,, 
 greatly fails by being not fixed, that is, not based on a knowledge 
 of the elements which underlie the forms, and which would 
 help in the treatment of other verbs of the same kind. 
 
 We do not teach these facts as of Paradigms at all, we changed 
 the subject to he taught ; that is the key to the teaching in an 
 incredibly short time. We teach the principles which underlie 
 those facts, making the iymer cut, seen in the Diagram, as C D, 
 and making this in the case of the French Verb as above, our- 
 selves with chart large enough to see it readily, in three times 
 five minutes, going three times over the subject, instead of 
 once in ten minutes — ^so that the student needs no further 
 teaching, but only practice by himself of what he knows. 
 
 And so in Greek, German, and Latin. 
 
 These principles are not the facts; what you use for practice are the facts, not 
 the principles, but you make these facts yourselves,' from the principles. The Dia- 
 gram, we think, fairly shows the merits of each line. 
 
 It took THIRTY years to dig down from the line of facts ta 
 the line of principles, in these four languages, German, Latin^ 
 Greek, French, the time spent in these all" counted as one. 
 Students led on that inner line of principles, were prepared! 
 in twelve lessons in each, German, Latinj Greek, to prepare 
 themselves, in a few months, of reading, to enter Harvard and 
 other colleges, without having had any previous knowledge of 
 the subjects. 
 
 The same simplification which effects these wonders in Ett/r 
 mology, works still greater ones in Syntax. 
 
 This system is the system of future studies in these lan- 
 guages — English, if we succeed, may be included. We con- 
 fess that we should like to see its efforts and efficiency supple- 
 mented by other systems, in living tongues by the so called 
 oral systems, but only as trains are by hacks. 
 
We, ourselves, keep such lines of assistance connected with 
 our Depots. 
 
 The above diagram explaining the systems, seems very insignifi- 
 cant in itself, as lines, yet it is the most sweeping of the system, 
 as it explains not parts, or mere contents of the systems, but the 
 systems themselves, including all their contents, that is, the 
 mode of treatment in each, of all the material that belongs to them. 
 It gives a good idea of the lucidity and teaching-force of other 
 Diagrams employed in the system. 
 
 CURIOSITY SHOP. 
 
 PAPERS : Here are some of them. As the public did not want them 
 
 with the names, we give them without them: Divinity 
 
 School, , December 23d, 1868. "At the close of a series of lectures de- 
 livered by Prof. C. C. Schaeffer before the First Class in this Institution, it 
 gives me great pleasure to make the following statement of simple facts, going 
 to establish the practical value of a system whose scientific beauty and consis- 
 tency must appear plain on inspection. The class had reached, in Latin, the 
 Verb, but had not begun its study. At this point the Professor took them, 
 ■and in eight lessons he had familiarized them with the system of Latin inflec- 
 tions—verbs, adjectives, and nouns— to a degree which surprised and delighted 
 me. I now consider them capable, in point of familiarity with the inflections 
 •of reading a simple Latin author. In Greek, although the close of the 
 term forbade the completion of the course, the results were even more striking. 
 It is difficult to express my gratification at this result. I must say, however, 
 that as a remarkable economy of toil, as a philosophic yet lucid exposition of 
 its subject-matter, I look on this system as one meriting universal support and 
 
 adoption. , Head of Preparatory Department." Here is a paper from 
 
 ■one of the late Presidents of Girard College : August 13th, 1866. " So complete 
 •und concise a conspectus of the whole structure of the language is displayed, 
 and rendered easy of mastery, that in order to possess the whole field of Latin 
 literature, very little labor is required beyond that necessary for the acquisition 
 of the vocabulary. , President." The next (from 1870) is a curi- 
 osity in itself. " The undersigned, in order to aid his system in Latin, abkoad, 
 and with the view (ultimately) to organize schools on the plan of the ' Kin- 
 DERGAKTEN ' (German Infant School), will sell Five Hundred Course 
 Tickets for a series of German Courses (two months courses each) extending 
 over three years, each single course complete, as a course of instruction, 
 jret each ticket admitting to bach and all of these courses— at the rate of 
 
$6.00 each ticket, if taken now. The foUo-wing offices and private gentlemen, 
 have kindly volunteered to take charge of the sale, to a limited extent each, of 
 these tickets, at their respective counters or individually." Now follow^ 
 six newspapers, among them North American and United States Ga- 
 zette, and five names of prominent gentlemen of high standing in the com- 
 munity. The advertisement went for three weeks, through the entire Philadel- 
 phia Press. We got by it one pupil for these classes. Here are some Notes 
 BY the papers : " It is a matter of astonishment that the system evolved by 
 Professor Schaeffer has not attracted more universal attention. It is designed 
 to revolutionize the threadbare and vexatious methods of classical teaching,, 
 and it will do so. If it is not voluntarily recognized by those who ought to be 
 appreciative and in the vanguard of academic teachers, circumstances are so. 
 shaping themselves as to force its introduction. * * If the chart (Latin) be 
 valuable as a specialty, it is more so when it becomes a part of a scheme for 
 
