PC 1109 .V38 1827 -spy 1 FASTEST TRAIN BETWEEN N EW YO R K AND THE OHIO AND MISSISSIPPI VALLEYS CHAS E.PUGH. -v9— - J.R.WOOD GENl MANAGER. gen'l pass, agt . <* - Jl _._. ■ Glass. Book, COMPLETE ITALIAN MASTER: CONTAINING THE BEST AND EASIEST RULES FOR ATTAINING THAT LANGUAGE. TO WHICH ARE ADDED, AN INTRODUCTION TO ITALIAN VERSIFICATION ; EXTRACTS FROM THE ITALIAN POETS ; &c. &c. THE WHOLE PROPERLY ACCENTED, TO FACILITATE THE PRONUNCIATION OF LEARNERS. By SIGNOR VENERONI, ITALIAN SECRETARY TO THE FRENCH KING. A NEW EDITION, CAREFULLY REVISED, CORRECTED, AND IMPROVED, By A. RONNA. LONDON: Printed for J. COLLING WOOD ; LONGMAN & CO.; T. BOOSEY & SONS; J. BOOKER; G. B. WHITTAKER ; SIMPKIN & MARSHALL; HAMILTON, ADAMS, & CO.; DULAU & CO.; AND J. SOUTER. 1827. T. C. Hansard, Printer, Paternoster-row- Press. PREFACE. W HEN we reflect on the number of great men whom Italy has produced since the glorious age of Leo X ; as well • as on the pleasure and instruction to be obtained by visiting that beautiful country ; and consequently the necessity of understanding the Italian language, to make such visit profitable ; and farther, when it is considered, that the authors of Italy constitute a fund of every kind of elegant and polite literature ; it is not surprising that the Gram- mars, &c, written to promote the knowledge of this lan- guage, have so greatly multiplied : for without a proper acquaintance with its idiom, all the treasurer of Italian learning and literature ; all the discoveries and inventions of genius and industry in that nation, would be lost to the rest of mankind. For these reasons, the editor originally undertook to present to the English student, and in an English dress, Veneroni's Italian Grammar ; a work then, as now, justly considered as far surpassing all other introductions to that elegant language ; but with such corrections, im- provements, and additions as were necessary to render it conformable to the English idiom : these improvements consisted of an Introduction to Syntax ; an Essay on Italian Poetry, or Versification ; the different Compositions in Verse, and Poetical Licences ; a Treatise on compound Words, Capitals, and Punctuation : and finally, a Discourse on Expletives, the energy and beauty of which constitute a great part of the merit of most languages. But, non omnia possumus omnes. Such is the very high reputation of Veneroni's Grammar on the Continent, and so great the number of those who wish to be able not only to understand, but to speak the Italian language, with cor- rectness iv PREFACE. rectness andjDurity, that very material additions and obser- vations upon that work have been published since our first edition of it. This consideration has induced us to com- bine in every succeeding edition the fruits of our own inquiries and studies, with those of learned foreigners* We have likewise added some new Grammatical observa- tions on the Italian language ; with Remarks on the Letters of the Alphabet ; new Dialogues, Phrases, &c. &c. ; and the Italian words are also properly accented, to facili- tate the pronunciation to learners. After all, we must not take upon us to say that it is impossible any better edition of this Work should ever appear ; but this we may safely affirm, that it will be long before Veneroni's Grammar of the Italian language can be carried to a higher degree of perfection than that in which we now give it, with our strongest recommendation, to the English student. ADVERTISEMENT TO THIS NEW EDITION. The greatest attention with regard to correctness has been bestowed upon this new edition of Veneroni's very highly esteemed Italian Grammar : and the Editor believes it will be found in every respect much superior to any which have preceded it. The chapters relative to Pronunciation have been particularly improved, and this important branch of the Italian language most copiously eluci- dated. All the treatises on the Italian Grammar have been cor- rected and improved, without changing the order fixed by Mr. Veneroni. The Selections in Prose have been greatly improved. A sketch of the Origin of the Italian language and Poetry has been added, and with it, many elegant Extracts from the most celebrated Italian Poets. The Editor also begs leave to observe, that hehas just finished the revision of a new edition. o/Mr. Bottarelli's Italian Exer- cises, referring to the Rules of this Grammar ; together with its Key ; also of his Italian, French, and English Dictionary, in three volumes ; which works hi confidently trusts will be found exceedingly correct, and very materially improved. Intro- INTRODUCTION TO THE ITALIAN TONGUE THE most expeditious, and certainly the only sure way to understand, write, and speak, the Italian and indeed all other languages, is, to acquire the knowledge of them on the principles of Grammar. — In order, therefore, to facilitate this acquirement, more especially as it respects Ladies, and those persons un- acquainted with the Latin, I shall first, in this Intro- duction, explain the necessary Terms and Defini- tions of Grammar in general : — this being thoroughly studied and understood, I shall then proceed to ex- plain, in the best manner I am able, the Rules of the Italian Grammar in particular. An Explanation of the Terms of Grammar. THE first terms of Grammar are the Letters. There are twenty-two letters in the Italian tongue, viz. a, b, c,d, e,f g, h, i,j, I, m, n, o, p, q, r, s, t, u, v, z. The Italians do not make use of k, w, x, y. The letters are divided into vowels and consonants. The vowels are, a, e, i, o, u. They are called vowels, from their forming a perfect sound without the assist- ance of any other letter, as a is pronounced single : e f the same ; and in like manner the other vowels. The consonants are the remaining letters, b, c, d, f y g,j, I, m, n, p, q, r, s, t, v, z. We give them the name; B of 2 INTRODUCTION to the of consonants, because we cannot pronounce them without the help of a vowel, either before or after them : example, b is pronounced as if there were a b and e together, or be ; f, as ef, and so of the rest. H, especially at the beginning of a word, is not con- sidered properly a letter, and therefore is never pro- nounced in Italian ; yet the use made of it in the middle of words, is greater than most people imagine. See what we say of it in treating of the pronunciation of consonants. It is the mixture of the letters, that generally forms the different words which every language is capable of producing ; and that some order may be observed in the infinite number of words, they have been reduced to ten parts of speech, though most Italians reckon no more than eight. A speech is composed of sentences. Sentences are composed of words. Words of syllables. Syllables of letters. Letters are certain marks ordiaracters, which serve to form the syllables and words, as a, b, c, d, e, §-c. A syllable is a word, or part of a word pronounced with a single sound, and composed of one, two, or three letters, as, astrologo, an astrologer, is composed of four syllables, as-tro-lo-go, the second of which is composed of three letters, and the rest of two. A-mo, J love, is composed of two syllables, the former of a ^single letter, and the latter of two. Sometimes a word contains but one syllable, and then we call it a monosyllable (a term of Greek deri- vation), that is to say, having but one syllable ; as, re, a king ; me 7 me ; te, thee, &c. A word consists either of one or more syllables ; as, re, amore. A sentence is composed of several words, forming a complete sense ; as., per ben parldre Italiano, bisogna parldre Toscdno, e pronuncidre come i Romani; to speak good Italian, we must speak as they do in Tus- cany, and pronounce as they do at Rome. A speech, or discourse, is composed of ten parts : these are —the Article, Noun, Adjective, Pronoun, Verb, ITALIAN TONGUE. 3 Verb, Participle, Adverb, Preposition, Conj unction, and Interjection. Every word is reducible to either one or other of these parts of speech, the particulars of which will be found in the following; explanation. Those who admit but eight parts of speech, reject the Article and Adjective. An Explanation of the Parts of Speech, In order easily to understand a language, we should endeavour to obtain a perfect knowledge of the parts of speech, and their meaning; otherwise it is im- possible ever to understand, or speak it correctly. According to the preceding order, I should begin with the article ; but, that I may be the better understood, I shall commence with the Noun. Of NOUNS. A Noun is a word which serves to name and dis- tinguish some thing : us, Dio, God ; angelo, an angel ; uorno, a man ; ciclo, heaven ; terra, earth ; cavdllo, a horse ; libro, a book ; cappello, a hat ; iavola, a table ; peine, bread; vino, wine, un ubmo illustre, an illustrious man. una donna illitstre, an illustrious woman. uno spirito ammirdbile, a wonderful wit. una bellezza ammirdbile, a wonderful beauty. un libro fdcile, an easy book. una lezione fdcile, an easy lesson. *^* Observe, that all nouns-adjective which end in e in Italian, are of the common gender. All nouns before which il or lo, and la (the) may be placed indifferently, are adjectives : as, il prudente, la prudente, prudent ; il dotto, la dotta, learned. The ITALIAN TONGUE. 5- The nouns before which il or to, and la (the) must not be placed indifferently, but only one of them, are nouns-substantive; as, il sole, the sun ; la lima, the^ moon ; il giardino, the garden ; il.frutto, the fruit ; la virtu, virtue ; la prudenza, prudence. ^ Nouns that can change o into a are also adjectives r thus of dotto, learned, you may form dotta, learned ; but of luna, giardino, terra, &c. which are nouns sub- stantive, you cannot form luno, giardina, thro, &c. A noun is also of the singular or the plural number. The singular number is used where we speak of one thing only : as, the prince, il principe ; the body, il corpo ; the horse, il cavdllo ; where we speak but of one prince, of one body, and of one horse. The plural number is used when we speak of more than one ; as, the princes, i principi ; the bodies, i corpi; the horses, i cavalli ; here we speak of several princes, several bodies, and several horses. The little words of two or three letters, as il or lo> la, in English, the ; i, gli, and le which signify the in the plural, and are placed before nouns to mark the gender, number, and case, are called Articles. Of the ARTICLES. The Article is a declinable word, of one, two, or three letters, which is put before the nouns to show their gender and number. The gender and number have been explained already. But not to perplex the memory, I have inserted the explanation of the cases after the parts of speech, as it will be time enough then to learn them, and it is sufficient, at present, to know that the English article is the, and it is used both in the singular and plural number. You cannot always know the gender, number, or case of nouns, except by the article which precedes- them. If one should ask, for instance, what gender the word piede, a foot, is of, it would be impossible to know, without prefixing an article to it : the articles il and 6 INTRODUCTION to the and lo denote the masculine, and la the feminine; so that in saying il piede, the foot, the article il shows it is of the masculine gender. In like manner, if a person should ask of what num- ber any other word is, the question could not always be resolved, without putting the articles il, lo, i, or gli, before it, to mark the singular or the plural number *** Observe, that when an article comes before a word beginning with a vowel, the last letter of the article must be cut off; that is to say, you retrench the vowel at the end of the article, and in the place of it you put an apostrophe, which is made thus ('). Example ; in prefixing an article to amove, onove, dnima, you must not pronounce or write lo amove, lo onove, la dnima; but V amove, V onove, Vdnima, &c. In this manner you retrench the vowel in other cases ; delV amove, delV onove, delV dnima ; alV amove, aW onove, alV dnima ; dalV amove, dalV onove, dalV anima. Of PRONOUNS. A Pronoun, which the Italians call Pvonome, or Vicenome, is a declinable part of speech ; so named, because it is used instead of a noun. There are seven sorts of pronouns ; namely, Pronouns Personal, Interrogative, Conjunctive, Relative, Possessive, Improper. Demonstrative, Of Pvonouns Pevsonal. The pronoun personal marks the three persons ; namely, the first, second, and third, as well in the singular as plural. The first person is he, or she, who speaks ; and it is expressed by I, 10 ; we, not. The ITALIAN TONGUE. 7 The pronoun personal io, marks the first person singular ; as, I speak, to pdrlo ; I sing-, io cdnto ; I believe, io credo; noi marks the first person plural; as, we speak, noi parliumo, &c. The pronouns personal I, to; we, noi ; belong as well to the masculine gender as to the feminine ; so that a woman as well as a man says, I sing, io cdnto ; I see, io v'edo : we sing, noi cantidmo ; we see, noi vedidmo, &c. The second person is that to whom we speak ; and it serves also for the masculine and feminine; viz. thou, tu, in the singular number ; you, voi, in the plural ; example, thou speakest, tic pdrli; thou dost, sing, tu cdnti : you speak, voi parldte ; you sing, voi cantdte, &c. The third person is that of whom we speak ; namely, he, egli, for the masculine. ; she, clla, or essa, for the feminine : and, in the plural, the masculine makes iglino, they ; the feminine, elleno ; as, he speaks, egli pdrla ; he sings, egli cdnta : she speaks, rfla pdrla ; they speak, eglino pdrlano, m. elUno, or esse pdrlano, f. *#* Observe, that there are only / and we for the first person : there are also only thou and you for the second ; consequently, every sentence in which there is neither /, tve> thou, nor you, must be of the third person ; as, the king is willing, il re vudle ; the master teaches, il maestro insegna, fccu; both these sentences belong to the third person, because they have neither /, we, thou, nor you. Of Pronouns Conjunctive. Although conjunctive pronouns are only an inflex- ion of the personal pronouns, and ought not to be treated of separately, we will, however, make a separate class of them, to follow the general custom of grammarians, which we are far from approving. The pronouns conjunctive in Italian are mi, me or to me ; ti, thee or to thee ; si, himself or to himself, herself, or to herself; ci, us, or to us ; vi, you, or to vou ; loro, them, or to them. The 8 INTRODUCTION to the ■■' The pronouns conjunctive have a very great resem- blance and affinity with the pronouns personal, as they are always put before the verb, except loro ; but with this difference, that the pronouns personal make the action of the verb, before which they are placed, and the pronouns conjunctive receive it; example, 10 canto,. I sing ; voi parldte, you speak; it is the pronouns /and you which make the action of the verbs sing and speak, before which they are placed ; and consequently they are pronouns personal. But when we say, Dio mi vede r God sees me, it is God constitutes the action of the word sees, and me receives it. In like manner, when we say, to viprego,! pray you; voi ci consider foe, you consider us ; I wish to know which are the words in these two phrases that constitute the action of the verbs pray and consider? It is / that pray ; therefore to, I, is the pronoun personal ; and vi, you, is the pro- noun conjunctive. In the second phrase, voi ci considerate, you consider ns; it is ^oz, you, that is the pronoun personal, and causes the action of the verb consider', but the word ci, ns, that receives it, is the pronoun conjunctive, &c. Of Pronouns Possessive. Pronouns possessive mark the possession of a thing ; the pronouns possessive are my, thy, his or her, their, our, your: example, my horse; thy hat ; his or her hook; my room; thy daughter ; his house; our judg- ment ; our intention; your zuit ; your pen; my chil- dren; my land; thy pleasures ; thy actions; his glass ; his chaise ; our horses ; our towns ; your clothes ; your hands; their father; their kindred. Properly speaking, possessive pronouns are only those which are employed instead of, and without the substantive ; as, this is my book ; here my is not a possessive pronoun, but a pos- sessive adjective. Whose book is this? mine : here mine is a pronoun. In Italian we have no different words to express the possessive pronouns and possessive adjectives, as in French and English ; consequently, as they have the same sound, care must be taken not to confound them. Of ITALIAN TONGUE. $ Of Pronouns Demonstrative. The pronouns demonstrative serve to point out, .as it were, a particular person or thing, or persons or things ; as, this and that ; these and those : exampLe, this coach ; this woman ; that man ; these books ; those pictures, &c. Of Pronouns Interrogative. The pronoun interrogative is used in asking a ques- tion ; there are but three in English, namely, who?' what? tuhich? example, what would you have? who is there ? what woman is that ? ivhat do you mean? which man do you mean ? Of Pronouns Relative. A pronoun relative has reference to a thing or person, spoken of before ; as, ivhich, who, that, when they are not interrogates ; example, the book that I read ; the master icho teaches ; the lesson which I study. Of Pronouns Improper. The pronouns improper are, every, every one, all, any ; or nobody, none, several, some other, &c. They are called improper, because, strictly speaking, they are not pronouns. %* Note, that these pronouns improper are very, much like adjectives, being most of them both of the, masculine and feminine gender in Italian; but as there is no such distinction as masculine and feminine in the, English pronouns improper, there can be no example of them given here : so that I refer beginners to the third chapter concerning pronouns, where it will be rendered more intelligible. The pronouns improper have also their distinction of singular and plural number; but this, as well as the gender, cannot be explained here by examples ; it shall be done with more convenience and perspicuity in its proper place. b 5 Of 10 INTRODUCTION to the Of VERBS. The Verb and the Noun are the two principal parts of Speech. The Noun serves to name any thing. The Verb serves to denote every action that may be performed, by expressing- the person performing, and the tense or time when performed ; as, to laugh ; to love ; to sleep ; to run ; to nourish ; to die ; to sing ; to teach ; I love, we love ; I laugh, we laugh, &c. : / will love, we will love ; I will laugh, ive will laugh, &c. The verb has neither masculine nor feminine gender; but is distinguished by three times or tenses, viz. the present i the preterperfect, or time past ; the future, or the time to come. Generally before the verb, there is a pronoun personal ; as, / sing, he sings, we sing ; you, dance ; they sing ; I sang, I sung, I will si?ig, ye shall sing. In which examples, the difference of the time of performing the action is obvious. The change of time or tense is, in the grammatical phrase, known by the name of conjugation. The conjugation of verbs is composed of four parts, viz. of moods, tenses, persons, and number. Of MOODS. A Mood is a grammatical term, used to express the internal operation of the mind and will, and the different ways and manners of acting. Now this may be done after five manners or moods, and these moods are called indicative, imperative, optative, subjunctive, and infinitive. The indicative, or demonstrative, as others call it, is the first mood : it shows and declares simply and abso- lutely, and without any condition, the thing signified by the verb ; as when I say, I sing, I have sung, I will dug, one may plainly perceive that there are, in these three examples, the time present, past, and to come : without our being obliged to inquire, whether this verb depends on some particle, or mark, as that, provided that, ITALIAN TONGUE. 11 that, &c. in which case, the verb would not be in the indicative, but in the subjunctive. The Imperative marks the action of the verb in com- manding and forbidding : example, sing you, do not sing ; go thou, do not go. It is obvious that, in the foregoing- examples, the person speaks either in the way of command or prohibition ; and, of course, in the imperative. The Optative expresses the action of the verb by wishing and desiring ; as, would I had Jive hundred pounds a year ; could I but go to Rome ; had I but that, hoxo happy should I be ! The Subjunctive or conjunctive, is so called, because it is generally used with conjunctions before it; such as, that, although, to the end that, provided that: example, my master is willing that I do my duty ; although he says that I may ivrite; provided that he come ; he desires that I may sing. The verbs, do, say, ivrite, come, and sing, which follow the conjunctions, are of the subjunc- tive mood. The manner of applying conjunctions to verbs will be illustrated when we come to speak of the syntax of verbs, in the second part of this Grammar, to which we refer the reader. The Infinitive represents the action of the verb, without marking either the number or person ; as, to love, to write; one cannot tell by what number of per- sons this action, to love, or to write, is to be done, nor who is to do it. Of TENSES. Verbs have properly but three tenses ; the present, the preter, and the future. The Present denotes a thing done at the very time we are speaking ; as, / sing, you sing, &c. The Preter, or time past, denotes an action which is no longer present ; as, 1. I was singing : 2. I sung : 3. / have simg : 4. / had sung. These four examples plainly show that an action may be passed in four different maimers, which is the reason that 12 INTRODUCTION to the that there are four different tenses which mark the time past ; they are, 1. The preterimperfect | 3. The preterperfect. 2. The preterperfect definite, j 4. The preterpluperfect. The Preterimperfect serves for the actions which were present at a certain time ; example, I was singing when you came in: the word, / was singing , shows that the action of singing was doing when you came in. The English language has'not a proper and exclusive form corresponding to the Italian or Latin preterim- perfect, but in the phrase, I was singing when you came in : although the expression i" ivas singing, may be employed also in other instances besides this, it does, liowever, in this instance convey the idea of the im- perfect Italian present ; that is, the English definite sense must be translated into the Italian imperfect, when it conveys, as to time, the same idea as the ex- pression, I was singing, does in the above-quotedinstance. The Preterperfect definite marks and defines the lime, the year, or the day, when the action was done ; as, / sung yesterday ; I spoke to the king last year. We also make use of this tense, in telling or relating any action: example, last year the king took the field; he made himself master of several towns, and conquered whole provinces; he defeated the enemy, who made a .•vigorous defence ; he struck a terror into his neighbours, and at last forced them to accept of such a peace as he pleased to prescribe. All the verbs of this example are in the preterperfect definite. Those who do not understand Latin, have some difficulty to distinguish the preterimperfect from the preterperfect definite : in order to comprehend this matter, attend to the two following observations. fj* 1. That the preterimperfect may be applied to a time past, or to that which is still in being. By the time still in being, or not quite past, we are to under- stand a day, a night, a week, a month, a year, the age we live in. By the time past, or that which is no more, we under- stand yesterday, the day before yesterday, last week, last month, last year, last century. Hence we may use the ITALIAN TONGUE. 