up into new sentences, without any alteration in the construction of the primitive ones. It is nothing but a substitution of words. The teacher will read the English, which the pupil will translate into French, without looking at his book. Here, again, the self-taught student will hide the French column by placing his hand, a card, or a slip of paper over it, and translate the English one, and vice versa.

COMPOSITION.

She took the trouble to send it Elle prit la peine de l'envoyer à to Le Sage. Le Sage.

Sentences of this kind might be eked out of the text, and an intelligent pupil might write some himself, taking care, however, to choose those expressions which afford him scope for modification, as :

de voir son ouvrage, &c.

de composer la première leçon.
d'envoyer la dédicace, &c.

de dédier un ouvrage à, &c.

de mettre une dédicace à la tête de son ou

L'auteur voulut

Elle prit la peine

Elle voulut en composer une (or, com-poser une dédicace)

Elle prit

voir la dédicace avant qu'on l'imprimât. envoyer l'ouvrage à une dame, avant, &c. mettre une dédicace à la tête de son ouvrage, &c.

composer une leçon de sa façon.

dédier un ouvrage à une dame de la cour.

de voir son ouvrage.

de mettre sa dédicace à la tête de l'ouvrage.
d'envoyer une dédicace à l'auteur.
de composer un ouvrage.

de dédier son ouvrage à une dame.

pour la mettre à la tête de l'ouvrage.
la dédier à une dame.

l'envoyer à un auteur de la cour.
la mettre à la tête de la leçon.
une dame, pour un auteur, &c.
son ouvrage avant qu'on l'imprimât.
la dédicace.

la peine d'envoyer l'auteur à une dame de la cour.

la peine de composer une première leçon de sa façon.

When we have added to this process the substitution of other words and ideas, but always in the same construction, we think we may venture to say that we have given a fair insight into the art of writing a language.

We therefore repeat again and again-let the student first learn the lesson as it is, let him not entangle himself with a literal translation, or he will reduce the most elegant sentences to a mess, that will have neither head nor tail. The material and isolated value of words come naturally afterwards, but he must, at first, store his memory with good sentences, good construction, and not again fall into the desultory labours of the old routine. When we read" a lady at court, une dame de la cour," we shall not stop to explain that de la cour may be translated by of the court, and that de means extraction, and could be rendered by from, but as the author is here speaking of a lady belonging to the court, and living always at court, at should be the right preposition,—all useless explanations; only tell the pupil that a lady at court means une dame de la cour, and the time will come when the pupil will know the why and the wherefore. So far as notes were concerned, we only pointed out the most essential, and did not enter on elucidation of the translation, as this ought to have been gone through during the repetition of the Lesson. For instance, when the moment for explanation comes, the master does not want to be told that he must

point out to his pupils the following expressions, which differ from the text-at for de la-allowed for permis à-omission of en before it was, in French imp. subj.—en again omitted, &c.

Masters who are "machines for explanations" always remind us of the man, who would not live in a handsome house before he knew where the bricks came from.

TEXT OF THE LESSONS, MADE INTO A DISSECTED MAP.

When the lesson is long enough to admit of this contrivance, it will be found a very useful and amusing exercise. Let the pupil copy the French of a lesson on thick paper, and then cut it into small pieces, which he will have to place in their right places after they have been mixed up. We have often superintended such amusement, taking care, at the same time, to steal a dozen pieces from the whole, and leaving it to the student to fill up the blanks from mere recollection.

Pendant qu'on m'examinait1
à la Préfecture de Police,
sur mes2 nom, prénom et qualités,

comme vous avez3 pu1 le voir
dans les gazettes du temps,
un homme se trouvant là,
sans fonctions apparentes,
m'aborda familièrement,"
et me demandaR si je n'étais point

auteur

de certaines brochures;
je m'en défendis fort.
Ah! monsieur, me dit1o-il,
vous êtes un grand génie,
vous êtes inimitable.
Ce propos, mes amis,

1 Tribe 1, A. S. 413-64.

5 Tribe 1.

9 Tribe 4.

Whilst I was being examined at the Prefecture of Police about my surname, Christian name, and profession,

as you may have seen
in the papers of the day,
a man, who happened to be there
without any ostensible business,
accosted me with familiarity,
and asked me if I was not the
author

of certain pamphlets;
I stoutly denied it.
Ah! sir, said he,
you are a great genius,
you are inimitable.

This remark, my friends,

2 S. 401-1.
Tribe 1, S. 413-71.
10 A. 278.

me rappelle un fait historique | reminds me of an historical fact

que je veux13 vous conter

par forme de digression.

The same process as before.

Qui examinait-on à la Whom were they exam-| On examinait Courier à

Quelle question fit-il à What did he inquire Il

DISSECTION OF THE LESSON.

Pendant qu'on m'examinait à la Préfecture- -un homme m'aborda et me demanda si je n'étais point auteur de

brochures; je m'en défendis-Ah!- -dit-il, vous êtes un grand génie- -Ce propos-me rappelle un fait que je veux

COMPOSITION.

An author, who happened to be at | Un auteur, se trouvant à la Préthe Prefecture of Police, asked me my name, and said, by way of digression, "Sir, you are a great genius."

TROISIÈME LEÇON.

COURIER (SUITE).

Je déjeunais' chez2 mon cama- I was breakfasting at my com