 general classical instruction."— Forney's Press, Nov. 16, 1869. "The 
 
 author claims that within the time of two hours any person familiar with the 
 rudiments of English grammar, can learn the verb by heart from this chart 
 (Latin) and the blank form published *with it. If this claim were ten times, 
 what could be granted, what a saving of time would be effected ! If such a 
 rate of speed in teaching be really attainable — and a mere glance at the chart 
 suggests its possibility — it is evident that the classical studies can easily hold 
 their place, and march side by side with the other branches of study in our 
 modern and more practical schools. * * The author of the chart, Prof. 
 Schaeffer (for many years connected with the University of Pennsylvania),, 
 complains of the apathy with which his system has been received outside of 
 Philadelphia by those who should be foremost in maintaining the classics irk 
 their high position as part of a liberal education." — Daily Evening Bulle- 
 tin, Jan. 10th, 1870. Here is one also concerning the Latin Chart 
 
 which we take special pleasure in reprinting : " ' The Magic Chart." — "We 
 have received from Charles, Brother & Co., Philadelphia, Professor C. C. 
 Schaefler's ' Magic Chart ' for the teaching of the Latin Verb, and if by 
 magic is meant the reduction of a difficult and intricate process to one at once 
 clear and concise, we think the term is well merited. All that the chart con- 
 tains may easily be learned by heart by any pupil of ordinary intelligence in 
 two or three hours, and once having done this, he knows all that can be taught 
 concerning the Latin regular verb. The system is entirely new, and has met 
 
 ' Former title of Chart of the Latin Beg. Verb. 
 
with the most astonishing success wherever it has been introduced^ and its 
 merits are so apparent that it is only necessary for it to become better known 
 to be universally adopted. , How much time and study Prof. SchaefEer has de- 
 voted to the subject it is hard to -say, but we should judge many years must 
 have been spent in ceaseless study to have brought it to its present perfection 
 of simplicity."— Geo. W. Childs' Am. Lit. Gaz. and Pub. Cieculak, Nov. 
 15th, 1869. Here is a paper from a State Superintendent of Schools: 
 " Your charts came and I was so busy I had not time even to thank you. I 
 have not been able to examine them yet, nor do I deem myself competent to 
 pronounce judgment upon them. Apply to some of our learned professors who 
 are at work in that line, I will accept their opinion." And when I sent the 
 charts and book to one of our "learned professors," see what the learned pro-, 
 fessor says : " I thank you very much for the beautiful chart of the Latin 
 Verb which you have been kind enough to send me. As it is now twenty-five 
 years since I had anything to do with teaching the elements of Latin, I feel 
 hardly competent to judge of its value as a means of instruction."— Senior 
 Professor of Greek, in, I do not want to say what Eastern College, but one 
 of the very, very first ones, and forgot, it seems, his Latin, etc., etc. 
 
 ROLL Of HONOUR. 
 
 CoNTRiBiTTiONS, from friends from 1857 — 1883, given 
 
 approximately $5,000 
 
 Cash, applied 10,000 
 
 Stealings (money borrowed from friends and not 
 
 returned yet) 5,000 
 
 Professor's Work, 30 years, 15 hours per day, at 
 principals' rates, viz. : 5 hours a day for 6 days 
 a week, counting 6 to balance overwork on 
 other days and including holidays as work, at 
 a salary say of only |1500 a year, yielding 
 them |5 each working day, the work of the 
 system including during the last years. Free 
 Courses of Instruction in more than one-half 
 of the 31 Sections of the Public Schools, Phila- 
 delphia, to try and test the system, by permis- 
 sion of the Board of Public Education 1 35,000 
 
Total, money value invested ., $155,000 
 
 If the Board of Public Education, Philadelphia, will pay the 
 INTEREST of this amount as a salary for me and aids, they may 
 have the service of the system in these languages applied o' 
 organized by me personally, for their schools. 
 
 A city that pays 15 millions for an office place of its Public 
 Business, can or ought to be able to afford to pay $8 or $10,- 
 000 a year to supply to such of its children in the Public 
 Schools as may want it, instruction in either Germ.an, Latin, 
 GreeJc or French, one or all of these in the case of a child, and 
 this instruction, given, as it is given by the system, by 
 
 Thanks to my friends^ as far as they stand forth in 
 the above, and to the Board of Education. Only a 
 minister can afford to be such a " fool " as I from all this, 
 have proved to be. Address, Kev. Prof. C. C. Schaeffer, 
 125 K 17th St., Philadelphia. I should likely not have 
 found the same support and kind of support, as kind 
 support that is, support based solely on kindness, any- 
 where else. All honour in this, to Philadelphia. But 
 let us change it in some certain- things, to make it per- 
 fect. I am. as my friends see, in for it. Let us see. 
 
 The Author. 
 
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