13 the preterimperfect thus : / was writing to-day, I was singing this week, I was reading this month. On the contrary, the preterperfect definite is applied to the time past, and never to that still in being : we may say, I wrote yesterday ; I read last week ; but we must not say, / wrote to-day, I read to-day. 2. But, to make the difference between the preterim- perfect and the preterperfect definite, more plain and intelligible to ladies, it is sufficient to know that the first person of the preterimperfect is always terminated in vo, or va, in Italian ; as, amdva, I was loving ; cantdva, I was singing ; godeva, I was enjoying, &c. The pre- terperfect definite never has that termination : as, amdi, I loved ; godti, I enjoyed, &c. The Preterperfect expresses actions perfectly past ; as, I have sung, ho cantato ; I have enjoyed, ho goduto. Observe, that we always make use of a verb and participle to express the preterperfect or compound tense ; as, I have written, ho scritto. It is obvious, that ho is the verb, and scritto the participle. These are expressed in Italian as well as in English ; but in Latin they make use of a single verb only. We generally use the preterperfect to express an action done at a time which is still in being, and not entirely elapsed, as, / have given ; I have written ; I have spoken to-day, this morning, this week, this month, in my life-time, &c. ; and not as some people, who confound the preterperfect definite with the preterperfect, saying, I gave, I spoke to-day, this month, Sec, because to-day, this month, &c. are times still in being, which we ought to express by the preterperfect, / have given, I have spoken, &c. to-day, this month, &c. The Preterpluperfect denotes not only an action perfectly past, but likewise shows that it was over, before another action of which we are speaking, began ; example, i" hud supped, when you were singing ; I had done writing, when you entered. Here it appears plainly that there are four preterites, or past tenses ; viz. two simple, and two compound. The simple are the preterimperfect and the preter- perfect definite, which in Italian are expressed by a single 14 INTRODUCTION to the single verb, with a pronoun personal before it ; as, leggSva, I did read, or was reading; leggevi, thou didst read ; leggeva, he did read ; lessi, I read ; leggesti, thou jead'st ; lesse ; he read. In these examples, there is no more than one verb. The two compound preterites are the preterperfect and the preterplaperfect ; which are always expressed by a verb and a participle, as, I have written, ho scritto; thou hast written, hai scritto ; he has written, ha scritto., &c. ; I had given, io, aveva daio ; thou hadst given, tu avevi dato ; he had given, egli aveva dato, &c. The future is a tense that signifies something to come ; as, I will sing, canterb ; I will speak, parlerb, &c. It is either simple or compound; simple in the examples above mentioned ; compound when I say, I shall have read, avrb letto ; I shall have written, avrb scritto, &c. Of PERSONS. The tenses of verbs are composed of three Persons. The first is always expressed by I in the singular number, and by we in the plural ; as, / sing, we sing. The second person is marked by thou in the singular, and you in the plural .; as, thou sing est, you sing. The third is he or she in the singular, and they in the plural ; as, he speaks, she speaks, they speak. Of NUMBERS. The tenses of the verbs have also two Numbers, the singular and the plural ; singular, / love, thou lovest, he loveth ; plural, we love, ye or you love, they love. Of PARTICIPLES. The Participles are so called, because, although they are verbs, they partake of the nature and quality of adjectives ; as, amdto, amdta, loved ; orndto, ornata, adorned: one may say, / loved, and / have loved; I adored ITALIAN TONGUE. 15 adored, I have adored ; whieh are verbs ; we also say, a man beloved, a woman loved, a God adored; then those words, loved, beloved, adored, &c. are nouns adjective, and consequently participles, from their partaking of the nature of adjectives and verbs, and from their serving- to form the preterperfect. *3* Observe, that whenever two verbs follow one another in the same phrase, and that the first is one of the tenses of the verbs to have or to be, the second is a participle, as, I have seen, you have spoken, he has written, I am loved, we are commended : the words seen, spoken, written, loved, commended, are participles. The former five parts of speech, namely, the Article, Noun, Pronoun, Verb, and Participle, change their terminations in Italian : example, il cavullo del principe £ bello, the prince's horse is handsome ; i cavalUdeip/r.i- cipi sono belli, the princes' horses are nandsone. By these two examples, you may see the change of the articles, nouns, and verbs. By the two following you will observe a change of the pronouns and participles : Lavostra Uttera e scritta Your letter is written in in una, ??ianicra affetuusa an affectionate and familiar efamigliarc. style. Le vbstre Icttere sono Your letters are written scritte in termini affetuosi in affectionate ana familiar efamiglidri. terms. The other four parts of speech admit of no alteration : as, bene, well, which is an adverb ; con. with, a preposi- tion ; che, that, a conjunction ; oime, alas, an interjec- tion : these are constantly pronounced and written in the same manner ; and it may be observed, that these words have neither gender, number, case, nor time. Of ADVERBS. Adverbs are words that help to express in a bet- ter manner what the verb denotes, and add more or less force and significancy to it: as, well, ill, more, plainly, better, hardly : example, when I say, / teach, this expression shows what I do, that is, I ie.ich; but 16 INTRODUCTION to the it does not point out the manner how I teach. To convey this meaning, I add an adverb, thus, / teach •plainly. We have already observed, that adverbs have neither gender, number, nor case. There are a great many kinds of adverbs ; but I shall here only give examples of two or three of the most common. Adverbs of time : such as, when, yesterday, to-night, to day, to-morrow, late, soon, along while, always, never, &c. Adverbs of place : as, where, here, there, above, below ^ towards, far, near, &c. Adverbs of quantity : as, how much, how many, much, as much, little, &c. Of PREPOSITIONS. Prepositions, like Adverbs, have neither gen- der, number, nor case ; they are always prefixed to nouns, articles, and verbs, and therefore are called prepositions, from the Latin word, prceponere, to set before ; as, upon, near, before, without, out, in, against, for; as, upon the house, near the palace, in the garden, against reason, in court, before the king, &c. *J* Observe that there is a great difference between the adverb and preposition; for the adverb requires nothing after it, but the sense of it is complete without the addition of another word : example, he teaches well, you speak learnedly, you write fast. But on the con- trary, the preposition always requires some word to follow it; for example, you are before me, it is upon the table, they are in the garden, &c. *i* Observe also, that the prepositions sometimes become adverbs, when we speak absolutely, and there is neither article, noun, nor pronoun, after the preposi- tions; for instance, my brother walks before, he will come after, they are behind, she is near. In these four exampLes, before, after, behind, and near, are adverbs ; but if we said, my brother walks before his company, he will come after us, the servant is behind us, she is near us ; then, before, after, behind, near, are prepositions. Of ITALIAN TONGUE. 17 Of CONJUNCTIONS. The Conjunctions serve to join and connect words and sentences together ; such as, and, or, but, though, that, as, 'provided that, in short, &c. example, Peter or Paul, black or white; I promised it to you, but you must give it me again. Of INTERJECTIONS. The Interjections are words that make sense of themselves, and serve to express any violent emotion ; as, alas ! fie 1 courage ! halt ! hush ! An Explanation of the CASES.* We have already taken notice that there are five parts of speech which never change, viz. Adverbs, Adjectives, Conjunctions, Prepositions, and Interjections ; for ex- ample, prudently, prudent, and, upon, alas ! These words are always written and pronounced in the same manner, and have neither masculine nor feminine gender ; neither singular nor plural number. The five others, which are, the Article, the Noun,, the Pronoun, the Verb, and the Participle, alter their termination ; as, the day ; I, we; I love, I loved. The variation of articles, nouns, and pronouns, is called a Declension. The change of verbs is called a Conjugation. A declension has six variations, which are called Cases; viz. nominative, genitive, dative, accusative, vocative, and ablative. The case, or variation of nouns, is known only by the article. * A great part of this Treatise of Cases is applicable only to the learned, and to some foreign languages, such as French, Italian, Sec; for the English have no varia- tion in the noun, except the genitive, as, man, man's, and none at all in the article, since they only make use of the little signs, or particles, to distinguish the cases ; as of, to, for, from, &c. I must 18 INTRODUCTION to the I must here repeat what I have before observed when treating of the articles, viz. when an article hap- pens to precede a word beginning with a vowel, the vowel at the end of the article is retrenched, and an apostrophe is placed in its stead. The articles of the nominative are, the, both in the singular and plural in English ; as, the sun, the earth, the ladies. This case is called the nominative, from nominare, to name ; because it declares the name of any thing with the article the, and this article, with the following noun, makes the nominative ; as, the sun, the moon, the earth, the horses, the men, the women. The articles of the genitive are, of the, and of : for instance, of the sun, of the moon, of the earth, of London. We give the name of the genitive to this case, be- cause it shows the author or cause of the noun of which we speak ; an example will make it clearer. When we say, the heat of the sun ; in this example, of the sun is the genitive case, because the sun is the author and the cause that produced the name heat ; and so, in the following example, the length of the street, the father's son, the fruit of the tree, the beauty of Paris. The word genitive comes from gignere, which signi- fies to produce. The dative is marked by the articles to the and to, for the singular and plural ; example, to the sun, to the prince, to London, to the men, to the houses, &c. The dative serves to make known to whom, or to what, we give or address the thing spoken of: as to give alms to the poor ; to write to the king, to the queen, to London, to Rome. The word dative comes from dare, to give. The accusative is like the nominative, and the arti- cles are the same : as the sun, the earth, the women. The word accusative is derived from the Latin accusdre, to accuse. The only difference between these two cases is, that the nominative is before the verb, and the accusative after it. To distinguish the nominative from the accusative, you have only to remember, that the nominative names the ITALIAN TONGUE. 19 the person or thing that makes the action of the verb, and the accusative accuses or names that which receives it : example, the king loves the queen. The king is the nominative case, because it is the king that makes the action of loving: and the queen is the accusative, because it is the queen that receives the action of loving from the king. * # * Note, that the accusative is generally put after verbs active, and prepositions ; as, / behold the sun, with the princes, for the king, &c. The vocative is always distinguished by the interjec- tion o : it is used in calling out to a person : example, G Peter, Paul, &c. Most commonly we put no article at all to express the vocative ; as, Sir, Madam, Mary, Peter, &c. The word vocative comes from vocare, to call. The ablative, in English, is expressed by the articles from the, from, and by. The ablative is generally put after the verbs passive. Now, the ladies, and those who do not understand Latin, will easily know what a verb passive is, being always composed of two verbs ; the first of which is some tense of the verb issere, to be, and the ether a participle ; so that these two together make a verb passive, after which the ablative case is put: example, / am esteemed by the king. The ablative is also used after the following verbs ; to take away, to receive, to obtain, to separate, &c. Examples : To take from the . . hands. "} r™ i . i r , ■ jr ,j • / lhe last words / have received from the prince. [ ., ul tt ■ . j r L > are in the abla- He is separated from . . me. I ,. t s r t i \ tlve case. 1 camejrom .... Italy, j The word ablative derives its origin from the Latin ablatum, which signifies taken away ; / am beloved by the prince. I have received a hundred pounds from the prince. This is the same thing as if I should say, / have received from the prince, his love, and a hundred pounds. When 20 INTRODUCTION to the When the pupil is sufficiently versed in the foregoing particulars, and understands the meaning of tenses, genders, numbers, and persons*. he may then be exer- cised in the parts of speech contained therein : For example, The soldiers who fight bravely for their king, are es- teemed and praised by the whole kingdom. The, is a definite article of the plural number, of the masculine gender, and the nominative case. Soldiers, is a noun substantive, of the same number, gender, and case. Who, a pronoun relative of the plural number, and nominative case. Fight, a verb of the present indicative, and third person plural. Bravely, an adverb. For, a preposition. Their, a pronoun possessive. King, a noun substantive, masculine, in the accusa- tive singular. Are, a verb in the third person plural, and present indicative. Esteemed, a participle. Are esteemed, a verb passive, of the third person plural, and present indicative. And, a conjunction. Praised, a participle. Are praised, a. verb passive, of the third person plural, and present indicative. By, a preposition. All, a pronoun improper. The, an article definite. Kingdom, a noun substantive, masculine. By the whole, in the ablative ; because are esteemed, and are praised, are both verbs passive, and require an ablative case after them. It will be found extremely difficult for those who do not understand Latin, to speak or write Italian correctly, without perusing this short Introduction ; the study of it, therefore, will not only be of great assistance to them, ITALIAN TONGUE. 21 them, but also, in the end, save them much time and trouble. When this Introduction is perfectly understood, the next thing; is, to acquire the method of finding out the words in a Dictionary, in which they are all placed in alphabetical order. Observe, Nouns substantive are to be found by their singular number, and not by their plural : therefore you must not look for heavens, horses, &c. but, heaven, horse, &c. Nouns adjective are sought for by the masculine, and not by the feminine : for example, to know the Italian oijine, you must look for bello, and not btlla. The method of fiuding out verbs in a Dictionary, is by their infinitives. In English, the infinitive is known by the particle to placed before the verb, as to love, to sing. In Italian, the infinitives terminate in dre, ere, or ire. So that if I want to know the infinitive of amidmo, credidmo, sentidmo, I must not look for dmo, credo, sento, but for amare, credere, sentire, and so form them according to the rules of each conjugation. The Augmentatives and Diminutives, or nouns in- creased or diminished in their signification, are very rarely given in Dictionaries ; the Rules, therefore, for their formation, will be found explained where the noun is treated of. End of the Introduction. THE 22 THE ITALIAN MASTER. PART I. I HE first thing necessary to be acquired is, the Ita- lian Pronunciation ; this is confined to some syl- lables which the Italians pronounce differently from the English, as may be seen at the end of this dis- course, where the whole difficulty of the Italian pro- nunciation is included in a period of seven lines. Of the Italian Pronunciation. The Italian language contains twenty -two letters^ which are pronounced by the Tuscans in the following manner : in some other parts of Italy, they pronounce the letters b, c, d, g, p, t, z, as with a single e after them, saying be, tche, de, &c. : but the pronunciation of Tuscany, which is now the most approved and fashionable, is, as nearly as can be expressed in writ- ing, as follows : [emmay, ennay, o, pee, coo, erray, essay, tee, oo, Al r aa, or ar B bee, C tehee, D -a dee, E o R a, F *2-i effay, G R o dgge, H (Li acca, I e, J ee, consonant L- \*ellay, M*| r N i P T3 Q o R R f" o -{ S R O T £ U V Z - I dsaita. Hence PRONUNCIATION. 23 Hence it appears, that the Italian pronunciation is very different from the English, and we must be care- ful to sound the letters, as nearly as possible, as they are marked in the preceding alphabet. The Italians have no such letters as k, w, x, or y ; at least they never make use of them, except in writing foreign names, as, Stockholm, Xenocrate, &c. and then they pronounce the former word as if it were a c instead of k ; and the latter, as if it were an S instead of the letter X. You are also at liberty to write Stocobn and Senocrate. The letters are divided into vowels and consonants, as has been already remarked in the Introduction. VOWELS. Of the Pronunciation of the Voweh. The vowels, whichare a, e, i, o, u, are pronounced ar, a, e, o, oo. A is always sounded open and broad, like ar in the English word arm, art, thus amo, I love, pronounce armo, &c. ; when a is accented at the end of a word, a, it has a quicker, louder, and sharper tone than other- wise ; thus in calamita, calamity, the a must be pro- nounced sharper and louder than in calamita, a load- stone. E is never mute in Italian, as it often is in French, but it has two sounds, one close and one open; it is close as in the English words mellow, bent, bet, pet, &c. ; thus, bene, good; bezzi, money; pezzo, a piece, &c. ; it is generally close in Italian words derived from the Latin, in which the i in Latin was changed into e in Italian ; as selva, from sijlva, wood ; phce, from pisch, fish, &c. &c. ; e is always close at the end of words of more than one syllable ; example, Arse di speme, e perde il cor dolente ; he was inflamed with hope, and his heart is overwhelmed with grief. J? has an open sound, like a in tape, faith, &c; as, tema, a theme, pronounce tamar ; Mazeppa, &c. &c. Eh 24 PRONUNCIATION. E is open before st, in nouns substantive, as festa, a festival ; veste, a garment ; arresto, an arrest. N. B. Exceptions to the above rule are, cesto, a tuft of grass ; destino, destiny ; destrezza, dexterity ; wes- tizia, sadness. Mele, with an open e, pronounced malay, signifies honey ; and with e close, pron. melley, signifies apples, I is pronounced like ee in the English word feet; as diritto, direct, pronounce deereeto ; cimittrio, a church-yard, pronounce tcheemetareo. O has two sounds, one close, as in the words vol, doly don, cord, torn-; as>, volere, to be willing, &c. : and the other open and broad, as in dore, store, more, &c. as povero, poor; morte, death, &c. Of— O— close. (like E) is generally close in Italian words de- rived from the Latin, in which the u of the Latin word was changed into o in the Italian ; as, dolce, from the Latin dulcis, sweet ; molto, from multum, many; volgo, from vulgus, vulgar, &c. &c. which words pronounce, softening the o a little, doltche, molto, volgo. is close when accented, in words ending in one, Sra, ore, 6so ; as, orazione, prayer; qualora, when- ever ; Signore, Sir ; amoroso, amorous. is also close before I, m, n, r ; as volere, to be willing; tomba, a grave ; barone, baron; corte, a court. (N. B. Except when preceded by i or u.) is close before, gn; as, Bologna, which pronounce Bolonnia ; bisogno, want, pronounce bisonno, &c. &c. ; and it is also close before s in adjectives ; as amoroso, amorous, &c. Of—O — open. is pronounced open when preceded by i or u ; as, chioma, head of hair, pronounce Keomar ; Giove, Jove, pronounce Jove ; cuore, a heart, pronounce core. The final o, when accented, is likewise open, as amb, parlb, &c. ; and so it is in all monosyllables, asyb, so, vo, &c. is also open before s in substantives ; as, rosa, a rose ; sposa, a spouse. U is pronounced like oo in English ; example, publicazione, pronounce pooblecatseonay. Observe, PRONUNCIATION. 25 Observe, that this example gives the pronunciation of the five vowels. Diphthongs are the union of two vowels : Triph- thongs of three. They are pronounced distinctly, and yet form but one syllable : as, mdi, never ; i miei, miner i tubi, thine; i sitoi, his: but to pronounce them properly, we should hear them sounded by a master. See the collection of syllables, and words of most difficult pronunciation, where we speak of u before o, after treating of the pronunciation of conso- nants. CONSONANT S. Of the Pronunciation of Consonants. The consonants b,d,f I, m, n, p, r, are pronounced as in English. Some of the consonants vary from the English pro- nunciation, especially c, g, z, to which may be added A, t, and s, and upon each of which there are several particulars to be observed. C, before the vowels a, o, u, and before the conso- nants /, r, is pronounced the same as in English ; for instance, ciisa, a house; cello, a neck, cura, care ; Cristo, Christ; clemenza, clemency ; crudcle, cruel. C, before the vowels e or i, sounds like die and chi in the English words cherry and chick ; examples : Pronounce Cesare, Csesar, Chtsare. Cecitd, blindness, checheetd. Citta, a city, chitta. If two cc's come before the vowels e or i, the former is sounded as t, and the latter like che in cherry : example, accento, an accent, pronounce atchento; brae- cio, an arm, pronounce br&tcheo. When, after ci, there is a vowel : as, cia, tie, cio, ciu, it must be pronounced as one syllable, so as to C lose 26 PRONUNCIATION. lose, in some measure, the sound of the vowel i; examples, Frdncia, cielo, bdcio, pronounce Frdnckea, cheay'lo, bdcheo. The syllables see, sci, are pronounced sha, she : ex- ample, scemdre, to diminish, pronounce shaymdre ; lascidre, to leave, pronounce lashedre. Ch is used instead of, and pronounced like, the let- ter k, which the Italians never use but in foreign names ; as, Bochsa, pronounce Boksa, The syllables che, chi, whether in the beginning or at the ending of a word, are pronounced ha, he : example, cherubino, a cherubim ; chiodo, a nail ; giovenchi, hei- fers : pronounce kayrubeeno, keodo, giovenkee. F is used by the Italians instead of ph, as, Efeso, Ephesus ; Jilosofo, philosopher; frase, phrase. G before the vowels a, o, u, and before consonants, is pronounced as in English : example, gdbbia, a cage ; gobboy hunchbacked ; gusto, taste ; grddo, a degree ; grido, a cry. G before e, i, is pronounced as in the English words geography, gin. When two gg's precede the vowels e, i, the first g is pronounced as a d, and the last as a g : for example, oggetto, an object; oggi, to-day; read odgetto, odgi. But as well in gelo and giro, as in oggetto and oggi, &c. we must not dwell much on the d, but pronounce it so smoothly, as to render it almost imperceptible to the ear. When after the syllable gi, there is a vowel, as gia, gio, gin, the g must not be sounded at all, and the i is pronounced like an English j ; for instance, giardino, giorno, giudice, pronounce jardino,jorno 9 juditehay. G before ii is pronounced like 11 in the French word fille, or like the ZZ,inthe Spanish word camarilla, first in the different inflexions of the article and pronoun il, lo; secondly, in the pronoun, egli,eglino; thirdly, when it'is followed by a vowel, and forms a diphthong, as in vaglio, maglio. The syllables gna, gne, gni, gno, gnu, are pro- nounced something like nniar, nnie, nni, nnio, nniu : for example, guadagndre, to gain ; agnello, a lamb ; ignudo, naked ; incognito, unknown ; read guadannidre, anniello PRONUNCIATION. 27 anniello, inniudo, inconnieeto. In short gn, before a vowel, retains the same sound, as in the French words Allemagne, Espagne, montagne. The syllables ghe, ghi, are pronounced like gue, and gui, in the English words guest and guinea; zsbotteghe, shops, sound bottegue ; luoghi, places, sound luogui. . The letter h is never aspirated, nor pronounced at the beginning of words ; as, ho, I have, &c. But accord- ing to the modern orthography, all words are written without an h, except the three persons singular, and the third person plural of the present indicative of the verb avere ; and this in order to distinguish the verb ho from the sign of the vocative o, or from o the con- junction : as likewise hdi from di, the article, in the dative plural masculine gender, di signori, to the lords or gentlemen ; and lastly, ha from the dative indefi- nite, a Pictro, to Peter ; and hdnno from anno, which signifies a year. The Italians never pronounce the letter h, and in their present practice they even omit it in writing, ex- cept when it happens to be preceded by a c or g, as in the words chidro, clear ; chidve, a key ; pidghe, wounds, &c. The letter j is considered sometimes as a consonant and sometimes as a vowel ; as a consonant, when it makes a syllable with a vowel, as in ajuto,jeri; though, according to the present orthography, they write indiscriminately ajuto or aiuto,jeri or ieri. It is considered as a vowel when it makes a sylla- ble with a consonant, as in the plural of the names ending in io short, in the singular, which take a j in the plural ; as principj, tempj ; where it is pronounced long, almost as a double i. S, in the beginning of words, is pronounced as in English : for example, salute, sole, sale, singoldre, servo, sopra. Sa, in these words, cosa, a thing ; rosa, gnawed, must be pronounced like the first syllable of salute, that is to say, strong. The same may be said of all adjectives ending in vso; as, glorioso, glorious; vittoribso, victorious; as c 2 well 28 PRONUNCIATION. well in the singular as in the plural, masculine and feminine. With regard to adjectives terminating in ese, and to . words in uso, the letter s must be pronounced as in the English words misery, desire, &c. except, fuso, a spin- dle, where the s must be sounded, as in salute. Cost, in like manner, is pronounced cossi, that is, with a strong hissing sound, as if there were two ss's, and dwelling upon the last. Pronounce, then, the letter s, between two vowels, like a z; as, set, se, si, so, read and pronounce them as if they were written za, ze, zi, zo; but in all words that have si added to them, as scrivesi, they write, s preserves its natural sound. In the following words, the syllable ti is pronounced hard ; as simpatia, sympathy ; natio, native, or ge- nuine ; malattia, illness ; questione, question ; molestia, trouble ; and a few verbs, as tiene, poii&te, palidmo, patidte, which are to be acquired only by practice. V, in Italian, is pronounced as in English. *^* Observe, that when two vv's come between two vowels, we must pronounce only one of them. The Italians make use of two, to indicate that those verbs are derived from the Latin. You must also mind to dwell somewhat longer upon the syllable compounded of the v and the vowel preceding it. Thus it ought to be pronounced as if it were detached from the remainder of the word, or as if they wrote av-enire, av-entizio, instead of avvenire, avventizio. We meet with some Italian words which are written with two vv's, although not of Latin origin ; as, for instance, avvantaggio, avveriire, &c. Of Z, and Zz. Z single and double, are pronounced two ways ; like dz, and like ts : the general rules are as follow — to pronounce it like dz in all words in which the z is used both in Italian and English. . . a &d$ fbidw Examples. PRONUNCIATION, 29 Examples. Pronounce gazetta, gazette, gadzetta Lazzaro, Lazarus, Lddzaro zeffiro, zephir, dzeffero zodiaco, zodiac dzodearco zona, zone dzona, &c. &c. Z is also pronounced like dz, when it stands either before or after the vowels e or o open. Examples. Pronounce grezzo clownish gredzzo Mazeppa Mazeppa Madzeppa gazza magpie gadza mezzo middle medzzo rizza gauze redzza zeba goad dzaba zelo zeal dzalo Zenofonte Xenophon Dzenofontay zeta Z dzata zendado tiffany dzend&do zenzero ginger dzenzaro ziffera cypher dzeffara zigrino chagreen dzegreeno Z (single as well as double) is pronounced like is in all words in which it is followed by two vowels, the first being i, as F&zio ; grdzia, grace ; sp6zio, space ; azione, action ; zio, uncle ; &c. &c. : pronounce Fatsio, gratsia, spatsio, atsionay, tsio. It is also pronounced as ts f when preceded by I or r; as, Examples. Pronounce calza stocking caltsa forza force fortsa sbalzo a jump sbaltso scorza bark scortsa terzo third tertso f &c. &c Exceptions— garzone, a boy; and orzo, barleys in which the z has rather a softer sound. All 30 PRONUNCIATION. All the other 2"'s (single and double) are pronounced like ts, when before or after an e or o close. , Examples. Pronounce Arezzo Arezzo Aretso avvezzo accustomed avvetso hellezza hezzo beauty a small coin helletsa betso disprezzo fazzoletto gentiUzza nozze contempt handkerchief gentility a wedding dispretso fatsoletto gentiletsa notse pezzo pbzzo a piece a well petso pot so prezzo rihrezzo prize fear pretso ribretso zeppo block tseppo Observe, that all words with z,. pronounced either like dz or ts, require a slight pause or stress on the d or t, thus mezzo, gentiUzza, nozze, pronounce med-zo, gentilet-sa, ?iot-se, &c. A Collection of Words and Syllables, most difficult to he pronounced. Before you proceed to this collection, attend to the pronunciation of the syllables, cia, cie, do, ciu ; see, sci, scio, sciu, gia, gie, gio, giu ; gli, glia, glio. Ce, ci, pronounce as che, chi, in cherry and chick. Cicerone, ceci, cecitd, cenere, cina, ceniire, cerchio, cibo, citta, citdre, accento, bdcio, ciascheduno, cielo, cioe, ciurma. Che, chi, pronounce ka, kee. Che dite? che fate? che volete? chi ceredte t chi volete ? chi domanddte ? Ge, gi, gli, pronounce dge, dgi, lit, as in million, William, &c. GestOr PRONUNCIATION. 31 Gesto, gcnio, gelo, gente, giro, giudice, maggiore, leggiddro, giorno, giovane. Giugno, figlio, piglidre ; gionchiglia. foglio, orgoglio, sdggio, Mdggio. Gna, gne, gni, gno, gnu, pronounce nniar, nnia, nniee y nnio, nnioo, in one syllable, as we have already ob- served when treating of the pronunciation of conso- nants. Bagndre, guadagndre, legna, ingegnero, magnijico, pegno, Ugno, signore, ingegno, ignudo. Scia, see, sci, scio, sciu, pronounce shea, ska, she, sho, shiu. Scidtica, scegliere, discifrdre, discibgliere^ asciuito. Sa, se si, so. Attend to the pronunciation of salute, cosa, rosa, (participle), roso, sposa, edsa, virtuoso, cost. U, pronounce oo. Tu, virtu, pugndre, pugno, maturo, funesto, muro, bruno. U, before o. When those two vowels form but one syllable, thew must be pronounced almost insensibly. Bu6no,fuoco, giu6co,Jigliu6lo,Jigliu6la. Except from this rule tuo, siio, suocero, suocera, vir- tuoso, &c. because the u and o are two syllables. The Florentines, in the words bu6no,fuoco, &c. pro- nounce the u rather stronger than the Romans, who indeed sound those words in such a manner as if there were no u at all. V v, pronounce v. Avvenire, inavvertenza, avvezzo, avvento. Remember what has been said of the pronunciation of the consonant v. Z, or zz, pronounce ts. In the words nozze, fazzoletto, pozzo, pazzia, pdzzo, &c. Z,or 32 PRONUNCIATION. Z, or am. pronounce dz. In the words mezzo, Ldzzaro, zona, zodiaco, zigrino, rozzo, &Ci Z, pronounce s. In words ending in anza, enza, onza ; example, igno- rdnza, diligenza, MagSnza. To acquire the true Italian accent, it will be necessary attentively to read over the following lines, in which all the difficulties lie in the syllables marked with a star : whoever has learned to pronounce these pro- perly, -will soon be master of the Italian pronunciation. An Exercise for Italian Pronunciation. Ciascheduno, sa che come non v'e cosa, che[piih diS' pidccia a Dio, che I ingratitudine ed inosservdnza de* * . ■ • / • *v >\ •/ * * * suoi precctti ; cost non v e niente che cagioni maggior- * mente la desolazione delV universo, che la cecitd, e sm- perbia degli uomini, la pazzia de Gentili, V ignordnza * *. * * ed ostinazione de* Giudei e scismdticu " Every one knows, that as there is nothing which displeases God more than ingratitude, and the neglect of his commandments : so there is nothing that occa- sions the desolation of this world more than the blind- ness and pride of men, the folly of the Gentiles, the ignorance and obstinacy of Jews and schismatics." PRONUNCIATION. 33 A Recapitulation of the Italian Pronunciation, Pronounce. Example. Pronounce. A ar arte arte Cca car edsa Kasa cc tche accento attchento ce che che* ka km f hena che chi kee chi ke ; ci chif citttl chitta. cia chia ciascuno chiascoono cie chie cielo chielo cio tchio bacio batcheo cru cru crudele crudaylay E (close J bet bezzi bets-e (open) ta tema tama G ga gar gdbbia gabbia M dge genio dgaynio ghe gue botteghe bottegey gki gui luoghi luogui 9* dgi giro ' dgeero gia ja giardino jardino gie je Gesil Jaysoo gio jo Giove Jovay gin joo giusto joosto gto gio gloria gloria all in pig liar e pilliare gna nniar regndre renniare (close J vol volere volere ( open ) po povero povero S (strong) san sdnto san to (soft) sa guisa gwesa see she scena shana sci shi lascidre lashearay * As in che-rish. t As in chi-valry. c 5 U 34 ARTICLES. Pronounce. Example. Pronounce V QO virtil veretoo before o o buono bono V viv vivere vivere vv avvemre a-venire Z as s sa diligenza diligensa ts fats Fazio Fatsio dz dze Zefiro dzef'ero ffl. B. Notwithstanding the foregoing copious illus- tration of this essential part of the Italian language, a natural and correct pronunciation can only be acquired by an attentive ear to the lessons and accentuation of an experienced Master. ~r ■ ~~ CHAP. I. Of ARTICLES in general* THERE are two sorts of article, one Definite, the other Indefinite. The Definite marks the gender, number, and case,, of the nouns which it precedes, as, The prince, il principe. Of the prince, del principe. To the prince, al principe. From or by the prince, dal principe. The princes, i principi. Of the princes, dei principi. To the princes, di principi. From or by the princes, ddi principi. The earth, land, or ground, la terra. Of the earth, delta terra. To the earth, dlla terra. From or by the earth, ddlla terra. The earths, le terre. Of the earths, delle terre. To the earths, dlle terre. From or by the earths, ddlle terre. * See Bottarelli's Exercises, p. 14. The ARTICLES. 35 The articles il or lo, la, del, dello, delta, al, alio, alia, dal, dallo, dalla, i, gli, le, are called definite articles, because they mark and define the masculine or femi- nine gender, and the singular or plural number of nouns to which they are prefixed. The Definite articles have six cases, the nominative, genitive, dative, accusative, vocative and ablative. The Indefinite article may be put before the mascu- line as well as the feminine gender, before the singular as well as the plural number. The indefinite articles (or more properly prepositions) in Italian are the following monosyllables ; di, a, or ad before a vowel, da. Although it would be more proper to call these monosyllables prepositions, we shall adopt the name used by other grammarians in conformity with custom. Di may be put before a noun masculine as well as feminine ; as una corona di re, a king's crown ; una libbra di pdne, a pound of bread : the words re and pdne are masculine : un cappello dipdglia, a straw hat ; tre Vibbre di cdrne, three pounds of meat : the words pdglia and came are of the feminine gender. The indefinite article di is also put before the plural as well as the singular number : example, una corona di fori, a crown of flowers ; un tondo di cdpperi, a plate of capers. The indefinite article has but three cases, the geni- tive, dative, and ablative. Of is expressed in Italian by di ; to by a or ad be- fore a vowel ; from by da. Of the Definite Articles. The English Language has but one definite article, namely, the, which serves for both numbers. The Italian has three, viz. il and lo for the mascu- line, and la for the feminine. The article il is prefixed to masculine nouns begin- ning with a consonant, and makes i in the plural ; as, il pddre, i pddri ; il fratello, i fratHli; il Ubro, i libri ; il ciilo, i cieli. The 36 ARTICLES. The article to makes the plural gli and is put before two sorts of nouns, viz. before masculine nouns begin- ning with s and followed by a consonont ; as lo st&dio, lo spirito, lo scoldre ; glistudj, gli spiriti, gli scoldri ; la specchio, gli specchj. If the letter s be followed by a vowel, we must make use of the article il and not lo ; as il solddto f il sacra- mento, il signore, il secolo, il supirbo; and not lo sol- ddto, &c. When the article lo stands before nouns beginning with a vowel, we then retrench the vowel, and insert an apostrophe: examples, Vamore, VonSre, Vingegno, and not lo amore, lo onore, lo ingegno ; gli amori, gli onori, gV ingegni, in the plural. The same may be said in regard to the article la for the feminine. We have touched upon this subject in the Introduction to the Italian tongue, in which are given some rules concerning the articles. The article la serves for the feminine, and makes le in the plural ; as, la cdsa le cdse the houses la mess a le messe the masses la camera le cdmere the rooms la strdda le strdde the streets la chiesa le chiese the churches la terra le tSrre the earths la porta le porte the doors la Stella le stelle the stars Declension of the Masculine Articles il and lo. I do not put the accusative, because it is the same as the nominative ; nor the vocative, because it is ex- pressed by o in both languages. Sing. Nom. il lo the Gen. del dello of the Dat. al alio to the Abl. dal dallo from, and by the Plur. Nom. i gli the Gen. del de degli of the Dat. ai, a* a gli to the Abl. dai ? da' ddgli from, or by the We ARTICLES. 37 We do not use in the plural the articles li, delli, alli t dalli, as the ancients did. Yet they may be used in verse. \*- Note, To write correctly, we must not abridge the article lo in the plural, unless the following noun begins with an i ; therefore you must write gV ingegni, c/l'.incendjt with an apostrophe, and gli amori, glionori, without one. Nevertheless you are to make but one syllable of the article and the subsequent vowel : so that you must pronounce glia-mori, glio-nori, and not gli-a-mori, gli-o-nori. In this respect the Italian lan- guage is extremely delicate. Declension of the Feminine Article la. Sing. Nom. la the Gen. delta of the Dat. alia to the Abl. ddlla from the Plur. Nom. le the Gen. delle of the Dat. Idle to the Abl. dalle from and by the *** You must not abridge la in the plural, unless the following word begins with an e; and therefore we write V eminenze, V esecuzioni, with an apostrophe, and le dnime, le invenzioni, le ombre, le idtime, without one. And yet we write le effigie in the plural, to distinguish it from the singular, because this noun has the same termination in both numbers : you are to observe the same in regard to the word escquie. Declension of the Article il with a masculine noun, whose first letter is a consonant. Sing. Nom. il libro the book Gen. del libro of the book Dat. al libro to the book Abl. dal libro from o?*bv the book " Plur. 38 ARTICLES. Plur. Nom. i libri the books Gen. dei libri of the books Bat. ai libri to the books Abl. dai libri from or by the books The Declension of the Article lo before a masculine noun, whose first letter is an s, followed by a consonant. Sin*. Nora. lo specchio the glass (mirror) Gen. dello specchio of the glass Dat. alio specchio to the glass Abl. ddllo specchio from the glass Plur. Nom. gli specchj the glasses Gen. degli specchj of the glasses Dat. dgli specchj to the glasses Abl. ddgli specchj from the glasses The Declension of the Article la before a feminine noun beginning with a consonant. Sing. Nom. la cdsa the house Gen. delta cdsa of the house Dat. dlla cdsa to the house Abl. ddlla cdsa from the house Plur. Nom. le cdse the houses Gen. delle cdse of the houses Dat. dlle cdse to the houses Abl. dalle cdse from the houses The article la is also prefixed to feminine nouns be- ginning with an s, followed by a consonant ; as, la strdda, le strdde, the street, &c. The Declension of the Article lo, with an apostrophe, or elision. Sing. Nom. V amore the love Gen. delV amore of the love Dat. alV amore to the love Abl, dalV am6re from the love Plur. ARTICLES. 39 Plur. Nom. gli amori the loves Gen. degli amori of the loves Dat. dgli amori to the loves Abl. ddgli amori from the loves The Declension of the Article la, with an apostrophe. Sing. Nom. Vdnima the soul Gen. delV dnima of the soul Dat. all 7 dnima to the soul Abl. dalV dnima from the soul Plur. Nom. le dnime the souls Gen. delle dnime of the souls Dat. dlle dnime to the souls Abl. ddlle dnime from the souls * # * Observe, that the English have no variation in their articles for the plural ; they say, the men, the women : the Italians have an article for each gender in the plural, gli ubmini, le donne, i libri, le stelle. Of the Indefinite Article. Th e Indefinite article has but three cases, or, to speak more properly, the prepositions which are most com- monly placed before articles are three, and serve, as we have already mentioned, for the singular and plural, for the masculine and feminine. Gen. di of Dat. a, or ad before a vowel, to Abl. da from, or by. The following example will show, that nount declined by the Indefinite Article have no article in the nomina- tive, accusative, or vocative. Nom. Roma Rome Gen. di Roma of Rome Dat. a Roma to Rome Ace. Roma Rome Voc. o Roma ! o Rome ! Abl. da Roma from Rome The 40 ARTICLES. The Indefinite article is used in declining the nouns that have no article in the nominative; such as the names of angels, oV dngeli ; of men, d' uomini; of cities, di cittd ; of months, di Mesi; as also the Pronouns per- sonal, demonstrative, interrogative, and relative ; for example, London, January, February, March, April, -me, thee, him, we, you, this, that, those* these, who, &c. Who or which, in Italian qudle, may be declined by the Definite articles : for we say, il qudle and la quale, del qudle and della quale. The Indefinite article may also be prefixed to all other sorts of nouns, as I have already observed : for we say, una libbra dipdne, a pound of bread ; un cap- pello di pdglia, a straw hat ; una tdzza d' argento, a silver cup ; un vestito di pdnno, a cloth suit. If the Indefinite article di or da precedes a noun beginning with a vowel, we must make an elision in the genitive, and use ad in the dative ; as, nomina- tive, A ntonio ; genitive, d' Antonio ; dative, ad Anto- nio ; accusative, Antonio ; ablative, da Antonio. * # * Observe, that in speaking of any part of the body, it is more elegant to make use of the indefinite than the definite article : hence we say, mi irarrd, V dnima di corpo, he will tear my soul from my body ; mi toglie il libro di mdno, &c. he takes the book out of my hand, &c. The Indefinite article is also put before infinitives, and signifies to ; as, it is time to speak, to sleep, to read, to study, to write, to love, to go ; e tempo di parldre, di dormire, di leggere, di studidre, di scrivere, d y amdre, d' anddre ; but we make an elision when the verbs begin with a vowel ; as, oV amdre, d' anddre. * # * Note. Whenever you meet with of and to in English, remember they are the indefinite articles ; and then you must make use of the indefinite article a or ad in Italian. ■ ■ : : nl Remarks ARTICLES. 41 Remark on. th* Articles. First, Him or it before a verb is always expressed by lo ; as, I see him or it, io lo vedo ; we know it, noi to s.appidmo ; I know it, io lo so. Secondly, Her or it before a verb is expressed by la : example, I know her, io la conosco ; I do not know her, non la conosco. Thirdly, Them before a verb is expressed by li for the masculine, and by le for the feminine : example, io li vedo, or io le vedo, according to the gender. Fourthly, The words lo, la, li, le, must be always put after the adverb ecco, and also after the infinitives and gerunds; as, there he is, cccolo; there she is, eccola; there they are, eccoli for the masculine, and eccole for the feminine ; to see him, we must say, per vederlo, because vedere is in the infinitive : in like manner, to express seeing him, we must not say, lo vedendo, as is done in French, but vedendolo, because vedendo is a gerund, and the Italian rule requires that these words, lo, la, li, le, should always follow the infinitive and gerund, as also the word ecco, as in English, but never precede them as in Freuch. *** Remember, that we have been speaking of the words lo, la, li, le, and not of the articles lo, la, li, le, and that a little above, we said also the words lo, la, li, le, because these words lo, la, li, le, when they precede verbs, are not articles, but relative pronouns. They are articles only when they precede nouns or pronouns. Fifthly, The preposition in is sometimes expressed in Italian by in ; as, in Paris, in Parigi ; in France, in Frdncia ; in a room, in una camera ; in a fire, in un fuoco; in all the earth, in tutta la terra; in a (drinking) glass, in un bicchiere; in a bottle, in una bottiglia. When the preposition in is followed by the article the, or by a pronoun possessive, as, in the, in my, in thy, in his ; we must render it by nel, nello, nella, nei, negli, nel mio, nel tuo, nel suo: example, in the garden, nel giardino, and not in il giardino. In the spirit, nello spirito, and not in lo sptrito : the ancients made use of in lo and in la. We 42 ARTICLES. We say, nello spirito, because spirito begins with an 5 followed by a consonant. In the house, nella cdsa In the gardens, nei giardini In the fires, ! neifuochi In the spirits, negli spiriti In the houses, nelle case In my garden, nel mio giardino In thy book, nel tuo libro In his or her bed, nel suo letto In his or her room, nella sua camera In his or her books, ne f suoi libri In his or her rooms, nelle sue cdmere When in precedes the pronoun possessive of the mas- culine gender, in the plural it is expressed by we' with an apostrophe, and not by nei ; as, in my book, ne* miei libri ; which is practised to avoid a harshness of sound. Sixthly, You see, by these examples, that in the is expressed in Italian by nel or nello; in the feminine, by nella. Nel is placed before the same nouns that we put the article il, and in the plural it makes nei or ne% in the. Nello is put before the same nouns that we put the article lo, and in the plural it makes negli. Nella is put before the same nouns as the article la,. and in the plural it makes nelle. We may express in by in, when it is before a pro- noun possessive feminine, by transposing the pronoun possessive at the end of the phrase ; as, in my room, in cdrnera mia ; in your house, in cdsa vostra ; in his or her shop, in bottega sua ; but this rule is only for feminine nouns, and not masculine. Seventhly, When after the preposition with, which in Italian is expressed by con, we find the article the, or a pronoun possessive, as, with the, with my, with thy, with his, we must not say, con il, con lo, con la, but col, colla, co'i, con gli, colle : example, with the prince, col principe, and not con il principe. With the hand, colla mdno With the scholar, collo scoldre With ARTICLES. 43 With the princes, coi principi With the princesses, colle principesse With the scholars, con gli scoldri With ray book, col. mio libro With my pen, colla mia penna With your friends, co' vostri amid With my books, co J miei libri Col makes in the plural, coi and co\ Collo makes con gli; colla makes colle. Nevertheless, when the following words begin with the letter s and another consonant, it is more elegant to write con lo and con gli; thus you will say, con lo strdle, con lo scoldre, con gli studj ; and col or colV, when the word begins with a single consonant, or with a vowel. Eighthly, When the preposition with is followed by a pronoun possessive, and this by a noun of quality, or kindred ; as, with your majesty, with your highness, with your excellency, with his brother, with her mo- ther, with her sister ; with must then be rendered by con, as, con vostra maestcl, con sua altezza, con vostra eccelUnza, con suo fralello, con sua mddre, con sua so- rella, without using the article. * % * Observe, we may also make use of col and colla, by transposing the pronouns possessive after the noun, and say, colla maesta vostra, colV eccelUnza sua, col fratello suo, colla madre sua, &c. Ninthly, If the pronouns possessive are in the plural, then we must express with by co' for the masculine, and by colle for the feminine ; example, with my bro- thers, co y miei fratelli, and not con miei fratelli ; with my sisters, colle mie sorelle, and not con mie sorelle ; if you choose to insert the article, you must use the same transposition, and say, coi fratelli miei, coi parcnti vostri, colle sorelle tue, colle madri nostre, &c. *** Note, The ancient authors, and some few mo- dern ones, say con U, con la, &c. CHAP. 44 NOUNS. . . ' ' ' "■ -' n o a r> tt CHAP. II. Of NO UNS. ITALIAN Nouns have but five terminations, viz. those of the five vowels, a, e, i, o, u. They have but two genders, the masculine and the feminine. Italian nouns have no variation of cases like the Latin ; and it is the article only that distinguishes the case ; example, nom. il signore ; gen. del signore ; dat. -al signore ; ace. il signore ; voc. 6 signore ; abl. dal signore. Nbm. plur. isignori; gen. deisignori; dat. ai signori, &c. *£* Take notice, as a general rule, that all masculine nouns make their plural in i; example, il pdpa, the pope, i pdpi ; il pddre, the father, i pddri ; il libra, the book, i libriy &c. Of Nouns ending in a. Nouns ending in a are feminine, and form their plural in e; as, la edsa, the house; le edse, the houses; la chiesa, the church ; le chicse, the churches ; la car- rozza, the coach ; le carrozze, the coaches. Exceptions. — First, All nouns ending in ca and ga, have an h in the plural between the c or g and the final vowel, to avoid the change of sound ; as, la mdnica, the sleeve, le mdniche; la piaga, the wound, le pidghe. Secondly, Nouns ending in Italian in ta, and in English in ty, never change their Italian terminations in the plural ; as, la calamita, calamity ; le calamity, calamities: Vautoritd, authority ; le autoritd, authori- ties : la caritd, charity ; le caritd, charities. * 4 * Yet observe, that those nouns are syncopated or shortened, and their real termination is in ade or ate, according to the most ancient poets. In the plural they NOUNS. 45 they change their termination into i ; thus we say, beltade or beltdte, in the singular, and beltddi or beltdti in the plural. I do not remember ever to have seen these nouns written in the plural with a t. Though, the Italians sometimes make use of the termination in ade, yet it is better and more usual to say bonta than bont6.de, and generositd than generositdde, &c. Thirdly, Nouns masculine ending in a, form their plural in i ; as, papa, pdpi ; prof Ha, profeti. Of Nouns ending in e. All Nouns ending in e, whether masculine or femi- nine, substantive or adjective, form their plural in i ; example, il padre, the father ; i pddri, fathers ; la mddre, a mother ; le mddri, the mothers ; prudente, prudenti, prudent. Exceptions. — First, Mille, a thousand, which makes in the plural mila. Secondly, the five following nouns, re, a king ; spe- cie, a sort; superficie, a superficies; effigie, an effigy; V esequie, the funeral ; which have no change of termi- nation in the plural ; for we say, il re, i re ; la specie, le specie ; la superficie, le superficie ; V effigie, le effigie; V esequie, le escquie : without curtailing the article of the two last nouns in the plural to distin- guish it from the singular V effigie, V esequie. Observe, that we seldom make use of the word esequie in the singular. I have taken no notice here of the noun requie, re- pose, coming from the Latin word requies, because I never saw an instance in which it was used in the plural. However, it would admit of no variation in the plural, any more than re, &c. Moglie, wife, makes mogli in the plural. - : lsiu\ . as Uom oib oJ gci< Rules m NOUNS. Rules for finding the Gender of Nouns in e. First, Nouns ending in me are masculine ; example, il costume, the custom ; ilfiume, the river ; il rdme, the copper ; il verme, the worm. There are two nouns in me, feminine, viz. la fame, hunger ; and la speme, hope. Secondly, there are but four nouns in re, feminine ; viz. la febbre, the fever ; la mddre, the mother ; la torre, the tower ; la pblvere, the dust. All the nouns in ore are masculine ; as, il fore, the flower ; il colore, heat ; il furore, rage ; lo splendore, splendor ; il cuore 7 the heart ; il predicatore, the preacher. There are four nouns in re of both genders, viz. il and la cdrcere, the prison ; il and la cenere, the ashes ; il and lafolgore, the lightning; il and la lepre, the hare. Thirdly, Of the Italian nouns ending in ine, tone, and one ; some are masculine and some feminine ; as, V ordine, the order ; la grdndine, hail ; la prigione, the prison ; il bastone, the stick ; we say, il fine, when we take it for aim or design ; and la fine, when we mean the end ; though in the latter signification, it is usual also to say, il fine and la fine. Fourthly, the following nouns in nte, are feminine ; namely, la gente, the people ; la patente, the patent ; la sorgente, the source ; la corrente, the current; la mente, the mind, and perhaps some few more ; all the other nouns ending in nte are masculine, as il dente, the tooth ; il ponte, the bridge ; il mdnte, the mount ; il gigdnte, the giant, &c. We are speaking here only of nouns-substantive, not of adjectives. There are three nouns in nte which have two gen- ders, viz. il and la fdnte, a servant ; il and la fronte, the forehead ; and il and la fonte, a fountain. Fifthly, The other different terminations in e keep the same gender, as in French and Latin : example, il pesce, the fish ; la voce, the voice ; la crbce, the cross ; il Idtte, the milk ; la lode, the praise: except, La gregge, a flock or herd. We say likewise, il gregqe, masculine in poetry. Of NOUNS. 47 Of Nouns in i. The Italian language has but few nouns termi- nating in i ; they are the same in the plural as in the singular, and are distinguished by the articles ; namely, Singular. Plural il di, the day, i di, the days il Luned), Monday, i Lunedi UMartedi, Tuesday, i Mar ted i il Mercoledi, Wednesday, i Mercoledl il Giovedi, Thursday, i Giovedi il Venerdi, Friday, i Venerdi la diocesi, a diocese, le diocesi il barbagidnni, an owl, i barbagidnni V ecclissi, an eclipse, le ecclissi Vestasi, an ecstacy, le estasi la perifrasi, a periphrasis, le perifrasi V enfasi, an emphasis, le enjasi la metamorfosi, a metamorphosis, le metamorfosi la crisi, a crisis, le crisi la tesi, a thesis, le tcsi la Genesi, Genesis, un pdri, such a one, i fy le pari The last noun is of all genders and numbers ; and we say un pari vostro, such a man as you ; una pdri vostra, such a woman as you ; implying respect. Genesi has no plural, and is of* all genders. In Dante we meet with lo Genesi, but the generality of good writers say la Genesi. There are also some proper names in i, as Giovdiwii, Parigi, Ndpoli; and the numeral nouns, as died, undid, dodid, tredid, quattordid, quindid, stdid, venti. Of Nouns in o. Nouns ending in o are masculine, except, first, nouns of women, as Saffo, Elo. Second, the word mano, which is 48 NOUNS. is feminine, and makes its plural in i ; for example, il fratello, the brother ; i fratelli, brothers ; ilfazzoletto, the handkerchief, i fazzoletti; la mdno, the hand, le mdni ; uomo, man, makes uomini in the plural. * # * Note, that nouns-substantive in aro, more ele- gantly change their termination into ajo ; thus we say,, Genndro and Genndjo, January. Febbrdro and Febbrdjo, February. Calzoldro and calzoldjo, a shoemaker. Mortdro and mortdjo, a mortar. There are some nouns in o which terminate in the plural more elegantly in a than in i, and then they be- come feminine in the plural ; they are as follow : V anello, le anella, the rings il brdccio, le brdccia, the arms il budello, le budella, the bowels il calcdgno, le calcdgna, the heels il cerchio le cerchia, the circles, hoops il ciglio, le ciglia, the eyebrows il corno, le coma, the horns il dito, le dita, the fingers il ditellOf le ditella, the armpits ilfilo, lefila, the threads ilfrutto, lefrutta, the fruit • il gesto, le gist a, the actions, feats il grido, le grida, the cries il guscio, le guscia, the shells il ginocchio f le ginocchia, the knees il labbro, le Idbbra, the lips il lenzuoloy le lenzuola, the sheets (of a bed) il leg no, le legna, the sticks il melo, le me la, the apples il membrOf le membra, the limbs il muro, le mura, the walls il miglidjo, le miglidja, the thousands il m'iglio, le miglia, the miles V orecchio f le oreechia, the ears V osso, le ossa, the bones ilpdjo, le pdja, the pairs il porno NOUNS. le poma, le pugna, le stdja, le risa, the apples the fists the bushels- the laughters- le nova, the eggs le rubbia, the measures^ le vestigia, the footsteps 49 il porno, il pitgno, lo st&jo, il riso, V novo, il rubbio, il vestigio, Nouns of two syllables ending in co and go, take an h in the plural, in order to avoid a change of pronun- ciation : examples, ilfuoco, the fire, i fitochi, the fires ; il luogo, the place, i luoghi, the places. Two are excepted. 77 pcrco, the pig ; i porci, the pigs. II Greco, Greek ; i Greci, Greeks. The other nouns in co and go, of more than twc syllables, do not take an h in the plural ; as, amico, amid, friends ; domestico, domtstici, domestics ; cano-> nico, canonici, canons ; cattolico, cattolici, catholics ; mtdico, medici, physicians ; mendico, mendici, beggars. The following are exceptions : Albcrgo, alberghi, dwellings Antico, antichi, ancients Astrologo, astrologer, makes astrologhi and astrologi. In like manner, monaco, a monk, forms in the plural monachi and monad. Antico, Beccafico, Bifolco, Catafdlco, Did logo, Fia7?iingo, Reciproco, Siniscdlco, Tedesco, Trdffico, Nouns ending antichi, beccafichi, bifolchi, catafdlchi, didloghi, Fiaminghi, riciprochi, siniscdlchi, Tedeschi, trdffichi, in io form theii the ancients fig-peckers labourers scaffolds dialogues Flemings- reciprocals high-stewards Germans tradings plural in ii, j, or i f observing the two following rules 1st. Those in which the io is long, the i of io being accented, and making a dissyllable, retain the two syl- lables in the plural, changing o into i; thus, natio, pio f zio, mormorio, make in the plural natii. pii, zii, mormorn, D 2nd, 50 NOUNS. 2nd. Those in which the io is short, the io making but one syllable, change io into j or i omitting the final o as follows : Singular. Plural. Examples. chit glio, chi. 9 l h cio and ccio, ci and cci, yio, ajo, ojo, 9h C tempio, tempj. J necessario, necessarj { principio, principj. $ occhio, occhi. j> vecchio, vecchu Ifoglio, fogli. Ifiglio, JiglL I consiglio, consigli. C bacio, bdci. . j laccio, lacci. ' J impaccio, impacci. (^fantoccio, fantocci. \ raggio, I saggio, raggi. saggi. ( mugnajo, I librajo, mugnai. librai. J rasojo, rasoi. £ vasojo, vasoi. Nouns in u. Of The Italian language has but few nouns in u; and they do not change their termination in the plural : examples : la gru, a crane, le gril la gioventil, youth, le gioventib la servitib y servitude, le servitk la tribil, a tribe., le tribu la virth, virtue, le virtib la schiavitit, slavery, le schiavitil Remarks on some Nouns. %* When the letter I is found in Latin and French after/, b, p, we must change I into i. Examples, fleur, fibre ; blanc, bianco ; blanche, bianca ; plein, pieno ; temple, tempio; plomb, piombo. V Note > NOUNS. 51 *£* Note, the Italians never put a c or p before a £, but the p or c are changed into t : examples, doctus, dotto; doctor, dottore; act, dtto; aptitude, attitudine; adoption, adozione. Ph is changed into f; example, philosopher, filo- sofo ; Ephesus, Efeso : x is changed into s or ss, and sometimes into c; as, Xerxes, Serse; Alexander, Ales- sdndro ; excellent, eccellhite. Of the Augment atives. The Italians, more than other nations, have this peculiarity in their language, that they can augment or diminish the signification of the nouns, by only adding certain syllables to the end of them, which they call augmentatives or diminutives. Augmentatives are words which, by the increase of a syllable, increase also in their signification. There are two sorts of augmentatives ; the first ter- minates in one, to express any thing great and large ; as, capptllo, a hat, which, by changing o into one, makes cappellone, a large hat ; sdla, a hall ; change a into one, and you make salone, a large hall ; frate, a friar ; fr atone, a fat overgrown friar : casa, a. house ; casone, a great house : I'tbro, a book ; librone, a large book : and so of the rest. *^* Observe, that the augmentatives ending in one are alwavs masculine, though the nouns from whence they are formed be feminine ; example, una porta, un portone ; la camera, il camtrone. The other augmentatives are formed by changing the last letter of the word into accio, for the masculine, and into accia, for the feminine ; but then these aug- mentatives declare the thing somewhat contemptible ; as, capptllo, a hat ; cappellaccio, a great ugly hat. Sala, a hall ; Saldccia, a great dirty hall. Cdsa, a house ; casdccia, a great dirty house. Nouns terminating in ame, denote plenty or abun- dance of any thing common; as. gentdme, abundance of people ; ossdme, abundance of bones. Observe, nevertheless, that in those terminations d 2 there 52 NOUNS. there are nouns which are not augmentatives ; for in- stance, in one, we find bastone, a stick : in dme, stdme, worstead ; in dccio, and in dccia, Idccio, a halter ; fdccia, a face, &c. Of Diminutives. Although the diminutives are increased by the addition of one or more syllables, yet the addition lessens the signification of their primitives. There are two sorts of diminutives, one of kindness and flattery, another of compassion. The diminutives of kindness and flattery have their terminations in ino, etto, ello, for the masculine ; and in ina, etta, clla, for the feminine ; examples, from povero, poor, come poverino, poveretto, poverello, a poor little man, poverina, poveretta, poverella, a poor little woman. The diminutives of compassion end in uccio, uzzo, icciuolo, for the masculine, and in uccia, uzza, icciuola, for the feminine ; example, from uovio, a man, is formed uomuccio, uomuzzo, uomicciuolo, a poor little man. * # * Note, the diminutives convey no meaning of contempt like the augmentatives ; so that to express a little old man, you may use indifferently vecchietto, vecchino, vecchiettino, vecchiarello, vecchiarellino, ex- cept the termination uccio and uzzo; as, vecchiuzzo, cas- succia; as also cdsina, casttta, to express a small house. *** Observe also, that the diminutives in ino and ina, have something of tenderness and persuasive flat- tery in them ; examples, the pretty little prince, il principino ; the pretty little princess, la pri?icipes$ina. In her pretty little room, nel suo bel camerino. Cdne, a dog, has its diminutive cagnuolino, a pretty little dog. Tdvola, ' makes tavolino, a little table. Cdsa, a house, casino, a small house. Camera, a room, earner mo, a little room. Berretta, berrettino, a little cap (for men); which show that several feminine nouns in a make their dimi- nutives in ino. Of NOUNS. 53 Of Nouns Adjective. The adjectives always agree with their substantives in gender, number, and case. There are two sorts of adjectives, one terminated in o, the other in e. The adjectives in o serve for the masculine ; example, bello, sdnto, dotto, ricco, povero : these adjectives, and all others ending in o, form their plural in i; as, belli, sdnti, dotti, ricchi, poveri. To make these adjectives of the feminine gender, you must change o into a, as bello, bella; dotto, dotta ; ricco, ricca : and in the plural you must change a into e; as, belle, dotte, ricche. The other adjectives ending in e are of the mascu- line and feminine gender, without changing their ter- mination, and they form their plural in i, as well for the masculine as feminine : examples, un ubmo pru- dente, una donna prudente ; due uomini prudenti, due donne prudenti. From the adjectives we may form comparatives and superlatives. Of Comparatives* The English comparatives are adjectives, before which are put the particles, more, less, better, worse, &c. The Italian comparatives have before them, piil, vitno, or meglio : as, piu dotto, more learned ; meno dotto, less learned ; piu bella, more handsome ; meno bella, less handsome. The comparatives serve to compare one thing with another : the sun is larger than the earth,; your sister is better dressed than your niece. In these examples we compare the sun with the earth, the sister with the niece. There are four Italian comparatives, which end in ore : they may also be expressed by piu, except mi- gliore, * See Exercises, p. 16. 54 NOUNS. gliore, or meglio, which are comparatives without the help of the particle piil. maggiore, greater, piil grdnde minore, less, piu piccolo peggiore, worse, piil cattivo migliore. better, meglio, or piil buono To which may be added superiore, superior, and inferiore, inferior, or lower. Observe, that the Italians never make use of the words peggio and meglio, but when they want to express the French words pire and mieux, that is, worse and better, taken as adverbs. When the comparative is to agree with the substantive, they say peggibre and mi- gliore, *£* Observe also, that there can be no comparison made without the word than, and that this word is not expressed in Italian by che, but by the articles of the genitive di 9 del, dello, delta, dei, degli, delle. When the word than, placed after the compara- tive, is followed by an article, or a pronoun possessive, as, than the, than my, than thy, than his, than ours> than yours, than theirs, &c. the word than is expressed by the definite articles, del, dello, della, dei f degli, delle. Examples : Clearer than the sun, Whiter than the snow, Mere learned than the scholar, Longer than the days, More beautiful than the stars, Clearer than the glasses, Larger than my book, Broader than my hand, Richer than your relations, piu chidro del sole, piu bianco della neve, piil dotto dello scoldre. piu liinghi dei giorni. piil belle delle stelle. piil chiari degli specchj, piil grdnde del mio libro. piil largo della mia mdno. piil ricchi dei vostriparentL $£ But if the word than is not followed by an article ©r a pronoun possessive, then it is expressed by the in- definite article di. Examples : More NOUNS. 55 More learned than Cicero, piil dotto di Cicerone. More esteemed than I, piu stimato di me. Larger than the whole earth, piil grdnde di tutta la terra. Richer than this man, piil ricco di quest' uomo. If after than there happen to be a pronoun posses- sive, followed by a noun of quality or kindred in the singular, than is expressed by the indefinite article di : example : Handsomer than my brother, my sister, your ex- cellency, &c. piil hello di miofratello, di mia sorella, di vostra eccellenza, &c. We may likewise make use of the definite article, but in that case we must place the pronoun and the noun substantive, according to what has been observed at the end of the first chapter ; and we must say, piil hello del fratello mio, della sorella mia, dell y eccellenza vostra, &c. * # * If the pronoun possessive be in the plural num- ber, as, my brothers, their aunts, their highnesses, we must use the definite articles de y and delle ; example, more powerful than my brothers, piil potenti de y miei fratelli, delle mie zie, delle altezze loro. *y* If the word than is followed by an adjective, or by a verb, an adverb, or a preposition, it is rendered by die : examples : More white than yellow, piil hidnco che giallo. More poor than rich, piil povero che ricco. He writes more than he speaks, scrive piu che nonparla. It is better late than never, e meglio tdrdi che mdi. When the Italians require to heighten their compari- sons, they make use of via piil, assai piil, molto piil, a great deal or much more ; as also of via meno, assai meno, mblto meno, a great deal or much less. Examples— Csesar is much more esteemed than Pompey. Cesar e e via piu stimato di Pompeo. Cesar e e assai piil stimato di Pompeo. Cesar e e molto piil stimato di Pompeo. Pompey was much less happy than Csesar. Pompeo e stato via meno, assai meno, molto meno felice di Cesare. When both the objects are in the nominative case, the comparative than cannot be expressed by che before the 56 NOUNS. the last without repeating the verb, but by di, &e. ; but when the objects compared are in the accusative case, that is to say, after an active verb, then the comparative ilian must be expressed by che before the last object : example, I esteem you more than your brother ; stimo piic voi che vostro fratello. * # * See the Second Part of this Grammar, in the chapter of the concord of nouns, _the rule concerning the comparison, when it is made by as much as, so, &c. Of Superlatives.* The English superlative is only a noun adjective, to which is prefixed the article most, in order to heighten the sense ; as, most learned, most honoured. The Italian superlative is formed from the noun. ad- jective, by changing the last letter into issimo for the masculine, and into issima for the feminine ; thus from grdnde, great, you form grandissimo, greatest ; from bella, handsome, bellissima, handsomest. The most, is expressed by il piii, la piil ; as, the fairest, or most fair, il piil hello, la piit bella, i piil belli, Je piil belle ; the largest, il piil grande. * # * Observe, that by changing the last letter of ad- jectives in issimamente, the superlative adverbs are composed; as, from dbtto, learned, dottissimamente, most learnedly ; from ricco, rich, ricchissimamente, most richly ; from prudente, prudent, prudentissimamente, most prudently. You are also to take notice, that the positive is sometimes used in the Italian language, instead of the superlative ; as, e la bella delle belle ; as if one were to say, she is the fairest of the fair. There is also another sort of superlative ; for we say, un uomo dotto dotto, to signify a very learned man. Observations on some Nouns. Observe that the six following words, uno, hello, grdnde, sdnto, quello, buono, are abridged or retrenched before * See Exercises, p. 23. NOUNS 57 before masculine nouns beginning with a consonant, and we only write, Un, bel, gran, san, quel, buon ; as, un libro, bel cane, granfuoco, san Michele, quel bastone, buon fgliuolo. Before the feminine nouns we write, Una, bella, gran, sdnta, quella, buona. None but gran is shortened before feminines. *** See, in the Second Part, the chapter concerning words which are to be abridged. Frdte signifies a friar, or brother of a religious order. In this sense we abridge the word frdte before the proper names of men, and only use fra; as, fra Pie- tro, brother Peter ; fra Paolo, brother Paul ;fra Ago- stino, brother Augustine; fra Giovdnni, brother John. We must remember also, that fra, before numeral nouns, signifies in : example, fra un dnno, in a year ; fra due mesi, in two months ; fra quindici giorni t in fifteen da vs. Numeral Noutis One, Un, uno, una Two, due Three, tre Four, qudttro Five, cinque Six, sei Seven, sette Eight, otto Nine, nove Ten, died Eleven, undid Twelve, dodici Thirteen, tredici Fourteen, quattordici Fifteen, quindici Sixteen, sedici Seventeen, diciasette Eighteen, diciotto Nineteen, diciannove Twenty, venti d 5 Twenty-one, m & NOl m Twenty-one, ventuno Twenty- two, venti-due Twenty-three, &c. venti-tre, <^c. Thirty, trenta Forty, quardnta Fifty, cinqudnta Sixty, sessdnta Seventy, settdnta Eighty, ottdnta Ninety, novdnta Hundred, cento Two hundred, dug into Three hundred, trecento Thousand, mille Two thousand, due mila Million, milione A score, una ventina Half a score, una decina A dozen, una dozzma A score and a half, una trentina Ordinal Nouns. First, Primo Second, secondo Third, terzo Fourth, quarto, Fifth, quinto Sixth, sesto * Seventh, settimo Eighth, ottdvo Ninth, nono Tenth, decimo " Eleventh, undecimo Twelfth, duodecimo Thirteenth, decimoterzo Fourteenth, decimoqudrto Fifteenth, decimoquinto Sixteenth, decimosesto Seventeenth, decimosettimo Eighteenth, decimottdvo Nineteenth NOUNS. 59 Nineteenth, decimonono Twentieth, ventesimo One-and-twentieth, ventesimo primo Thirtieth, trentesimo Fortieth, quarantesimo Fiftieth, cinquantesimo Sixtieth, sessantesimo Seventieth, settantesimo Eightieth, ottantesimo Ninetieth, novanthimo Hundredth, centesimo Thousandth, millesimo Last, ultimo The proportional numbers are, semplice, doppio, triplicdto, quadruplicate, centuplicdto, single, double, threefold, fourfold, a hundredfold. The distributive nouns are, ad uno ad uno, one by one ; a due a due, two by two. In French and English all ordinal numbers may be formed into adverbs, but in Italian they have only pri- mieramente and secondariamente. To express thirdly, fourthly, &c. they say in ttrzo luogo, in qudrto luogo, &c. in the third place, in the fourth place, &c. A Method by which those who understand French may learn a great many Italian words in a short time. Though Italian is said to be a corruption of the Latin, yet it has a greater conformity and resemblance with the French than with any other language ; for French words, with a little variation, are all Italian, as may be seen by the following examples ; only we must observe that the French syllable cha is already expressed in Italian by ca, rejecting h : example, {Jharbon, charite, chastete, chapon, charette, chandelle, chapeau, the Italians say, Carbone, caritd, castitti, cappone, caretta, candela, cappello. To acquaire a great number of Italian words in a short time, observe the following rules : French 60 NOUNS. French Terminations which in Italian end in a. French words ending in ance, as Constance, vigi- lance, &c. in Italian end in anza ; costdnza, vigildnza, Ml Those in ence in French ; as, clemence, diligence, prudence, end in Italian in enza; clemenza, diligenza, prudenza, Agne makes agna. montagne, montdgna campagne, campdgna Ogne makes ogna. Catalogne, Catalogna charogne, carogna Ie makes ia. comedie, commedia Here the accent is placed upon the e, and not upon the i, as in French, tragedie, tragedia Oire makes oria. gloire, gloria victoire, vittoria Te' makes tti. purete purita liberalite, liberdlitd. See what has been said in the exceptions of nouns terminating in a. Ure makes ura. aventure, vtntura imposture, impostura French Terminations which in Italian end in e. Al makes ale. cardinal, cardindle mal, male Able makes evole. charitable, caritatevole honorable, onorevole louable, lodtvole Ais, names of nations, ese. Francais, Francese Anglais, Inglese Hollandais, Olandese Ant makes ante. yigilant, vigilante amant, amdnte Ent, adjective, ente. prudent, prudente diligent, diligente Eur makes ore. honneur, onore chaleur, colore Ier makes tire. cavalier, cavaliere piquier, picchiere Ion makes ione. union, unione portion, porzione Ison makes gione. raison, ragione prison, prigione On makes one. charbon, carbone canon, cannone baron, bar one Ont makes onte. front, fronte pont, ponte Ude makes udine. inquietude, inquietudine Ulier makes oldre. regulier, regoldre particulier, particoldre French NOUNS. 61 French Terminations which in Italian end mo. Age makes aggio. page, •p&ggio equipage, equipdggio Ain makes ano. vilain, villdno humain, umdno Ain and Ien, names of nations, make ano and ino. Romain, Romano Italien, Italidno Napolitain, Napoletdno Parisien, Parigino Aire makes ario. salaire, saldrio temeraire temerdrio Eau makes ello. chape au, cappello manteau, mantello Ent, substantive, ento. sacrement, sacramento Eux makes oso. genereux, generoso gracieux, grazioso In makes ino, vin, vino jardin, giardino If makes ivo. actif, attivo passif, passivo C makes co. pore, Turc, Grec, escroc, scrocco, doubling the letter c. porco Turco Change of Terminations of Verbs and Participles. rendre, rendere Ir makes ire. partir, partire sentire sentir, Er makes are. aimer, amdre parler, parldre Endre makes endere. prendre, prendere The participles in e make ato; aime, amdto ; orne, orndto; chante, cantdto ; parle, parldto. The participles in i make ito ; dormi, dormito ; senti, sentito ; pati, pat'ito ; menti, mentito. There are a great many Italian words which have no kind of analogy or resemblance with the French ; as, le ciglia, the eyebrows ;fazzoletto,di handkerchief; gobbo, crook-backed ; chiamdre, to call ; scherzdre t to joke ; and many others, which prevent these rules from being general. Other Terminations of the Italian Nouns, derived from the Latin. The Latin ablative generally makes the Italian no- minative ; as, colore, onbre, pettine, vergine. The 62 PRONOUNS. The natural nominatives change their last syllable into o: as, sacerdotium, sacerdozio, &c. But if the last syllable of the nominative begins with a consonant, the consonant continues, and the vowel o is added to it: examples, tempus, say tempo; cornu, c6rno; re- taining the p and n, which are the first letters of the last syllable of the nominative tempus, tempo, and the nominative cornu, corno. The neutral nominatives in en drop the letter n ; as, nomen, nome ; flumen, fume; changing also the letter I into i, as has been already observed, when we treated of nouns ending in u. The greatest part of the Latin infinitives, of the se- cond and third conjugation, make the Italian infini- tives ; as dolere, tenere, solere, temere, vedere, credere? leggere, difendere ; but the e, in those words which are accented, is pronounced in a different manner, being the close e, like that in the French word malgre. CHAP. HI. Of the PRONOUNS. THE pronouns are either personal, conjunctive, pos- sessive, demonstrative, interrogative, relative, or im- proper. Of Pronouns Personal.* The pronouns personal are io and not for the first person, and they serve for the masculine and feminine. Tu and voi, for the second, and these serve also for the masculine and feminine. Egli for the third person of the masculine gender, and makes eg lino, in the plural. Ella or essa (because lui for the masculine, and lei for the feminine, are never used in the nominative), for the third person in the feminine gender, form in the plural elleno ; but esse is preferable. Hence we seldom say lui or lei mi dia una presa di tobacco, give me a pinch of snuff; but signore V. S. or ella mi dia una presa di tabdcco. * See Exercises, p. 24, 82, &c. The pronouns. m The pronouns personal are declined by the article indefinite, di, a, da, Sing. Plur. With me, is rendered by con me, or meco ; me after the imperatives, is expressed by mi ; as, speak to me> parldtemi; tell me, ditemi ; send me, manddtemi; write to me, scrivetemi. Us, after the imperative, is rendered by ci : example, tell us, diteci; give us, dated; show us, mostrdteci. In these examples, us is not a pronoun personal, but conjunctive, as will be shown hereafter. The Declension of Pronouns Personal. First Person. Nom. I, io. Gen. of me. di me. Dat. to me, a me, or mi. Ace. me, me, or mi. Abl. from me, da me. Nom. we, not. Gen. of us, di noi. Dat. to us, a noi, or ci. Ace. us, noi, or ci. Abl. from or by us , da noi. Sing. Plur. Second Person. Nom thou, tu. Gen. of thee, di te. Dat. to thee, a te or ti. Ace. thee, te or ti. Abl. from thee. da te. Nom you or ye, voL Gen. of you, di voi. Dat. to you, a vci or v Ace. you, voi or vi. Abl. from you, da voi. With thee, is* rendered by con te, or teco ; you, after imperatives, by vi, and not by noi, as, be con- tented, 64 PRONOUNS. tented, contentdtevi f show yourself, mostrdievi ; hide yourself, nascondetevi ; dress yourself, vestitevi ; thee, or thyself, is expressed after imperatives by ti ; as, mostrati, show thyself. Third Person. For the masculine. Sing. Nom. he, Gen. of him, Dat. to him, Ace. him, Abl. from him, egli. di lui. a lui, or gli. lui, or lo and il. da lui. Plur. Nom. they, Gen. of them, Dat. to them, Ace. them, Abl. from them, eg lino. di loro. a loro, or loro, and gh loro, or gli. da loro. *** Remember that the pronoun him, or to him, when joined to a verb, is always rendered in Italian by gli, and her by le, as you will see in the pronouns con- junctive. Sing. Third Person. Feminine. Nom. she, ella, or essa. Gen. of her, di lei. Dat. to her, a lei, or le. Ace. her, lei, or la. Abl. from or by her, da lei. Nom . they, elleno or esse. Gen. of them, di loro. Dat. to them, a loro, or loro. Ace. them, loro, or le. Plur. Abl. from, or by them, da loro. Though there are instances of lui, lei, and loro, being used in the nominative, yet it is better to say egli pdrla, ella cdnta, than lui pdrla, lei cdnta ; because lui is not to be used in the nominative, but in the other cases, in which it is better to make use of lui, lei, and loro, PRONOUNS. 65 loro, than of egli, ella, eglino, elleno. We therefore say, for him, per lui; for her, per lei; for them, per loro; with him, con lui, or seco; with her, con lei, or seco ; with them, con loro. Of the Pronoun se, one's self, himself or herself There is another personal pronoun, which serves in- differently for the masculine and feminine : it is, se, one's self; it has no nominative. Gen. of one's self, himself, or herself, di se. Dat. to one's self, &c. a se, or si. Ace. one's self, &c. se, or si. Abl. from or by one's self, &c. da se. It is often joined with the pronoun stesso, or stessa, and in that case it is more elegant; per se stesso, by, or for himself ; per se stessa, for herself. Of Conjunctive Pronouns. The conjunctive pronouns bear a great resemblance to the personal pronouns ; the personal pronouns are, 7, thou, he, she ; we, ye, they. There are seven pronouns conjunctive, viz. to me, or me ; to thee, or thee ; to himself, or himself; to herself, or herself; to him, or him ; to us, or us; to you or yov ; to them, or them. They are expressed in Italian by mi, ti, si, gli, or le, ci, vi, loro. It is easy to remember that the pronouns conjunc- tive, me, thee, one*s self, himself or herself ; to him, them, or to them, fyc. are always rendered in Italian by mi, ti, si, gli, or le, loro ; example, this pleases me, questo mi pidce. God sees thee, Dio ti vede. The sun rises, il sole si leva. I will tell him, io gli dirb. I will tell her, io le dirb. I promise them, prometto loro; as well for the mas- culine as the feminine. %* The pronoun conjunctive loro is always put after the verb in Italian ; as it is in English, for instance, you will tell them, direte loro. The If PRONOUNS. The pronoun conjunctive, to him, is expressed in Italian by gli, and to her, by le : example, I speak to him, io gli pdrlo ; I speak to her, io le pdrlo. We like- wise make use of gli, or li, in the plural, to signify loro; but observe, we must put gli before the finite mood; as, io gli ho inteso dire cose mirdbili-; and loro after the infinitive mood, as, ho veduto far loro cose mirdbili. N. B. But gli for loro is seldom used in prose. The pronouns we and ye are expressed in Italian by noi and voi, when they precede the verbs whose action they make, and to which they are nominatives ; as, we pray, no i preghidmo ; you sing, voi cdntate. We is the nominative of to pray, of which it makes the action ; and so ye is the nominative of to sing ; then we and ye are pronouns personal. When we and ye, in Italian noi and voi, precede verbs to which they are not the nominative, and there is some other word which goes before, and makes the action of the verb, then they are pronouns conjunc- tive, and must be expressed by ci and vi, in English us and you : example, the master speaks to us, il maes- tro ci pdrla, and not noi pdrla : because the master makes the action, and is the nominative to the verb. In like manner, to render in Italian, we speak to you, we must say, noi vi parlidmo, and not noi voi parlidmo ; because w e is the nominative, and makes the action of the verb, and not you, which, instead of making it, receives it. Yet we may say, il maestro pdrla a noi, noi parlidmo a voi. *** One of the chief difficulties to learners of the Italian language is, to express the pronouns conjunc- tive mi, ti, ci, gli, ci, vi, when they are followed by the particles lo, la, li, le, or ne. But to explain this, observe you must express them here as follows, changing the letter i of the pronoun conjunctive into e ; as to say, to me of it, instead of mine, you must say mene ; in like manner, instead of mi lo, you are to say, melo, pronouncing the two syl- lables short. And the same is to be observed in all the following conjunctive pronouns. Me, pronouns. m at ~( it, to me, melo, mas. Me, mi ; me of 1 / , 7 7 r- '.. ^ it, tome, mela, fern. (them, to me, -wie/i, mefe, m. & f. „,, .. ., r.(it, to thee, telo, mas. Thee, h; thee of) it ; tQ thee ; ^ fem> it, te^e. (them, to thee, teli, tele, m. & f. „. 1V . ,. tit, to himself,sefo, mas. Himself, si ; him- V. ... u? i r lf p. < it, to mmseli,seta, fern, sell ot it, serce. £ them ^ to himself,seft, sete, m. & f. m 1 • 7 . , C it, to him, qlielo, mas. To him, c&, to).,' , ,. ' f™ 7 ff 1" ft 7 i ' to him, gcieia, tern. ? ^ ' C them, to him, gliela,gliele,m.&L jr *• f "t S **» t0 us > c ^ ' mas * ' l ' ' < it, to us, cefa, fern. 1 them, to us, ce/i, cefe, m. & f. v • f > it, to you, veto, mas. You, vi ; you of ) . ' . •> 9 7 ' c it ve/ie ) rt ' t0 Y ou » ^a, fern. C them, to you, ^e/z, vefe, m. & f. To them, loro ; to them of it, ne loro; putting always loro after the verb. If the verbs are in the infinitive, or the gerund, the pronoun conjunctive must be transposed; as, to tell me, per dirmi ; to tell me of it, per dirmene ; to give it to me, per darmelo ; in telling it me, dicendomelo ; to give it to us, per ddrcelo; so as to make, as it were, but one word of it, remembering that we must always pronounce short, melo, mene, telo, tene, celo, cell, cele, and the rest after the same manner. Other examples concerning the pronoun conjunctive loro, them. I promise them, prometto loro. To promise them some, per prometterne loro. In promising them some, prometttndone loro. After imperatives, and before infinitives and gerunds, the pronouns are never personal, but conjunctive ; example, give us, dated; to see you, per vedervi; in speaking to you, parldndovi. After verbs, when a question is asked, the pronouns are personal, and not conjunctive ; example, have you ; avete voi ? shall we sing ; canteremo not ? The poets always iise ne, instead of ci, to express the 68 PRONOUNS. the pronoun conjunctive us, as in Guarini's Pastor Fido. Perche, crudo, destin, ne disunisci tu, s'amor ne stringe ? E tu -perche ne stringi, se ne parte il destin, perfido amore ? Why, cruel fate, dost thou part us, if love unites us ? And thou, treacherous love, why dost thou unite us, if fate parts us. Of Pronouns Possessive.* The English have no article in the nominative be- fore pronouns possessive, but the Italians have ; as, my, U mio, la mia, fern. Plur. i miei, le mie, fern. There are six pronouns possessive, viz. il mio, il tuo, il suo, il nostro, il vostro, il loro: my, thy, his, our, your, their : in the plural they make i miei, i tuoi, i suoi; i nostri, i vostri, i loro. The feminine pronouns possessive are, la mia, la tua, la sua, la nostra, la vbstra, la loro ; in the plural, le mie, le tue, le sue, le nostre, le vostre, le loro. Loro, as you see, never changes, but is always loro ; it is put before the masculine, as well as the feminine ; before the singular, as well as the plural number. The pronouns possessive are declined by the definite article il for the masculine, and by la for the feminine. To render them easy to decline, I shall give the fol- lowing example : Sing. Nom. my book, il mio libro. Gen. of my book, del 7nio libro, Dat. to my book, al mio libro. Abl. from or by my book, dal mio libro. Plur. Nom. my books, i miei libri. Gen. of my books, de' miei libri. Dat. to my books, a miei libri. Abl. from or by my books, da 9 miei libri. Decline all the other masculines in the same manner, and the feminines by the article la; as, la mia serva, delta mia serva, alia mia serva, dalla mia * See Bottarelli's Exercises, p. 26. PRONOUNS. 69 serva ; le mie serve, delle mie serve, alle mie serve, ddlle mie serve. *£* Note, you must not use the definite article when the pronouns possessive precede nouns of quality, but the indefinite articles di, a, da : examples, Your majesty, vostra maesta. Of your majesty, di vostra maesta. To your majesty, a vostra maestc). From your majesty, da vostra maesta. *^ * Remember also, that names of kindred conform to this rule ; thus we say, mio padre, di mio padre, a mio padre, da mio pddre ; mia mddre, di mia mddre, a mia mddre ; da mia mddre ; mio fratello, di mio fratello, a mio fratello, da mio fratello ; mia sorella, di mia sorella, a mia sorella, da mia sorella ; mio marito, &c. If the nouns of quality or relation be in the plural, we must make use of the definite article i or le, de* or delle : examples. Your brothers, i vostri fratelli, or i fratHli vostri. Of your brothers, de 9 vostri fratelli, or de fra- telli vostri. To your brothers, a vostri fratelli. From your brothers, da' vostri fratelli. Your sisters, le vostre sorelle, or le sorelle vostre. Of your sisters, delle vostre sorelle. To your sisters, alle vostre sorelle. From your sisters, dalle vostre sorelle. Their highnesses, le altezzeloro, or leloro altezze. Of their highnesses, delle altezze loro. To their bignesses, alle altezze loro. From their highnesses, dalle altezze loro. Though the definite article sometimes occurs in an- cient and modern authors before nouns of kindred in the singular number, yet we ought not to imitate them ; according to the old proverb, tu vivendo bonos, scri- bendo secjuere peritos. Observe, m PRONOUNS. Observe, that when the pronoun possessive is ac- companied by a pronoun demonstrative, we do not put the article in the nominative. We do not say, il questo mio libro, but questo mio libro. In all other cases, we make use of the indefinite article ; thus we say, di questo vostro libro, a quella nostra cdsa, &c. Of Pronouns Demonstrative. The pronouns demonstrative are as follow : This, that, these, those. They are called pronouns demonstrative, because they serve to point out or demonstrate any thing or person : as, this book, that man, that woman, &c. We make use of questo, questi, questa, queste, in showing a thing near at hand : and quel, quello, quelli, quei, quella, quelle, in showing or speaking of a thing at a distance. Costui, colui, costei, colei, are also pronouns demon- strative, and never used but in speaking of a rational being ; as, of a boy, a man, a woman, &c. and not of a horse, a dog, &c, example ; it is for this man, do not give it to that, t; per costui, non lo date a colui : pay this woman, and send away that, pagdte costei, e rimanddte colei : you may also say, e per questo, non lo ddte a quello ; pagdte questa, rimanddte quella. Colui, costui, colei, costei are used (in prose) to imply contempt. Costui and costei, form in the plural costoro, these men or women : colui and colei make in the plural coloro, they or those men or women. We seldom make use of coloro or costoro, either in the feminine or in the masculine for the nominative. We make use of costui, colui, costei, colei, costoro, coloro, when they are the last words of a sentence, but seldom in the beginning or middle of it. We frequently meet with cotesto and cotesta, and they signify that man or thing, that woman or thing ; but you are to observe, that there is a difference between questo and cotesto. Foreigners, and sometimes the Italians PRONOUNS. 71 Italians themselves, are mistaken in the use of these two pronouns. We ought never to use cotesto, and cotesta, but in speaking of a thing which concerns the person who hears us. Therefore you must not say, cotesto mio dbito, but questo mio dbito, this coat of mine. / *£* Observe, guesliand quegli are often used for the singular number ; as, this man was happy, that unfor- tunate, questifufelice, quegli sfortundto ; but it is used only in speaking of a rational substance, as of a man, a woman, an angel, &c. and not in speaking of an animal, or any inanimate thing for then we are to make use of questo and quel or quello. *^* Note, what, is often expressed by il che ; but in that case it must refer to some antecedent phrase : ex- ample ; my father is dead, which obliges me to go, mio padre e morto, il che mi bbbliga a par tire. In the be- ginning of a sentence we must say, cib che: example ; that which pleases me, I have not, cib che mi pidce, non V ho. Of Pronouns Interrogative, The pronouns interrogative serve to ask questions, and are as follow : who ? what ? which ? chi ? che ? quale ? Examples. Who is it ? chi e? Who told you so ? chi v ha detto cib ? What will you have ? che volete ? What are you doing ? che fate f What book is it ? che libro e ? What house is it 1 che casa e ? W r hat? che? of what? di che? to what? a che? from what ? da che ? %* Che is often used for quale ? and then the phrase is more elegant: example; what man is that? che uomo e ? what business have you ? che affdri avete ? instead of saying, qual uomo e ? qudli affdri avete ? Of 72 PRONOUNS. Of Pronouns Relative. * There are three pronouns relative in English, That, who, tmd which. That, when it is a relative pronoun, is expressed in Italian by che, or by il qudle in the masculine, and by la qudle in the feminine : example, il libro che io leggo, the book that I read. La.casa che ho, the house that I have. I said when it is a pronoun relative, because when it is a conjunction or adverb, it is rendered by che ; you must therefore say, credo che andrb, &c. I believe I shall go, &c. Who, except it be interrogative, is also expressed by che ; example ; the master who teaches, il maestro che insegna : the fools who laugh, gli sciocchi che ridono. But if it be interrogative, it is rendered by chi. Of whom or whose is expressed by di chi or di cui. To whom is expressed by a chi or a cui. From whom, by da chi, or da cui. Which, masc. is expressed by il qudle ; of which, del qudle; to which, al quale; from which, dal quale; which, plural, i qy,&li; of which, dei qudli; to which, ai qudli ; from which, dai qudli. Which, feminine, la qudle, delta qudle, alia qudle, dalla qudle; in the plural, le qudli, &c. * * Observe, that the pronouns relative, that, who, which, are also expressed by che; thus, instead of saying qudle, qudli, il qudle, i qudli, la quale, le qudli; we may say and write che, which is more received. * # * The purest authors place the pronoun cz« between the definite article and the noun. See the following examples ; but observe, that you will never find this pronoun in the nominative. Whose fair face, il cui bel viso, or il di cui bel viso, for il bel viso di cui. Whose beauties, le cui bellezze, or le di cui bellezze, for le bellezze di cui. To whose father, al cui pddre, or al di cui padre, for al pddre di cui. From whose brother I have received, dal cui, or dal * See Bottarelli's Exercises, p. 27. di PRONOUNS. 7£ di cui fratello ho ricevuto. See Bocc&ccio, Lodovico r Dolce, Menzini, Ddvila, and cardinal Bentivoglio, wha frequently use these expressions. The French relative, dont, of xohich or of whom* is rendered in Italian by di cui. Dont le, it di cui, or il cui. Dont la, la di cui, or la cui. Dont les, i di cui, or i cui, for the masculine. Dont les, le di cui, or le cui, for the feminine. \* Lo, la, li, le, are pronouns conjunctive, when before verbs. Him, as we have already observed in the chapter of articles, is rendered by lo ; example, I see him, iq- li- vedo ; you know him, voi lo conoscete. If the verb begins with a vowel, there must be an elision : as, I caress him, io I 9 accarezzo. Her, is expressed by la ; example, I know her, io la> conosco ; you want her, voi la volet e. Them is expressed by li for the masculine, and for le for the feminine ; as, I see them, li vedo or le vedo. %* Remember that the conjunctive pronouns, lo, lo li, le, must be transposed after infinitives, gerunds, and the word ecco, here (or) there is, and not put before, as in French. Esso, he, himself, or it ; is a personal pronoun which can be constructed also as a demonstrative : it makes in the plural, essi, themselves ; essa, she, herself, or t& makes esse, themselves, fern. Of Improper Pronouns. These pronouns are called improper, because, in fact, they are not properly pronouns, but have a great resemblance to adjectives as well as to pronouns* They are the following : Tutto, tidti, m. tutta, tutte, f. all or every ; ogni, each or every ; dltro, altra, dltri, dllre, other, others ; qudlcke^ some: chiunque, whosoever; qualcheduno, qualcheduna^ some one; alcuno, some one, man or thing; alcuna r some one, woman or thing ; ciaschedu.no, ciascheduni? masc. ciascheduna, ciaschedune, fern, every one ; nissuno^ E nobody ; 74. PRONOUNS. nobody ; il medesimo, il medemo, lo stesso, mas. la me- d£sima 9 la medema, la stessa, V istessa, fem. the same ; ciascuno, masc. ciascuna, fem. each or every one; altrui, altri, others, &c. Veruno, veruna, not one man or woman, is used for the affirmative as well as for the negative. Tutto, comprehends a totality, and agrees with the thing spoken of; example, all the world, tutto il mondo, or tutto H mondo ; all the men, tutti gli uomini. The whole earth, tutta la terra. All the women, tutte le donne, *#* We must use tutto and tutta, when the word all is followed by an article or a numeral noun : as, all the world, tutto 7 mondo ; all the earth, tutta la terra : all three, tutti tre. But if after -the word all, there be no article, we must useo^m: example, all men who say so, speak wrong, ogni uomo che dice questo, parla male: all women who, ogni donna che. Observe, nevertheless, that this pronoun (tutte) is used without the article ; and is of great elegance, especially in verse. Che tutte altre bellezze indietro vdnno. Sciolii da tutte qualitadi umdne. *** Ogni is put with the singular number, and never with the plural ; and it is indeclinable. It is used be- fore masculines as well as feminines, and especially when the pronoun all may be rendered by each or every: examples, all or every scholar, ogni scolare ; for all or every thing, per ogni cosa. There are some examples of ogni in the plural. Cres. 236, says, appresso la festa d'ogni s&nti, after the feast of All Saints. Fiam. 29, * miei qffdnni ogni altri trapdssano. But such examples are so uncommon, that they hardly deserve notice. Allro makes in the plural altri; altra, feminine, makes altre. Oblique cases can be constructed by altrui ; as, gen. altrui, or d* a Itrui ; dat. alt r id or ad aiirui ; ace. altrui ; abl. altrui, or da altrui. Altro, when it is not followed by a noun, signifies another thing. Altri VERBS. 15 Altri is sometimes put for the singular number ; as, altri pidnge, altri ride., one weeps, another laughs. %* Qudlcke is only placed before the singular, and never with the plural : it is not right to say, qualche signori, qualche signore, some gentlemen, some ladies ; you must say, alcuui signori, alcune signore. Qualsivoglia, whatever, is likewise used as an im- proper noun ; qualsivoglia libro, whatever book ; qualsivoglia cera, whatever wax. CHAP. IV. Of the VERBS.* WHATEVER, relates to the verbs will be rendered much easier to learn by attending to the following remarks : Important Remarks on the Conjugations. Before you begin to learn the conjugations, it will be proper to observe, that all the verbs may be conjugated without the pronouns personal, io, tu, egli, noi, voi, eglino ; you are therefore at liberty to form them with or without the pronouns ; and it will be right in you to follow the Latin rule, Supprimit orator, quce rusticus edit inepte. *^.* You must also observe, that the tenses marked with a star, in the conjugation of the verb avere, to have, are terminated and conjugated after the same manner in all the other verbs ; thus, we say in the preterimperfect of the verb avere. ■\ Avevo, or aveva, avevi, aveva, avevdmo, &c. * See Bottarelli's Exercises on the Verbs, p. 33, et seq. t The best writers in the Italian language terminate the first person of the preterimperfect of all verbs in a ; aveva, not avevo ; amdva, not amdvo ; the latter termi- nation being used only by the vulgar. e2 All 70 VERBS. All verbs follow the same rule : examples, Amavo, or amava, amdvi, amdva, amavamo, &c. Credevo, or credeva, credevi, credeva, credevdmo, &c. SentivOf or sentiva, senlivi, sentiva, sentivdmo, &c. And in like manner all other tenses that are distin- guished by a star, except the single verb essere, to be. Note. In the Italian language, as in Latin, we do not make use of any personal pronouns before verbs, except when two or three different persons are expressed by the same word ; — as the subject of the third person both of the singular and plural, may be a man, or a woman, two men, or two women, it admits very fre- quently of the pronoun, when there is no antecedent which points clearly to the subject. Conjugation of the auxiliary verb avere i to have, INDICATIVE. " Present. Singular. I have. io ho, or ho. Thou hast, tu hdi hai. He has, egli ha, Plural. ha. We have, noi abbidmo, abbidmo* You have, voi avete, avete. They have, eglino hdnno, Preterimperfect. hdnno. I had, Ho aveva f or avevo. Thou hadst, tu avevi. He had, egli aveva. We had, noi avevdmo. You had, voi avevdte. They had, eglino avevano. PreTerperfect Definite. I had, io ebbi. Thou hadst, tu avesti. He verbs. n He had, egli ebbe. We had, noi avemmo. You had, voi aveste. They had eglino ebbero. Preterperfect. I have had, io ho avuto. Thou hast had, tu hdi avuto. He has had, egli ha avuto. We have had, noi abbidmo avuto. You have had, voi avete avuto. They have had, eglino hdnno avuto. Preterpluperfect. I had had, io aveva avuto. Thou hadst had, tu avevi avuto. He had had, egli aveva avuto. We had had, noi avevdmo avuto. You had had, voi avevdte avuto. They had had, eglino avtvano avuto. Future. I shall or will have, * io avro. Thou shalt have, tu avrdi. He shall have, , egli avra. We shall have, noi avremo. You shall have, voi avrete. They shall have, eglino avrdnno. IMPERATIVE. The imperative has no first person singular in. Italian. Have thou, dbbi tu. Let him have, dbbia egli. Let us have, abbidmo noi. Have you, abbiate voi. Let them have, abbiano eglino. OPTATIVE. 78 VERBS. OPTATIVE and SUBJUNCTIVE. I join them together, because their tenses are similar. Present. That I may have,. ck' io dbbia. That thou mayest have, che tu dbbi, or abbia. That he may have, ch' egli dbbia. That we may have, che noi abbidmo. That you may have, che voi abbidte. That they may have, ch* eglino dbbiano. First Preterimperfect. That I had, * di io avessi. That thou hadst, che tu avessi. That he had, ch' egli avesse. That we had, che noi avessimo. That you had, che voi aveste. That they had, ch 9 eglino avessero. Second Preterimperfect. I should have, io avrei. Thou shouldst have, tu avresti. He should have, egli avrebbe. We should have, noi avremmo. You should have, voi avreste. They should have, eglino avrebbero. Preterperfect. That I have had, ch 9 io dbbia avvAo* Thou hast had, che tu dbbi avuto. He has had, ch 9 egli dbbia avuto. We have had, che noi abbidmo avuto. You have had, che voi abbidte avuto. They have had, ch 9 eglino dbbiano avutOi Preterpluperfect. It is compounded of the first preterimperfect sub~ junctive and the participle. If I had had, se io avessi avuto. If thou hadst had, se tu avessi avuto. If VERBS. 79 If he had had, s 9 egli avesse avuto. If we had had, se noi avessimo avuto. If you had had, se voi aveste avuto. If they had had, $' eglino avessero avut&* Second Preterimperfect. It is compounded of the second preterimperfect sub- junctive and the participle. I should have had, io avrei avuto. Thou shouldst have had, tu avresti avuto. He should have had, egli avrebbe avuto. We should have had, noi avremmo avuto. You should have had, voi avreste avuto. They should have had, eglino avrebbero avuto. Future. It is compounded of the future of the indicative and the participle. When I shall have had, quancV io avrb avuto* Thou shalt have had, quando tu avrdi avuto. He shall have had, quanoV egli avra avuto. We shall have had, quando noi avremo avuto* You shall have had, voi avrete avuto. They shall have had, eglino avrdnno avuto. INFINITIVE. Present. To have, avere. Preterperfect. To have had, aver avuto. Participles. Had, avuto, avuta ; plural, avuti, ovule. Gerunds, SO VERBS. Gerunds. C avendo. *t • • l i coll* avere, Having, or in having, < ,,, ; ° b \ J nell avere. t in avere. Having had, avendo avuto. %* We often use the verb avere, with the particle da or, a, instead of the verb dovere ; example, I ought to do, ho da fire ; being to speak, avendo a dire ; in- stead of devofdre, dovendo dire. By the generality of tenses of the verb avere, you plainly perceive ho w necessary it is to be perfectly acquainted with them in order to attain a speedy knowledge of all the rest, since there is such an entire conformity between them, except in the present, pre- terperfect definite, and the subjunctive. %* Upon first learning the Italian language, the interrogation creates some difficulty ; and we are at a Joss how to express shall I have ; have ive? hast thou? has he ? yet there is nothing more easy ; for it is merely by putting the pronouns personal after the verbs, as in English, and we shall never mistake in saying avrb io ? abbi&mo noif hai tu? ha egli? And if we would ex- press ourselves with greater elegance and ease, we ought not to mention the pronouns at all; examples, shall I have this ? avrb questo ? does he do well ? fa bene? shall we sing? canteremo? When we speak negatively, we must use the word non : examples, I have not, non ho : you must not know, non dovete conoscere ; thou has not, non hai : he has not, non ha. In the like manner to express, I have some, thou hast some, he has some, say, ne ho, ne hai, ne ha, &c. And to express, I have none, thou hast none, he lias none, ice. you may say, non ne ho, non ne hai, non ne ha. But to express, have I none? hast thou none ? we say, non ne no io ? non ne hai tu ? Conjugation. VERBS. 81 Conjugation of the Auxiliary Verb essere, to be. indicative- Present. I am, Thou art, He is, We are, You are, They are, io sono 9 or tu sei, egli e, noi sidmo, voi siete, eglino sono, sono. set. e. sidmo. siete. sono Preterimperfect. I was, Thou wert, He was, io ira t or ero, tu eri, egli era, era, iro. erL era. We were, You were, They were, noi eravamo. voi eravdte, eglino erano, eravamo, eravdte. erano. PRETERPERFECT DEFINITE. I was, Thou wert, He was, We were, You were, They were, iofui, tufosti, eglifu, noifummo\ voifoste, eglino Jurono, fui. Josti. Jummo, foste. Jurono. Preterperfect. It is compounded of the present indicative, io sono, and its own participle stdto or stdta. I have been, Thou hast been, He has been, We have been, You have been, They have been, io sono stato, or stata. tu set stato. egli e stdto. noi sidmo stdti, or state, voi siete stdti. egliyio sono stdti. e5 If m VERBS. If we speak in the feminine, we must say, sono stdta, sei stdta, e stdta ; sidmo state, si'ete state, sono state } and so on in all the compound tenses. Preterpluperfect. I had been, Thou hadst been, He had been, We had been, You had been, They had been,. I shall or will be, Thou shalt be, He shall be, We shall or will be, You shall be, They shall be, io era stdto, or stdta. tu eri stdto, egli era stdto. not eravdmo stdti, or state. voi eravdte stdti. i&j^ eglino erano stdti. Future. to saro. tu sardi. egli sara. noi sarSmo, voi sarete. eglino sardnno. Be thou, Let him be, Let us be, Be you, Let them be, IMPERATIVE. sii tu, or sia tu. sia egli, sidmo noi. state voi. sieno, or siano eglino. OPTATIVE and SUBJUNCTIVE. Present. That I may be, Thou mayest be, He may be, We may be, You may be, They may be, ch'io sia. che tu sii, or sia. cK egli sin. che noi sidmo. che voi sidte. ch' eglino sieno, or siano. First VERBS. 83 First Preterimperfect. That I were or might be, Thou wert, He were, We were, You were, They were, chHofossi. che tujossi. cli egli fosse, che noffossimo* che voifoste. ch' eglinofossero. Second Preterimperfect. I should or would be, Thou shouldst be, He should be, We should be, You should be, They should be, to sarei. tu saresti. egli sarebbe. noi saremmo. vol sareste. [bono, tglino sarebbero, or sareb- Preterperfect. It is compounded of the present conjunctive io sia, and the participle stdto or stdta, of the same verb. That I have been, Thou hast been, He has been, We have been, You have been, They have been, chHo sia stdto, or stdia. che tu sii, or sia stdto, cli* egli sia stdto, che noi sidmo stdti, or sidle,. che voi sidte stdti. cfieglino siano statu Preterpluperfect. It is compounded of the first preterimperfect sub- junctive, and the participle. If I had been, Thou hadst been, He had been, We had been, You had been, They had been, se iojossi stdto. se tu fossi stdto. s' eglijosse stdto. se noifossimo stdti* se voijoste statu s 9 eglinofossero statu Second U VERBS. Second Preterpluperfect. It is compounded of the second preterimperfect subjunctive and the participle* I should or would have been, id sarei stdto. Thou shouldst have been, tu saresti stdto. He should have been, egli sarebbe stato. We should have been, noi saremmo stdti. You should have been, voi sareste stdti. They should have been, eglino sarebbero stdti. Future. When I shall have been, qaand' io saro stdto. Thou shalt have been, tu sardi stdto. He shall have been, egli sara stdto. We shall have been, noi saremo stdti. You shall have been, voi sarete stdti. They shall have been, eglino sar anno stdti. INFINITIVE. To be, essere. Preterperfect. To have been, essere stdto. Participles. Been, stdto 9 for the masculine ; sidta, for the feminine. Plural, stdti, state. Gerunds. C essendo, or sendo ; or coll* essere, Being, or in being, 1 ndV essere. { in essere. Having been, essendo stato. The verb essere has no need of any other auxiliary verb ; and we must never put any of the tenses of the verbavtre before the participle tf«fo; as, for, Ihavebeen, you VERBS. 85 you must say, sono stato, and not ho sldto ; I had been, era stdto, and not aveva stdto. And this rule should be particularly attended to, because herein it is, that fo- reigners are apt to commit mistakes. Of Conjugations. The Italian verbs have three different terminations in the infinitive ; that is to say, ( are ; 1 Camdre, cantare, salt&re. In < ere ; > as, < temere, credere, godere. [ire ; 3 [sentire, dormire, menl'ire. For which reason I shall give but three conjugations. Amare, will serve as a rule for the verbs in are. Credere, for the verbs in ere. Se?itire, for the verbs in ire. It is proper here to observe, that the infinitives of verbs derived from the Latin, retain the same quantity as they have in Latin. For instance, the verb cantdre, in Latin, has the second syllable long ; and it has also the same syllable long in Italian. On the contrary, credere, crescere, having the second syllable short in Latin, have it also short in Italian. If you observe this rule in pronouncing infinitives, you will avoid the mis- takes which most learners of the Italian language are apt to commit. The rule, however, has some excep- tions. * # * Note, many Italian grammarians give four con- jugations instead of three ; they make two sorts of verbs in ere, viz. in ere short, and in ere long. An easy method of learning to conjugate the Verbs. I have reduced all the tenses of the verbs to seven : four of which are general, and have the same termina- tions in all the verbs ; and the other three, by changing the one letter in the third person, may be likewise made general, and all conjugations reduced to one. The 86 VERBS. The general tenses are the preterimperfect, the future, the first and second preterimperfect subjunctive. The preterimperfect is terminated in all the verbs, in va or vo, vi 9 va ; vdmo, vdte, vano. The future indicative is terminated in rb, rid, rd ; remo, rete, rdnno. The imperfect subjunctive in ssi, ssi, sse ; ssimo, ste, ssero t The second imperfect, or conditional, in rei, resti, rebbe ; remmo, reste, rebbero. Change re of the verbs amare, credere, sentire (and generally of all the other verbs) into va or vo ; and rb into ssi and re\, &c. and you will find the imperfect, the future indicative, the first and second imperfect subjunctive of all the other verbs, without any excep- tion ; which will greatly assist the learner. * # * Note, the future, and the second imperfect, of the verbs in are, are terminated in erb and erei, and not in arb and arei. Therefore in these tenses, after having made the change of re into rb for the future, and into rei for the second imperfect, you must also change the vowel that precedes rb and rei, and say amerb, amerei ■; and so of the other verbs terminated in dre. From this rule must be excepted the verbs in are of only two syllables, as dare, stare, Jure, which retain the letter a, and make darb, &c. instead of derb, &c. The present indicative, the present definite, and the present subjunctive, are the only tenses necessary to be learned ; for the other four, given above, are general. In order to form those three tenses, you must cut off the last syllable of the infinitive, and then change the last vowel which remains. For the present indicative, change it into o, through all the conjugations, thus of amdre, credere, sentire \ you make, dmo, credo, sento. For the preterperfect definite of the indicatives change it into ai in the first conjugation ; thus of a?ndre, you form amai; but when you come to words of the second conju- gation, VERBS. 8T gation, you must change it into ei; thus of credere, you make credei ; verbs of the third conjugation have it changed into ii ; thus, sentire makes sentii. As for the present subjunctive, the vowel that remains is changed into i in the first conjugation, and into a in the others : thus, ami, creda, senta. Present. are, o, i, a, iamo, dte, ono, ere, o, i, e, idmo, ete, ono. ire, 0, i, e, idmo, ite, ono, *^* Take notice, that in the singular you are to change the letter in the third person only. Preterperfect definite indicative. are, ai, dsti, o 9 ammo, dste, drono, ere, ei, esti, e, emmo, este, erono, ire, ii, isti, 1, immo, iste, irono. Present subjunctive. are, i, i, i, idmo, iate, ino. ere, a, a, a, idmo, idte, ano. ire, a, a, a, idmo, idle, ano, * # * Observe, that through each of the conjugations there is no change made in the singular. The Participles are, are, dto, dta, ati, dte, ere, uto, uta, uti, iite. ire, ito, ita, iti, ite. Change the termination, are, ere, ire, with the letters and syllables opposite to them, and you will find the present, the preterperfect definite, and the present of the subjunctive, of all the regular verbs. First 88 VERBS. First Conjugation, of the Verbs in are. INDICATIVE. %* I shall hereafter omit the personal pronouns io } lit, eglif &c. Present. I love, dm-o. Thou lovest, dm-i. He loves, dm-a, We love, am-iamo. You love, am-ate. They love, dm-ano. Preterimperfect. I did love, am-dva, or am-dvo. Thou didst love, am-dvz. He did love, am-dva* We did love, am-avamo. You did love, am-avdte. They did love, am-dvano. Preterperfect Definite. I loved, am~di. Thou lovedst, am-dsti. He loved, am-o. We loved, am-ammo. You loved, am-dste, They loved, am-drono. The poets frequently use cwzdr and amaro, for cwa- 7-0H0 ; and so all the verbs in are, Preterperfect. This tense is composed of the participle amdto, and the present indicative of the auxiliary verb avere. I have loved, ho am-dto. Thou hast loved, hdi am-dto. He has loved, ha am-dto. We have loved, abbidmo am-dto. You have loved, avete am-dto. They have loved, hanno am-dto. Preterplu- VERBS. 89 Preterpluperfect. This tense is composed of the participle amdto, and the imperfect of the auxiliary verb avSre. I had loved, aveva am-dto. Thou hadst loved, avevi am-dto. He had loved, aveva am-dto. We had loved, avevdmo am-dto. You had loved, avevdte am-dto. They had loved, avevano am-dto. Future. I shall or will love, am-ero. Thou shalt love, am-erdi. He shall love, am-era. We shall love, am-eremo. You shall love, a?n-erete. They shall love, am-erdnno Formerly amaro was used ; but it is now the practice to write amero, and so of all the verbs in are. IMPERATIVE. Love thou, dm-a tit. Let him love, dm-i egli. Let us love, am-iamo noi. Love you, am-dte vol. Let them love, dm-ino ez,lino. OPTATIVE and SUBJUNCTIVE. Present. That I may love. ch y io dm-i. Thou mayest love, eke tu dm-i. He may love, ch* egli dm-i. We may love, che am-idmo. You may love, che am-idte. They may love, che dm-ino. N. B. 90 VERBS. N. B. You may put the pronouns personal in the sin- gular of this tense, io, tu, egli, in order to distinguish the persons, which are all terminated in the same manner ; but it is superfluous to put them in the plural, the per- sons being sufficiently distinguished by their termi- nations. The same rule is applicable to. the following preterimperfect, and to the present optative and sub- junctive of the second and third conjugation. First Preterimperfect. That I might or could love, ch'io am-dssi. Thou mightest love, che tu am-dssi, He might love, che am-dsse. We might love, che am-dssimo. You might love, che am-aste. They might love* che am-dssero. When the conjunction si, in French, governs the in- dicative imperfect, it governs the same tense of the sub- junctive in Italian: as,sivous m^amieZfjevous payerais d'un parfait retour ; if you loved me, &c. se vol mamaste, &c. and not se voi m'amavate j and so in all the verbs* because, when we speak by way of wish or desire, we would make use of the subjunctive or optative. Young beginners are apt to mistake in this rule. Second Preterimperfect. I should or would love, am-erei. Thou shouldst love, am-cresti. He should love, am-erebbe. We should love, am-eremmo. You should love, am-ereste. They should love, am-erebbero. Preterperfect. It is composed of the participle amdto, and the pre- sent subjunctive of the auxiliary verb avere. That I have loved, cliio dbbia am-dto. Thou hast loved, che dbbi am-dto. He has loved, ch'cgli dbbia am-dto* That VERBS. 91 That we have loved, die abbidmo am-dto. You have loved, che abbidte am-dto. They have loved, che dbbiano am-dto. Preterpluperfect. It is composed of the participle amdto, and the first preterimperfect subjunctive of the auxiliary verb avere. If I had loved, se io avessi am-dto. Thou hadst loved, se tu avessi am-dto, He had loved, se avesse am-dto. We had loved, se avessimo am-ato. You had loved, se aveste am-dto. They had loved,, se avessero am-dto. Second Preterpluperfect. It is composed of the participle amdto, and the second preterimperfect subjunctive of the auxiliary verb avere. I should have loved, avrei am-dto* Thou shouldst have loved, avresti am-dto. He should have loved, avrebbe am-dto. We should have loved, avremmo am-dto. You should have loved, avreste am-dto. They should have loved, avrebbero am-ato. Future. It is composed of the participle amdto, and the future indicative of the auxiliary verb avere. When I shall have loved, quand' avrb am~dto. Thou shalt have loved, avrdi am-dto. He shall have loved, avrd am-dto. We shall have loved, avremo am-dto. You shall have loved, avrete um-dto. They shall have loved, avrdnno am-dtOo INFINITIVE. To love, am-are~ To have loved, avere am-dto. Participles. 92 VERBS. Participles. Loved, am-dto, masculine. Loved, am-dta, feminine. Gerunds: Loving or in lov'ns I am-dndo, coll* am-dre, con am-are* ° 9 °\ nell' am-dre ; in am-dre. Having loved, agendo am-dto. Remarks on the Verbs in are. All the verbs ending in are, are conjugated in the same manner as amdre ; except four, which only deviate from this rule in some of their tenses; they are anddre, dare, fare, stare, You will find their conjugations afterthe regular verbs. * # * Note, the verbs terminating in the infinitives in care, and gdre, take an h in those tenses where the c and g would otherwise meet with the vowels e or i ; that is to say, in the present indicative, imperative, optative, future indicative, and the second preterim- perfect subjunctive ; which are the tenses I shall give as examples, in the verbs peccdre, and pagdre. Peccdre, to sin : present, pecc-o, pecc-hi (and not peccij,pecc-a, pecc-hidmo, pecc-dte, pecc-ano, I sin &c. Future, pecc-herb, I shall sin ; pecc-herdi, pecc-herh, pecc-heremo, pecc-herete, pecc-herdnno, and not pecc-erb, pecc-erdi, &c. Imperative, pecc-a, pecc-hi; pecc-hidmo, pecc-dte, pecc-hino, sin thou, let him sin, &c. Optative, che pecc-hi, pecc-hi, pecc-hi; pecc-hidmo, pecc-hidte, pecc-hino, that I may sin, &c. Pecc-herei, I should sin; pecc-heresti, pecc-herebbe, pecc-heremmo, pecc-hereste, pecc-herebbero, Pagdre, to pay, present, pdg-o, pdg-hi, pdg-a ; pagh- idmo, pag-dte, pdg-ano, I pay, &c. Future, pag-hero, pag-herdi, pag-herd ; pag-heremo, pag-herete, pag-herdnno, I shall or will pay, &c. Imperative, pdg-a, pdg-hi; pag-hidmo, pag-dte, pdg-hino, pay thou, let him pay, &c. Optative, VERBS. 93 Optative, che pdg-hi, pag-hi, pdg-hi ; pag-hidmo, pag-hidte, pdg-hino, that I may pay, &c. The second preterimperfect, pag-herei, pag-heresti, pag-herSbbe ; pag-heremmo t pag-hereste, pag-herebbero y &c. that I should pay, &c. The other tenses are conjugated like amdre. Conjugation of the verbs passive. Before we proceed to the second conjugation, it is necessary to know, that the verbs passive are merely the participles of verbs active, conjugated with the verb essere : example, Conjugation of the verb passive, essere amato, to be loved. INDICATIVE, Present. I am loved, souo am-dto. Thou art loved, sei am-dto. He is loved, e am-dto. We are loved, sidmo am-dti. You are loved, siite am-dti. They are loved, sono am-dti. Preterimperfect. I was loved, era or ero am-dto. Thou wert loved, eri am-dto He was loved, era am-dto. We were loved, # eravdmo am>dti. You were loved, eravdte am-dti. They were loved, erano am-dti. Preterperfect Definite. I was loved, fui am-dto. Thou wert loved, Josti am-dto. He was loved, fit am-dto. We were loved, fummo am-dti. You were loved, foste am-dti. They were loved, furono am-dti. Preter- 94 VERBS. PRETERPERFECT. I have been loved, sono stdto am-dto. Thou hadst been loved, ski stdto am-dto. He has been loved, e stdto am-dto. We have been loved, sidmo stdti am-dti. You have been loved, siete stdti am-dti. They have been loved, sono stati am-dti. Preterpluperfect. I had been loved, era stdto am-dto. Thou hadst been loved, eri stdto am-dto. He had been loved, era stdto am-dto. We had been loved, eravdmo stdti am-dti. You had been loved, eravdte stdti am-dti. They had been loved, krano stdti am-dti. Puture. I shall or will be loved, sarb am-dto. Thou shall be loved, sardi am-dto. He shall be loved, sara am-dto. We shall be loved, saremo am-dti. You shall be loved, sarete am-dti. They shall be loved, sardnno am-dti. I shall proceed no farther with the conjugation, be- cause it is merely a repetition of the verb sono 9 joined to the participle, am-dto. \* Observe, that the participles and adjectives change their gender and number after the tenses of the verb essere, examples, j I , tsonoam-dto, for the masculine") • i ' \sono am-dta, for the feminine j b ° c *? plural. ttr , i S siamo am-dti, for the masc, We are loved, I ., ,. ' ~ . c 7 / siamo am-ate, tor the rem, "■ siete dotto, \ -'4. j'-u £ for the singular. •v i j ; siete dotta, \ You are learned, < .,, : j sielt ( siett Observe, that in the construction of the passive, the Italians make use of da or dal, and per (by), which answer \ siete dotti, 7 c *i i i ! net? dotte \ for the P lufaL VERBS. 95 answer to the French du and par ; with this difference, that the French use du, when the verb expresses an operation of the mind, and par, when it expresses an operation of the body, or of the mind and body: whereas the Italians always put da or dal: thus they say, Pietro e amdto dal principe, and not per il prin- cipe ; which French learners are apt to confound. N. B. Dal signifies, by the; and per il, for the. Second Conjugation of the Verbs in ere. I believe, Thou believest, He believes, We believe, You believe, They believe, INDICATIVE. Present. cred-o. cred-i. cred-e. cred-i dmo. cred-ete. cred-ono. Preterimperfect. I did believe, Thou didst believe, He did believe, We did believe, You did believe, They did believe, cred-eva, cred-evi. cred-eva. cred-evdmo. cred-evate. cred-evano. Preterperfect Definite. I believed, Thou believedst, He believed, We believed, You believed, They believed, cred-ei. cred-esti. crede. cred-e mmo, cred-este. cred-ercmo. Preterperfect. I have believed, Thou hast believed, He has believed, We have believed, You have believed, They have believed, ho cred-uto. hdi cred-uto. ha cred-uto. abbidmo cred-uto. avete cred-uto. hdnno cred-uto, Preterplu- 96 VERBS. Preterpluperfect. I had believed, Thou hadst believed, He had believed, We had believed, You had believed, They had believed, I shall or will believe, Thou shalt believe, He shall believe, We shall believe, You shall believe, They shall believe, aveva cred-uto. avevi cred-uto. aveva cred-uto. avevdmo cred-uto avevdte cred-uto. avevano cred-uto. Future. cred-ero. cred-erdi. cred-era. cred-eremo . cred-erete. cred-erdnno. IMPERATIVE. Believe thou, cred-i. Let him believe, cred-a. Let us believe, cred-idmo. Believe you, cred-ele. Let them believe, cred-ano. OPTATIVE and SUBJUNCTIVE. Present. That I may believe, Thou mayest believe, He may believe, We may believe, You may believe, They may believe, cKio crcd-a. eke tu cred-a. ch'egli cred-a. che cred-idmo che cred-idte. che cred-ano. Preterimperfect. That I might or could believe, Thou mightest believe, He might believe, We might believe, You might believe, They might believe, che cred-essi. che tu cred-essi. che cred-esse. che cred-essimo. che cred-este. che cred-essero. VERBS. 97 Second Preterimperfect, I should believe, cred-erei. Thou shouldst believe, cred-eresti. He should believe, cred-erebhe. We should believe, cred-eremmo. You should believe, cred-eresie. They should believe, cred-erebbero. Preterperfect. That I have believed, chHo abbia cred-uto. Thou hast believed, che tu abbi cred-uto. He has believed, ciiegli abbia cred-uto. We have believed, che abbidmo cred-uto, You have believed, che obbiate cred-zito, They have believed, che ubbiano cred-uto. Preterpluperfect. If I had believed, se io avessl cred-uto. Thou hadst believed, se tu avessi cred-uto. He had believed, se avcsse cred-uto. We had believed, se ovessimo cred-uto. You had believed, se aveste cred-uto. They had believed, se avessero cred-uto. Second Preterpluperfect. I should have believed, avrei cred-uto. Thou shouldst have believed, avresti cred-uto. He should have believed, avrebbe cred-uto. We should have believed, avremmo cred-uto. You should have believed, avresle cred-uto. They should have believed, avrebbero cred-uto. Future. When I shall have believed, Thou shalt have believed, He shall have believed, We shall have believed, You shall have believed, They shall have believed, qua) id' avrb cred-uto. avrai cred-uto. avrei cred-uto. avremo cred-uto. avrete cred- (do. avrunno cred-uto. F INFINITIVE 98 VERBS. INFINITIVE. To believe, credere. Gerund. Believing, or in believing, cr,ed-endo, col cred-ere, &c. Participle. Believed, cred-uto, masc. Believed, cred-uta, fern. Conjugate in like manner the following verbs, which are the only verbs in ere that follow the rule of cred~ere. %* Note, that all the regular verbs in ere have two terminations in the preterperfect definite, as they make ei 3 esii, c ; etnmo, este, erono, or, etti, esii, ette ; emmo, este, ettero. Infinitive. Preterp. Def. Participle. To beat, battere, ei uto-. drink, bevere or bere ei or etti uto. yield, cedere ei etti uto. cleave, fender e ei etti uto. fret, Jremere ei etti uto. groan, gemere ei etti uto. enjoy, godere ei etti uto. reap, mietere ei etti uto. feed, pdscere ei etti uto. hang, pendere ei etti uto. retch, recere ei etti uto. receive, ricevere ei etti uto. shine again , rilucere ei without a participle sit down, sedere ei etti uto. shine, splendere ei etti uto. glide, serpere ei etti uto. creak, stridere ei etti uto. fear, tern ere ei etti uto. sell, vendere ei etti uto. All VERBS. 99 All the other verbs in ere are irregular. The regular verbs end with two vowels in the pre- terperfect definite : as am-ai, cred~ei t sent-ii. AH the regular verbs, in the same tense, end with the vowel i ; and this vowel i is preceded by a consonant; as, ebbi, credetti, scrissi. Thus credere, which makes credei and credetti, is both regular and irregular. You will find, in the chapter of the irregular verbs in ere short (p. 124) a very easy method of learning the irregularity of the verbs, which I have reduced ta one general rule. Third Conjugation of the Verbs in ire. INDICATIVE. Present. I hear, sent-o. Thou hearest, sent-i. He hears, sent-e. We hear, sent-i dmo. You hear, sent-ite. They hear, sent-ono. Preterimperfect. I did hear, sent-iva. Thou didst hear, sent-ivi. He did hear, sent-iva. We did hear, sent-ivdmo. You did hear, sent -iv ate. They did hear, senUvoano. Preterperfect Definite. I heard, sent-ii. Thou heardst, sent-isti. He heard, sent-i. We heard, sent-immo. You heard, seni-iste. They heard, sent-irono. i 2 Preter- 100 VERBS. Preterperfect. 1 have heard, ho sent-ito. Thou hast heard. Mi sent-ito. He has heard, ha sent-ito. "We have heard, abbidmo sent-ito. You have heard, avete sent-ito. They have heard, hanno sent-ito. Preterpluperfect. I had heard, aveva sent-ito. Thou hadst heard, avevi sent-ito. He had heard, aveva sent-ito. We had heard, - avevdmo sent-Uo You had heard, avevdtc sent-ito. They had heard, avevdno sent-ito. Future. I shall or will hear^ sent-iro. Thou shalt hear, sent-irdi. He shall hear, sent-ira. We shall hear, sent-iremo. You shall hear, sent-irete. They shall hear, sent-iranno. IMPERATIVE. Hear thou, sent-i. !Let him hear, sent-a. X.et us hear, sent-idmq. Hear you, sent -it e. Let them hear, sent-ano. OPTATIVE and SUBJUNCTIVE. Present. That I may hear, Thou mayest hear, He may hear, We may hear, You may hear, They may hear, ctiio sent-a. che tn sent-a. ch 1 egli sent-a. che sent-idmo. che sent-ifite. che sent-ano. Preteriao. VERBS. 101 Preterimperfect. That I could or might hear, Thou mightest hear, He might hear, We might hear, You might hear, They might hear, che sent-issi. che tu sent-issi. che sent-isse. che sent-issimo. che sent- isle, che sent-issero. Second Preterimperfect. I should hear, Thou shouldst hear, He should hear, We should hear, You should hear, They should hear, sent-irbi. sent-iresti. sent-irebhe. scnt-iremmo. sent-ireste. sent-irebbero. Preterimperfect. That I have heard, Thou hast heard, He has heard, We have heard, You have heard, They have heard, ctfio abbia sent-ito. che dbbi sent-ito. che cgli dbbia sent- ito, che abbidmo sent-ito. che abbidte sent-ito. che dbbiano sent-ito* Preterpluperfect. If I had heard, Thou hadst heard, He had heard, We had heard, You had heard, They had heard, se io avessi sent-ito. se tu avessi sent-ito. se avesse sent-ito. se avessimo sent-ito. se aveste sent-ito. se avessero sent-ito* Second Preterpluperfect. If I should have heard, avrei sent-ito. Thou shouldst have heard, avresti sent-ito. He should have heard, avrebbe sent-ito. We should have heard, avremmo sent-ito. You should have heard, ameste sent-ito. They should have heard, avrebbero sent-ito. Future, 102 VERBS. Future. When I shall have heard, Thou shalt have heard, He shall have heard, We shall have heard, You shall have heard, They shall have heard, quand' avrb sent-ito. avrdi sent-ito. avra sent-ito. avrcmo sent-ito. avrete sent-ito, avrdnno sent-ito. INFINITIVE. To hear, or to feel, sent-ire. Participle, heard, sent-ito. Gerund, in hearing, sent-endo. Conjugate in the same manner the following verbs, which are the only verbs in ire, that conform to the rule of sent-ire. To Infinitive. Pres. Pret. def. Particip. "open, aprire dpro aprii aperto. boil, bollire hollo bollii bolliio. consent, conseniire xonsento consentU conseniito. convert, convertire convertoconvertii convertito. cover, coprire copro coprii coperto. sow, cucire cucio cucii cucito. sleep, dormire dor mo dormii dormito. %> fuggire fuggo fnggii fuggito. lie, mentire mento mentii mentito. die, morire vioro morii morto. depart, partire pctrto partii partito. repent, pentirsi mipeni omipentii salii pentitosi. ascend, satire sdlgo salito. follow, seguire segno seguii seguito. serve, servire servo servii servito. suffer, sojfrire soffro soffrii sqfferto. come or go out, dress, > sortire sorto sortii sortito. vestire vesto vestii vestito. come or } > uscire esco USCll uscito. go out, $ hear, udire odo udii udito. All VERBS. 103 All the other verbs in ire are regular in the present tense, which they make in isco ; as you will observe in the Chapter of Irregulars in ire ; example, diger-ire diger-isco diger-ii diger-ito, &c. langu-ire langu-isco langu-ii langu-ito^ &c. N. B. When you have learned to conjugate these five verbs, avere, essere, amdre, credere, sentire, you may be said to be master of almost all the rest ; the termina- tion of the tenses and persons being the same, especially in the irregular verbs ; but in order to be perfect in your conjugations, it is not sufficient to know those verbs in the order of the tenses, that is, beginning with the present indicative, and proceeding to the preterimper- fect, as children do; but it is necessary to know each tense of the indicative, and optative, &c. b}^ heart. Your teacher will instruct you upon this head ; but should he not, or if you learn Italian without a master, your method must be, to conjugate two or three of those verbs, or all five, at the same time. This will enable you to learn them with greater ease ; to retain them better in your memory, and to express yourself more readily. In order to conjugate the two auxiliary verbs together, you may, for instance, repeat, Ho un cavallo, e ne sono contento. 1 have a horse, and am satisfied with it. And thus you may exercise yourself through every tense and person of the whole conjugation. With regard to the other three, you will receive much benefit, if you conjugate them by other similar verbs. For instance, I buy my goods, sell them cheap, and serve my friends faithfully ; com pro le mie mercanzie, le vendo a buon mercdto, e servo con f delta i miei amid. The verb comprdre is conjugated like anidre : vendere, like credere ; servire like sentire. If you practise this mode of conjugation, you will find that in a very little time you will be able to speak and write with great ease ; for in the Italian language, they write as they speak, and speak as they write ; here however you will find a Book of Exercises* highly necessary and useful. * See Bottarelli's Exercises, tvilh references to the rules of this Grammar. Qf '-104. VERBS, Of the IRREGULAR VERBS in are. There are in each conjugation some verbs which do not conform to the common rule, and on that account are called irregulars. There are but four verbs of the first conjugation, which in some of the tenses depart from the rule of the verb amdre, viz. Anddre, dare 9 fdre y stare. The verb fare is, properly speaking, an irregular of the second conjugation, since it is only the Latin verb facere syncopated or abridged. Yet I place it here in compliance with the method of other grammarians. Observe, that these verbs are irregular ; some in the present, some in the preterperfect-derinite, and others in the future tense. %* Remember also, that when a verb is irregular in the present of the indicative, it retains its irregularity in the imperative and present of the subjunctive. %f Observe farther, that the first and second person plural of the present tense are always regular. Of the Verb andare. The verb andare is irregular only in the present tense.* INDICATIVE. Present. I go, vado or vo. Thou goest, vdi. He goes, va. We go, andiamo. You go, anddte. They go, vdhno. Preterimperfect. I did go, thou didst go, he did go; we did go, you did go, they did go. Anddva, ajiddvi, anddva ; andavdmo, andavdte, an- ddvano. * In the subsequent pages, the tenses which have a star are the only irregular ones ; the others are regular. Preter- VERBS. 105 Preterperfect Definite. I went, thou wentest, he went ; we went, you went, they went. Anddi, anddsti, ando ; anddmmo, anddste, anddrono. Preterperfect. I have gone, sono andato. Thou hast gone, sei andato. He has gone, e andato. We have gone, siumo anddti. You have gone, siete anddti. They have gone, sono anddti. If we are to speak in the feminine, we should say, sono anddta, sei anddta^ e and at a, sidmo anddte, siUe anddte, sono anddte. I was gone, thou wast gone, he was gone ; we were gone, you were gone, they were gone. Preterpluperfect. I had gone, thou hadst gone, he had gone ; we had gone, you had gone, they had gone. Era andato, eri andato, era andato ; eravdmo anddti, eravdte anddti, erano anddti. Future. I shall or will go, thou shalt go, he shall go ; we shall go, you shall go, they shall go. *Andro, andrdi, andra ; andrhno, andrete, andrdnno* IMPERATIVE. Go thou, let him go ; let us go, go ye, let them go. Va f vdda ; andidmo, anddte, vddano. OPTATIVE and SUBJUNCTIVE. Present. That I may go, cli io vdda. Thou mayest go, die tu vdda. He may go, cli egli vdda. We may go, che andidmo. You may go, die andidte. They may go, che vadano. f 5 Preter- 106 VERBS. Preterperfect. That I might or could go, thou mightest go, he might go ; we might go, you might go, they might go. Che anddssi, anddssi, anddsse ; anddssinw, anddste, andassero. Second Preterimperfect. I should go, thou shouldst go, he should go; we should go, you should go, they should go. * Andrei^ andresti, andrebbe ; andremmo, andreste, andrebbero. Preterp. That I have gone, die sia andato. Preterpl. If I had gone, sejossi andato. Future. When I shall be gone, qudndo sa% andato. INFINITIVE. To go, anddre. Participle, gone, andato. Gerund, in going, anddndo. * 4 * Note, that the preposition a or ad, must be put after the verb anddre, and all the other verbs of motion, when they precede an infinitive : example, Let us go and see, andiamo a vedere. Go to supper, anddte a cenare. You shall go, and expect me, andrete ad aspettdrmi. Let us send to tell, mandidmo a dire. The French are frequently mistaken in this respect, because they are accustomed to put the infinitive, with- out a preposition after the verbs of motion. Of the Verb dare. DA'RE is irregular only in the present and preter- perfect definite. INDICATIVE. Present. * I give, thou givest, he gives; we give, you give, they give : do, ddi, da ; didmo, ddte, ddnno. Preterimperf. I did give, thou didst give, he did give ; we did give, you did give, they did give : ddva, ddvi, ddva ; davamo, davate, ddvano. Preter- VERBS. 107 Preterperfect Definite. * I gave, diedi, or detti. Thou gavest, desti, He gave, diede, or dette, die We gave, demmo, You gave, deste, They gave, diedero, or dettero. The poets use dier, dieron and dierono, instead of diedero. Perfect comp. I have given, ho ddto. Preterplup. I had given, aveva ddto. * Future. I shall give, daro. IMPERATIVE. * Give thou, let him give ; let us give, give you, them give : da , dia ; didmo, date, diano. let OPTATIVE and SUBJUNCTIVE. * Present. That I may give, &c. che dia, eke tu ; dia, cli egli dia ; che diamo, che diate, che diano. * Preterimp. That I might give, that thou mightest give, that he might giv^, &c. che dessi, tu dessi, desse ; dessimo, deste, dessero. * Second Imperf. I should give, &c. darei, daresti, darebbe, daremmo, dareste, darebbero. INFINITIVE. Present, Gerund, Participle, To give, In giving given, dare. dando. ddto. Of 108 VERBS. Of the Verb fare. FA' RE, formerly facere, has its irregularity in the present, and the preterperfect definite ; and requires the t to be doubled in the participle. INDICATIVE. Present. * I do, thou dost, he does ; we do 9 you do, they do ; fo,fdi,fa ; faccidmo,fdte,fdnno. Freterimp. I did, &c.faceva,facevi,faceva, &c. Preter-def. I did, thou didst, he did; we did, * you did, they did : feci, facesti, fece ; facemmo, faceste,fecero. Preterp. I have done, hofdtto, Preterplup. I had done, avevafatto. * Future. I shall do,&cfarb,fardi,fara;faremo t fareie,fardnno. IMPERATIVE. * Do thou, let him do ; let us do, do you, let them do : fa, faccia ; faccidmo,fate,fdcciano. OPTATIVE. Present. * That I may do, or that I do, thou mayest do, he may do ; we may do, you may do, they may do ; die faccia, eke tu faccia , ch' egli faccia ; die faccidmo, die faccidte, chefdeciano. Preterimp. That I may do, thou mightest do, he might do ; we might do, you might do, they might * do : die facessi, facessi, facesse ; facessimo, faceste, facessero. * Second Imp. I should do, thou shouldst do, he should do; we shoulddo, you should do, theyshould do: farci,faresti,farebbe ; faremmo,fareste,farebbero. INFINITIVE. * To do, fare. Gerund, in doing, facendo. Parti- ciple, done,j^0. Of VERBS. 109 Of the Verb stare. ST A' RE signifies to be, to dwell, to stand, to stay ; it is irregular in the present and preterperfect definite. INDICATIVE. PRESENT. *I stand, or I am, sto ; thou standest, stdi ; he stands, sta ; stidmo, state, stdnno. Imperf. I did stand, &c. stdva. * Preter-def. I stood, thou stoodest, he stood, &c. stettiy stesti, st.ette ; stemmo, steste, stettero. Preterp. I have stood, &c. sono stdto. Preterpl. I had stood, &c. era stdto. * Future. I shall or will stand, &c. starb, stardi, stara, staremo, starete, stardnno. IMPERATIVE. * Stand thou, sta; let him stand, stia ; let us stand, stidmo; stand you, stdte ; let them stand, stiano, or stieno. OPTATIVE and SUBJUNCTIVE. Present. That I may stand, thou mayest stand, he may stand, &c. ck' ia stia, che tu stia, ck y egli stia ; che stidmo, eke stiate, che stidno, or stieno. * Imperfect. That I might or could stand, che stessi ; thou mightest stand, che tu stessi ; he might stand, che stesse ; we might stand, che stessimo ; you might stand, che steste ; they might stand, che stessero. * Second Preterimp. I should stand, thou shouldst stand, he should stand, &c. starei, staresti, starebbe ; staremmo, starcste, starebbero. INFINITIVE. To stand, stare. Gerund, standing, stando. Parti- ciple, stood or been, stdto. Observations 110 VERBS. Observations on the four Irregular Verbs. ANDARE, DARE, FARE, STARE. These four verbs form the second person of the present tense in ai ; as, vdi, ddi,fdi, sidi ; and the third person plural in anno, and not in ana, like the regulars : example, vdnno, ddnno, fdnno, stdnno / the regular verbs make it in dno ; as, dmano, cdntano, pdrlano, &c. The future indicative does not terminate in erb, but in aro; we must therefore &?t.y,farb 9 darb, starb; except the verb anddre, which makes andro. Observe, never- theless, that the verb stdre and dare become regular, when they are compounded; as, accostdre, sovrastdre, seconddre, comand&re. We say in the second person of the present tense, accosti, sovrdsti, secondly comdndi r and not accosldi, sovrastdi, seconddi, comanddi, this being the first person singular of the preterperfect de- finite of those verbs. In a word, they follow the rule of the regular verbs through all its tenses. The same cannot be said of the verb fdre, which continues its irregularity, though compounded ; therefore we must say, difo, disfaccidmo, disfeci, disfacesti, &c. The regular verbs in are -make their subjunctive in i; as, ami, par li, canti,sdlti. The four irregulars form theirs in a ; as, vdda, dia,fdccia, stia. Dare and stdre make the preterimperfect subjunctive dessi and sthsi, and not ddssi and sidssi. In the second preterimperfect they make andrti? darUfarei, starei. Note, the verb dare is conjugated like the verb stdre, only by changing the st into d; do, sto, ddva, stdva, &c. Of the Irregular Verbs w ere. There are two sorts of verbs in ere, one of which has the penultima, or the last syllable but one, long; as ? Cadere, dovere, sapere, volere. The other the penultima short; a?, Credere, ledger e, scrivere, perdere. There VERBS. Ill There are no more than twenty-two verbs which have the infinitives in ere long, viz. Infinitive. Pres. Pret. def. Part. 115 Cadere To fall, cddo, caddi, caduto. 1 , J cal'ere - care for, \ caper e - contain. a verb im personal. 116 dovere - owe, devo, dovei, dovuto. 117 dolersi - grieve, mi dolgo, mi dolsi , dolutosi. 118 giacere - lie down, gidecio, gidequi, giacciuto* * godere - enjoy, godo, godei, goduto. 76 avere - have, ho, ebbi, avuto. 120 parere - appear, pajo, pdrvi, pariito. 119 piacere- please pidecio, pidequi, piaciuto. 121 persuader e t . persuade , persuddo ,persudsi, persudso. 113 poiere - be able, posso, potei, potuto. 121 rimanere remain, rim an go , rim a si, rimdso. 112 sapere - know, so, seppi, sedei, sdputo. seduto. * seder e - sit sedo, 122 solere . be accustomed sovlio, solei, soiito. very little used. 119 tacere - be silent, taccio, tdequi, tacciuto. 122 tenere - hold, tcngo, ten.ni, teniito. * iemere - fear temo, temei, temuto. 123 valere - be worth, vdglio, valsi, valuto. 123 vedere - see, vedo, vidi, yeduto. 114> volere - be willing, vdglio, vulli, voluto. * The three verbs marked with a star are regular ; the figures in the margin refer to the pages in which the other verbs are found conjugated at full length. The compounds of these verbs make ere long also; as, ricadere, riavere,&c. Of these twenty-two verbs, there are but three re- gular, viz. godere, sedere, and temere ; and they are conjugated like credere. Of the other verbs which make their infinitive in ere long, some are irregular in the present, others in the preter-definite and future, and some in the participle. The conjugation of the verb avere has been given already ; calere and caper e are little in use* Conjugation 112 VERBS. Conjugation of the Irregular Verbs in ere, long, I begin with sapere, potere, and volere, because they i requently occur in discourse. SAPE'RE, to knoio. * Present, So, sdi, sa ; sappidmo, sap'ete, sdnno : I know, thou knowest, he knows ; we know, you know, they know. Imper. Sapeva, sapevi, sapeva ; sapevdmo, sapevdte t sapevano : I did know, thou didst know, he did know; we did know, 3 t ou did know, they did know. * Preter-def. Seppi, sapesti, seppe : sapemmo, sa- peste, seppero : I knew, thou knewest, he knew ; we knew, you knew, they knew. Preterperfect. Ho saputo, haisaputo, ha saputo, &c. * Future. Saprb, saprdi, sapra ; sapremo, saprete, saprdnno : I shall know, thou shalt know, he shall know ; we shall know, you shall know, they shall know, IMPERATIVE. * Sdppi, sdppia ; sappidmo, sappiate, sdppiano ; know thou, let him know; let us know, know you, let them know. OPTATIVE and SUBJUNCTIVE. * Che sdppia, sdppia, sdppia ; sappidmo, sappiate, sdppiano : that I may know, thou mayestknow, he may know; we may know, you may know, they may know. * Imperfect. Che sapessi, sapessi, sapesse ; sapessimo, sapeste, sapessero : that I might know, thou mightest know, they might know. * Second Imp. Saprei, sapresti, saprebbe ; sapremmo, sapreste, saprebbero : I should or would know, thou shouldst know, he shouldst know ; we should know, you should know, they should know. INFINITIVE. Sapere, to know. Gerund, Sapcndo, knowing. Par- ticiple, Saputo, known. POTE'RE, VERBS. 113 POTE'RE, to be able. INDICATIVE. * Present. Posso, puoi, pub ; possidmo, potete, pos- sono : I can or am able, thou canst, he can ; we can, you can, they can. Imperf. Poteva> potevi, &c. I could, &c. Pret. def. Potei, potesii, pote ; potemmo, poteste, poterono ; I could, thou couldst, he could ; we could, you could, they could. Preterp. Ho potuto, I have been able. * Future. Putrb, I shall be able. There is no imperative. OPTATIVE and SUBJUNCTIVE. * Che possa, possa, possa ; possidmo, possidte, pos- sano : that I may be able, thou mayst be able, he may be able ; we may be able, you may be able, they may be able. Imp. Che pattern, potessi, potSsse ; potessimo, po- teste, potessero : that I might be able ; thou mi gilt est be able, he might be able ; we might be able, you might be able, they might be able. * Second Imp. Potrei, pot r est i, potrebbe, &c. N. B. In conjugating the verb potere, to be able, we do not say in the future poterbt and in the second preterimperfect^ofem; because poterb and poterei are the future and second preterimperfect of the verb po- tdre, to prune. The vowel e is frequently dropt between a mute, and a liquid consonant : thus, instead of caderei, saperei, cedero, we say, cadrei, saprei % cedrb : this, however, is only used when the e is short; but we never say madra for madera, anacorta for anacoreta, &c. INFINITIVE. Potkre. Gerund, Potaido. Participle, Potuto. VOLE'RE in VERBS. VOLE'RE, to be billing. *' Present. Voglio, vuoi, vuole ; vogliamo, volete, vo- gliono : I will or am willing, thou art willing, he is wil- ling ; we are willing, you are willing, they are willing. Imperf". Voleva, volevi, voleva ; volevamo, volevdte^ volevano: I was willing, thou wast willing, &c. * t^t Preter-def. Volli, volesti, voile ; volemmo, voleste, vbllero : I was willing, thou wast willing, &c. Preterperf. Ho voluto, I have been willing, &c. * Future. Vorrb, vorrdi, vorrd ; vorremo, vorrete, vorranno : I shall be willing, thou shalt be willing, he shall be willing, we shall be willing, &c. It has no imperative. OPTATIVE and SUBJUNCTIVE. * Che voorlia, voglia, voglia ; vogliamo, voglidte, vo- gliano : that I may be willing, thou mayst be willing, he may be willing ; we may be willing, you may be willing, they may be willing. Imperf. Volessi, volessi, volesse ; volessimo, voleste, volessero: that I were willing, thou wert willing, he were willing ; we were willing, you were willing, they were willing. i * Second Imp. Vorrei, vorresti, vorrebbe ; vorremmo, vorreste, vorrebbero* I should or would be willing,, thou shouldest or wouldest be willing, &c. Volere. Gerund, Volendo. Participle, Voluto. Remarks on the Verbs terminating in ere long. %* 1. Remember that volere makes in the preterper- fect definite, volli, volesti, voile ; volemmo, voleste, vol' lero ; and not volsi, voleste, volse ; volemmo, voleste, volsero ; because vUsi, volse, volsero, comes from the verb vblgere, to turn. Yet we £nd volsi, volse, and volsero, in several authors, which can only be consi- dered as a poetical licence. * # * Observe, VERBS. 11-5" *3* Observe, that it is sometimes an elegance to use the verb volere, instead of dovere. For instance, ma cio rion si vuol con tiltri ragiondre, for non si deve, ought not. 2. The verbs terminated in the infinitive in lere, as volere, dolere, solere, valere, and their compounds, have &g before the letter /. in the first person singular; in the first and third plural, and in all the persons of the present subjunctive; in the present, as, Voglio, vuoi, vuole ; voglidmo, volete, vogliono. Ddglio, duoli, duole ; doglidmo, dolete, dogliono. Soglio, s\wli, suole ; soglidmo, solete, sogliono. Vdglio, vdli, vdle ; vaglidmo 9 valete, vdgliono. 3. The verbs terminated in the infinitive in nere and rare ; as, rimdnere, tenure, ventre, have also a g in the first person singular, and in the third plural ; but not in the first person plural; as, Tengo, tietii, tiene ; tenidmo, tenete, tengono. JRimdngo, rimdni, rimdne ; rimanidmo, rimanete, ri- mdngono. Vhigo, vieni, viene ; veniamo, ven'itG, vengono. They have also a g in the first, second, and third person of the present subjunctive in the singular, and in the third of the plural. 4. All the verbs ending in lere, nere, nire, require double r in the future, and in the second imperfect tenses. samples. Volere, Ten ere, voglio, tengo, vorrb, terrb, vorrei. terreL And not Venire, Volerb, vengo, tenerb, verro, venirb, verrei. * # * Except Ji m 'r e, punire, svellere, to root up ; which follow the common rule, and make Jinirb, punirb, svel- lerb j and in the present, j£«foco, piiuisco, svello. CADE'RE, to fall. Cddo, cadi, cade; cadiamo, cadete, cddono : I fall, thou fallest, he falls : we fall, you fall, they fall. Imperf. 316 VERBS. Imperf. Cadeva, cadevi, cadeva; cadevdmo, cade- vdte, cadevdno : I did fall, &c. * Preter-def. Cdddi, cadesti, eddde ; cademmo, ca- deste, edddero : I fell, thou didst fall, he fell ; we fell, you fell, they fell. Preterf. Sono caduto, sei caduto, e caduto ; sidmo, caduti, siete caduti, sono caduti : I have or am fallen, thou hast or art fallen, &c. Preterpl. Era caduto, eri caduto, era caduto ; era- vdmo caduti, eravdte caduti, erano cadiiti : I had or I was fallen, thou hadst or wast fallen, &c. Future. Caderb, caderai, cadera- ; caderemo, cade- rete, caderdnno or cadrb, &c. I shall fall, thou shalt fall, he shall fall, &c. Imperative. Cadi, fall thou ; edda, let him fall ; ca- didmo, let us fall ; cadete, fall you ; eddano, let them fall. Optative. Che edda, edda, cada; cadidmo, cadidte, eddano : that I may fall, that thou mayst fall, &c. Imperf. Cadessi, cadfosi, cadesse ; cadessimo, cadeste, cadessero ; that I might fall, thou mightest fall, &c. Second Imperf. Caderei, caderesii, or cadrei, &c. I should fall. Infinitive. Cadere. Gerund, cadendo. Participle, caduto. DOVE'itE, to owe. Dover e is conjugated through all its tenses like cre- dere. It is irregular only in the present, by putting an e for an o ; % devo, devi, deve ; dobbidmo, dovete, devono, and debbono : I owe, thou owest, he owes ; we owe, you owe, they owe. Imperf. Doveva, dovevi, &c. I did owe, &c. Preter-def. Dovetti, dovesti, dovette ; dovem?no 9 do- veste t dovettero : I owe, &c. Preterpl. Ho dovuto, hai dovuto, ha dovuto : I have owed, &c. * Future. Dovrb, dovrdi, dovra, I shall or will owe, &c. * Imperative. Devi, debba, dobbidmo, dobbidte, debbano : owe thou, let him owe ; let us owe, owe you, let them owe. * Optative VERBS. 117 9 Optative and Subjunctive. Che debba, debba, debba; dobbidno, dobbidtc, debbano : that I may owe, thou mayest owe, he may owe, &c. Imperf. Dovessi, that I may owe, &c. * Second Imp. Dovrei, dovresti, dovrebbe ; dovrem- mo, dovreste, dovrebbero : I should owe, &c. Infinitive. Dovere. Gerund, dovendo. Part, dovuto, DOLE'RSI, to grieve, to complain. Dolersi is a reciprocal verb, conjugated with the pronouns conjunctive, mi, ti, si, in the singular num- ber, and with ci, vi, si, in the plural. All verbs having the particle si after the infinitive, must be conjugated like dolere ; as, pentirsi, to repent ; ricordarsi, to remember, &c. INDICATIVE. * I grieve, to mi dolgO) or doglio. Thou grievest, tu ti duoii. He grieves, cgli si duole. We grieve, noi ci dogliamo. You grieve, voi vi dolete, They grieve, eglinosidolgono,ox dogliono Imper. Mi doleva, ti dolevi, si doleva, ci dolevamo, vi dolevdte, si dolevano ; I did grieve. Preter Definite. * I grieved, mi dolsi. Thou grievedst, ti dole&ii. He grieved, si dolse. We grieved, ci dolemmo. You grieved, vi doleste. They grieved, si dolsero. Preterperf. Mi sono dolido, I have grieved, &c. Preter pi uperf. Mi era dolido, I had grieved, &c. * Future. Mi dorro, ti dorrai, sidorra ; cidorremo, vi dorrete, si dorrdnno ; I shall grieve, &c. * Duoliti, grieve thou, dolgasi, let him grieve, doglid- mod, doletevi, dolgansi, let us grieve, &c. OPTATIVE 118 VERBS. OPTATIVE and SUBJUNCTIVE. * Present. Che mi dolga, ii dolga, si dolga, or do- glia ; ci dogliamo> vi doglidte, si dblgano ; that I may grieve, thou mayst grieve, &c. Imperf. Che mi dolhsi, that I might grieve, &c. * Second Imperf. Mi dorrei, I should or would grieve, &c. INFINITIVE. Dolersi, to grieve. Gerund, Dolaidosi, grieving. Participle, Dolutosi, grieved. * # * Remember that dolere signifies also to be ill ; and then it is a verb impersonal, having only the third person singular; as, I have the. headach, mi duole la testa. Thou hadst the headach, ti duole la testa. He has the headach, gli duole la testa. -She has the headach, le duole la testa. We have the headach, ci duole la testa. You have the headach, vi duole la testa. They have the headach, duole loro la testa. GIACE'RE, PIACE'RE, TACE'RE, to lie down, to please, to hold one's tongue. These three verbs are conjugated alike. %*In the tenses of these three verbs, where there are two vowels after the c, the c must be doubled, but if there is only one, then there must be but a single c. * Indicative. Present tense. Gi dccio , gidci, gidce ; giaccidmo, giacete, giacciono ; I lie down, &c. Imperf. Giaceva, I did lie down, &c. * Preter-def. Gidcqui, giacfoti, gidcque ; giacemmo, giaceste, gidcquero : I lay down, &c. Preterperf. We do not say, sono stdto giaciuto, I have laid down ; but sono stdto a giacere, &c. Future. Giacerb, I shall lie down, &c. * Imperative. Gidci, gidccia ; giaccidmo, giacete, gidcciano ; lie thou down, let him lie down, &c. * Optative, VERBS. 119 * Optative and Subjunctive. Che gidccia, gidccia, gidccia ; giaccidmo, giaccidie, gidcciano : that I may lie down, &c. Imperf. Che giacessi, that I might lie down. Second Imperf. Giacerei, I should or would lie down. Infinitive. Giaeere. Gerund, giacendo. Participle, slafo a giaeere. * PI A CERE. Pidccio, pidci, pidce; piaccidmo, placet e t pideciono : I please, thou pleasest, he pleases ; we please, you please, they please. Imp. Piaceva, vi, va ; vamo, vaie, vano : I did please, &c. * Preter-def. Pidcqui, piacesti, pideque ; piacemrno, piaceste, pidequero : I pleased, thou pleasedst, he pleased ; we pleased, you pleased, they pleased. Preterperf. Ho piaciuto, &c. I have pleased. Future. Piacero, &c. I shall please. Imp. Pidci pidecia, piaccidmo ; piacete, pideciano : please thou, &c. Subjunctive. Che pidecia, a, a; idmo, idte, idno : that I may please. Imp. Che piacessi, that I might please, &c. Second Imperf. Piacerei, I should please. Infin. Piacere. Gerund, piacendo. Participle, piac- ciuto. * TACE'RE. Tdccio, tdci, idee; taccidmo, tacete, tdeciono: I hold my tongue, thou holdest thy tongue, he holds his tongue ; we hold our tongues, &c. Imp. Taceva, vi, va; vdmo, vdte 9 vano: I did hold my tongue, thou didst, &c. * Preter-def. Tdcqui, tacesti, tdeque ; tacemmo, &c. I held my tongue, &c. Preterperf. Ho iaciuto, I have held my tongue. Future. Tacero, tacerdi, tacera ; tacercmo, tacerete, tacerdnno : I shall hold my tongue, &c. Imperative. Tdci, Tdccia ; taccidmo, tacete) tdeciano ; hold thy tongue, let him hold his tongue, &c. * Subjunctive. 120 VERBS. ,* Subjunctive. Che taccia, a, a; taccldmo, iaccidte, tdcciano ; that I may hold my tongue, &c. Imperf. Che tacessi., tacessi, tacisse ; that I might hold my tongue, &c. Second Imp, Tacerei, taceresti t tacerebbe : I should hold my tongue, &c. Infinitive. Tacere, to hold one's tongue. Gerund, ta- cendo t holding one's tongue, &c. Participle, * tacciuto. PARE'RE, to seem. * Indicative, Present. Pdjo, pdri, pare; _pajdmo > parete, pdjono : I seem or appear, thou seemest, he seems ; we seem, &c. Imp. Pareva, I did seem, &c. *Preter-def. Pdrvi, paresti, pdrve ; paremmo, pa- reste, pdrvero : I seemed, &c. * Future. Parro,parrdi, parrd ; I shall seem, &c. * Imperfect. Pari, pdja ; pajdmo, pareie, pdjano : seem thou, let him seem; let us seem, seem you, let them seem. f # * Remember what has been already remarked, that when a verb has any irregularity in the present of the indicative, it has the same in the present of the im- perative and subjunctive. * Optative and subjunctive. Che paja, pdja, pdja ; pajdmo, pajaie, pdjano : that I may seem, thou mayest seem, he may seem. Imp. Che paressi, paressi, sse ; ssimo, ste, ssero : that I might seem, &c. Second Imp. Parrel, I should or would seem, &c. infinitive. Parere, to seem. Gerund, parendo, seem- ing. * Participle, parido, seemed. Parere, is also an impersonal reciprocal verb, that has only the third person singular, when it signifies it seems ; as it seems to me, mi pdre, or parmi. "to thee, ii pare. | to him or her, gli pare, or le pare. It seems <^tous, cipare. ) to you, vi pare, v to them, pdre loro, Io VERBS. 121 In like manner through all the tenses : it did seem to me, mipareva,; it seemed to me\ mi pdrve. %* Remember that no more than four verbs in ere long, are irregular in the participle ; namely, parere, pdrso ; persuadere, persufiso ; rimanire, rimdso ; solere, solito ; all the other verbs are regular, making it in uto as well as paruto. PERSUADE'RE, to persuade. Indicative, Present. Persuddo, persuddi, persuade ; persuadidmo, persuadete, persuddono : I persuade, &c. Imperf. Persuadeva, vi, va ; vdmo, &c. I did per. suade, &c. * Preter-def. Persudsi, persuadesti, persuase ; per- suademmo, persuadeste,persudsero, I persuaded, &c. Future. Persuaderb, rai, ra ; remo, rete, rdnno. Imperative. Persuddi, a ; idmo, ete, ano : persuade thou, &c. Optative. Che persuada, a, a ; idmo, idte, ano : that I may persuade, &c. Imperf. Che persuadessi, that I might persuade. Second Imp. Persuaderei I should or would per- suade. Infinitive. Persuadere, to persuade. Gerund, per- suadeado, persuading. * Participle, persudso, per- suaded. RIMANE'RE, to remain. \* Remember the rules of the verbs in lire, nere > nzre. * Indicative, Present. Ri?ndngo, rimdni, rimdne $ rimanidmo, rimanete, rim&ngono : I remain, thou re- mainest, &c. ImperF. Rimaneva, I did remain. * Preter-def. Rimdsi, r'manesti, rimdse ; rhvanhn- moi rimanesle, rimdsero : I remained, &c. Preterperf. Ho rimdso, or sono rimdso, I have re- mained. G * Future. 122 VERBS. * Future. Rimarro, rimarrdi, rimarra, I shall re- main, &c. * Imperative. Rimdni, rimanga ; rimaniamo, rima- nete>, rimangano : remain thou, let him remain. * Optative. Che rimanga, rimanga, rimanga ; rima- niamo, rimanidte, rimdngano : that I may-remain. Imperf. Che rimanessi, that I might remain, * Second Imp. Rimarrei, rimarresti, I should or would remain. Infinitive. Rimanere, to remain. Gerund, rimanendo, remaining. Participle,* rimdso, remained. SOLE'RE, to be wont, or used to, * Indicative, Present. Soglio, suoli, suole ; soglidmo, solete, sogliono, I am wont, &c. Or Sono solito, I am wont ; sii solito, thou art wont ; e solito, he is wont ; sidmo soliti, we are wont ; sieie so- liti, you are wont; sono soliti, they are wont. And in like manner through all the tenses ; as, era Solito, I was wont ; non era sotito, I ivas not wont, &c. Imp. Soleva, &c. I was accustomed, &c. Preterperf-def. Fui solito, &c. * Imperative. Suoli, soglia ; soglidmo, solete, so- gliano : be thou wont, let him be wont, &c. F * Optative and Subjunctive. Che soglia, soglia, sog- lia ,• soglidmo, sogliate, sogliano : that I may be wont, &c. Che solessi, that I might be wont, &c. Second Preterimperf. Sarei solito, I should or would be wont, &c. Infinitive. Solere, to be wont. Gerund, solendo, wonted. Participle, solito, wont. Another Gerund, essindo solito, being wont. TENE'RE, to hold. * Indicativej Present. Tengo, tieni,tiene; tenidmo, tenete, tengond : I hold, thou holdest, he holds ; we Bold, you hold, they hold. Imp. VERBS. 123 Imp. Teneva. I did hold. * Preter-def. Tenni, tenesti, tenne ; tenemmo, teneste, tenner o : I held, thou heldest, he held ; we held, you held, they held. Preterperf. Ho tenuto, &c. a Future. Terro terrdi, terra ; terremo, terrete, ter- ranno : I shall hold, thou shalt hold, he shall hold, &c. * Imperative. Tieni, tenga ; tenidmo, tenete, tenga- no : bold thou, &c. * Optative and Subjunctive. Che tenga, tSnga, ten- ga; tenidmo, tenidte, tengano: that I may hold, &c. Imper. Che ienessi, tenessi, tenesse ; ssimo, ste t ssero ; I might hold, thou rnight'st hold, &c. * Second Imp. Terrei, terresii, terrebbe ; I should or would hold. Infinitive. Tenere, to hold. Gerund, tenendo, holding. Participle, tenuto, held. VALE'RE, to be 'worth. * Indicative, Present. Vdglio, vdli, vale ; vaglidmo, valete, vdgliono : I am worth, thou art worth, he is worth ; we are worth, you are worth, they are worth. * Imperf, Valeva t valevi, valeva, &c. I was worth, thou wast worth, he was worth, &c. * Preter-def. Valsi, valesti, valse ; valemmo, valeste, vdlsero : I was worth, thou wast worth, he was worth, &c. Preterpluperf. Ho valuto. * Future. Varro, varrdi, &c. I shall be worth, &c. Imperative. Vdli, vdglia ; vaglidmo, &c. be thou worth, let him be worth ; let us be worth, &c. * Optative. Che vaglia, vdglia, vdglia ; vaglidmo, vaglidte, vdgliano : that I may be worth, &c. Imperf. Che vaUssi, &c. Second Imp. Varrei, &c. Infinit. V alive* Gerund, valendo. Participle, valuto. VEDE'RE, to see* Indicative, Present. Vedo, vedi, vede ; vedidmo, vedete, vedono ; 124 VERBS. vedorio : I see, thou seest, he sees ; we see, you see, they see. Imper. Vedeva, vi, va ; vdmo, vdte, vdno : I did see, &c. * Preter-def. Vidi, vedesti, vide ; vedemmo, vedeste, *mdero ; I saw, thou sawest, he saw ; we saw, you saw, ,they saw. Preterperf. Ho veduto, or vlsto, &c I have seen, &c. * Future. Vedrb, rdi, ra ; remo, rete, rdnno s I shall see, thou shalt see, he shall see, &c. Imperative. Vedi, veda ; vedidmo, vedete, vedano : see thou, let him see ; let us see, see you, let them see. Optative. Che vegga, vegga, vegga ; vedidmo, vedidte, yeggano : that I may see, that thou mayest see, that he may see, &c. Imperf. Che vedessi, that I might see, &c. * Second Imperf. Vedrei, I should see, &c. Infinitive. Vedere. Gerund, vedendo. Participle, veduto, or * visto, seen. They say also veggo, veggiamo, and vegendo instead of vedo, vediamo, vedendo. Of the Verbs in ere short. OF all the verbs in ere short, there are none regular, except those which I have put just after the verb cre- dere. All the rest, of which there is a great number, are irregular ; some in the present tense, most of them in the preterperfect-definite, some in the future, and al- most all in the participle. A new and general Rule, to learn in a short time all the Irregular Verbs in ere short. We are taught by an axiom in philosophy, that Jrustra Jit per plura, quod potest fieri per pauciora. And it is in conformity with this maxim, that I have reduced ail the irregular verbs in ere short, to one single rule. These five verbs, conoscere, to know ; crescere, to grow ; nascere, to be born; nuocere, to hurt, (morally J* rompere VERBS. 125 rompere, to break ; form the preterperfect definite, and the participles, as follow : Preter-def. Participle. conobbi conosciuto. crebbi cresciuto. ndcqui ndto. nocqui nocivto. ruppi rotto. Generally speaking, all the other verbs ending in the infinitive in ere short, form the preterperfect-definite in si, and the participle in so, to, or sto. •tyt Though this rule might suffice for all the preter- perfect definites of verbs terminated in ere short ; yet we may also observe that the same verbs may be ter- minated in thirteen different ways, which will make however but one and the same rule. *** You will see in the terminations, which are placed in direct lines, that there is a star at the end of some of them, and there are others without that mark.. The star at the end is intended to show that those verbs make the participle in to ; the verbs that have no star, make the participle in so, or in esso. Terminations of the Verbs in ere short. The verbs in ere, short, are terminated in the infi- nitive. * 128 1. In cere: as, vincerey torcere, cuocere. * 131 2. In dere: as, drdere, chiudere, rider e. 132 3. In gere : as, pidngere, spingere, leggere. * 1 33 4. In gliere : as, cogliere, sciogliere, togliere* * 134 5. In ere ; as, trdere, obs. now trdrre, &c. * 135 6. In lerei as svellere, * * The figures in the margin refer to the pages where the verbs of a similar termination are conju- 7.1a 126 VERBS. 135 7. In mere: as, imprimere, opprimere. Preteiv def. impressi, oppress!. Participle, im- presso ; oppresso. 136 8. In nere : as, ponere, obs. now porre, riponere, obs. riporre. Participle, riposto. 137 9. In ndere ; as, prendere, rendere, rispondere, nascondere. Participle, preso, reso, or renduto, risposto, nascoso, or nascosto. ( 10. In ^ere: as, rompere, makes in the perfect T38 J defin. ruppi, in the participle, r<5fto. j 11. In rere: as, correre, concorrere. . [ 12. In fere: as mettere, misi, messo. 139 13. In wre: as, scrivere, vivere. *^* Change all these terminations into si, and you will find the preterperfect definite of them all, in which consists the greatest irregularity : example ; to find the preter°definite, of mncere, torcere, drdere, prendere, pidngere, rispondere, only change their terminations, cere, dere, gere, ndere, into si, and you will find, vinsi, i6rsi 9 drsi, presi, pidnsi, risposL * # * Observe, that the verbs written with two gg's before the penultima, drop them, and double the s in the preterperfect definite, and the t in the participle ; example, leggere, reggere, &c. To form the preterper- fect definite, we must change the termination ggere into ssi, and for the participle into tto, and we shall find Ussi, ressi, letto, retto, &c. Take notice likewise, that the verbs terminating in gliere, always retain the /, and only lose giere in the preterperfect definite ; the same rule serves for the par- ticiple: example, cogliere, sciogliere, scegliere, togliere, &c. take from those words giere, there remains col, sciol, seel, tul ; and by adding si to them in the preterperfect definite, and in the participle to, we shall find, colsiy. sciolsi, scelsi, tolsi, colio, sciolto, scelto, tolto, &c. %* To conjugate these verbs with ease, remember that there are always three irregular, and three regular persons, in the preter-definite^ The three irregular persons are the first and third singular, and the third plural, which are very easy to- be formed, if we only observe, that the first person is always verbs. m always terminated in i ; vinsi, drsi, pidnsi ; change i into e, and it is the third singular; vinse, arse, pianse ; and by adding ro to the latter it becomes the third plural, vhisero, drsero, piansero ; and so of the rest. Example, presi, scrissi | prese, scrisse, I presero, scrissero, resi, lessi, \ rese, lesse. J resero, lessero. The three regular persons are, the second singular, and the first and second plural. There is frequently more difficulty in finding but these than the irregular persons, because we confound one with the other. Now the true way to avoid being mistaken in this point is, to remember that the second person singular of the preter-definite in all verbs, as well regular as irregular, is formed from the infinitive, by changing re into sti ; as,vincere, vincesti, drdere, ardesti ; pian- gere, piangesti ; except the verb essere. The first person plural is also formed from the infi- nitive by changing re into mmo ; as, am&re, amdmmo ; vedere, vedemmo ; logger e t leggemmo. The second person plural of the preterperfect defi- nite is formed in all the verbs from the second of the singular, by changing its final i into e ; as vincesti, vi?i~ ceste ; ardesti, ardeste ; piangesti, pianghte. Thus we shall find, vinsi, vincesti, vinse ; vincemmo, vi?iceste t i)insero ; drsi, ardesti, arse ; ardemmo, ardeste, drsero. These observations should be carefully remembered, as being very necessary for conjugating the irregular verbs. %* We must also remember, that the verbs termi- nated in ere and vere y as, trdere, scrivere, double the letter s in the preterperfect definite, and the letter t in the participle : example ; trassi, scrissi, trdtto, scritto. The above rule would be sufficient for learning the irregularity of the verbs in ere short ; yet, for the greater conveniency of learners, I have thought proper to explain these thirteen terminations more at large, in order to obviate all the difficulties that may occur. Of 128 VERBS. Of the Verbs terminated in cere. The verbs in cere form the preterperfect definite, by changing cere into si, and the participle into to : as, Cuocere, to bake, to cook. Present, cuoco, cuoci, ciifice ; cuocidmo, cuocete, cuocono : I bake, thou bakest, he bakes : we bake, you bake, they bake. Imp. Cuoceva, tit, va ; vdmo, vote, vano : I did bake, thou didst bake, he did bake, &c. * Preter-def. Cossi, cnocesti, cosse ; cuocemmo, cuo- ceste, cossero : I baked, thou didst bake, he baked, &c. Preterp. Ho cotto I have baked. Preterp. Aveva cotto, I had baked. Future. Cuocerb, rdi, rd ; remo, rete, r&nno : I shall bake, thou shalt bake, he shall bake, &c. Imper. Cuoci, cuoca ; cuocidmo, cuocete, cuocano : bake thou, let him bake, &c. Opt. Che cuoca. Imperf. che cuocessi. Second Imp. cuocerei. Infinitive, cuocere. Participle, * cotto. Gerund, cuocendo. Condu'cere, obs. Condurre, to conduct. Present, conduco, conduci, conduce ; conducidmo, conducete, con- ducono ; I conduct, thou conductest, he conducts ; we conduct, &c. Imperf. Conduceva, vi, w, &c. I did conduct. Preter-definite. Condussi, conducesti, condusse ; con» ducemmo, conduceste, condussero : I conducted, thou didst conduct, he conducted, &c. * Future. Condurrb, rdi, rh ; remo, &c. I shall or will conduct, &c. Imperative. Conduci, conduca, &c, conduct thou, &c. Optative. Che conduca. Imperf. che conducessi. Se- cond Imperfect, * condurrei. Participle, * condofto* Gerund, conducendo. Rilu'cere, to shine. Present, riluco, riluci, riluce ; riluciamo, rilucete, rilucono : I shine, thou shinest, he shines, &c. Imperfect, riluceva, &c. I did shine, &c. Preter- VERBS. 129 Preter-definite. Rilussi, rilucesti, rilusse; rilucemmo f riluccste, rilussero : I shined, thou didst shine, he shined, &c. Future, rilucerb, I shall shine, &c. Imperative. Riluci, riluca ; rilucidmo, rilucete, rilu- cano ; shine thou, let him shine, &c. It has no Optative. Subjunctive. Che riluca, riluca t riluca ; rilucidmo, rilucidte, rilucano : that I may shine> &c. Imperfect, rilucessi, &c. that I might shine, &c. Second Imperfect, rilucerei, &c. I should shine, &c It has no Participle. Gerund, rilucendo, shining. Vi'ncere, to win. Present, vinco, vinci, xnnce ; vin~ cidmo, vincete, vincono : I win, thou winnest, he wins, &c. Imperfect, vinceva, I did win. * Preter-definite, vinsi, vincesti, xanse ; vincemmo, vinceste, vinsero : I won, &c. Preter-perfect, ho vinto, I have won. Future, vincerb, I shall win. Imperative, vinci, vinca, &c. win thou, let him win, &c. Optative and Subjunctive. Che vinca. Imperfect, che vincessi. Second Imperfect, vincerei. Participle, * vinto. Torcere, to twist. Present, torco, torci, torce / iorcidmo, torcete, torcono : I twist, thou twistest, he twists ; we twist, cedetti, conceduto : perdei, perdetti, perduto ; and in like manner all the compounds of the verbs cedere and perdere. Of the Verbs in endere. THE verbs in endere form the preter-definite in ei and si, and the participle in esso : example, Atte'ndere, to attend; attendei, * attesi, * atteso. Pre'ndere, to take ; prendei, * presi, * preso. Re'ndere, to render ; rendei, resi, reso. This verb also forms the participle in uto, as renduto. The latter is better than reso. Fendere, to cleave, and pendere, to hang, are re- gular. In the preter-definite they make fendei or Jen- detti,\pendei 9 or pendetti, in the participle, fenduto and penduto. Take notice nevertheless, that the compounds of those two verbs are irregular, and they make the pre- ter-definite in est, the participle in eso, like difendere, to defend, * difesi, * difeso : appendere, to hang, or fix up, * appesiy * appeso, &c. Of the Verbs in gere. THE verbs in gere make the preter-definite in si, and the participle in to; as, Ci'ngere, to gird ; cingo, preter-definite, * cinsi, cingesti, cinse. Participle, * cinto. Spi'ngere, VERBS. 13S , Spi'ngere, to push ; * spingo, spinsi, * spinto. Pqrgere, to offer ; porgo, *porsi, * porta. U'ngere, to anoint ; ungo, * unsi, * unto. Sfa'rgere, to shed. Present, spdrgo, Preter-de- finite, spdrsi. Participle, * spdrso. ■ To which we may also add estinguere, estinguo, * es- Unsi, * estinto. E'rgere, to erect ; ergo, * em, * erto. All these verbs have the preter-definite in ei and etti ; but regularly their participle is in to. Immergere, dispergere, tergere, an obsolete verb (but poetical), and some others of the like sort, have it in so. Both those participles are formed of the first syllable of the present indicative joined to the syllable to or so. For instance, of cingere we make cinto, of spdrgere, spdrso. If the infinitives of those verbs are accented on the second syllable, the participle is then formed on the two first syllables added to to or so. Thus from immergere is formed immerso, of disgiun- gere, disgiunto, &c. N *^* Remember that the participle of the verb spdr- gere, is spdrto, and spdrso, not spargiuto, except in poetry for the sake of rhyme, or to serve the measure of the verse, and even there we ought to use it as little as possible. Observe, that verbs which have a vowel before gere must be written with two gg J s, and that they double the letter s in the preter-definite ; as, Friggere, to fry ; Jriggo, frissi, friggesti, &c. frilto. Leggere, to read ; leggo, lessi, leggesti, &c. Participle, letto. Take care not to say, frigiuto, or leggiuto. # # # Of the Verbs in gliere. Observe that besides the irregularity in the preter- definite, and the participles of verbs ending in gliere, they are also contracted or abridged in the infinitive, and in the future and second imperfect tenses ; as, Cogliere, or Corre, and Cor, to gather. Future, corro. Second Imperfect, correi. The 134 VERBS. The verbs in gliere, change their terminations into hi, to form the preter-definite ; and in Ito, to make the participle. The conjugating of cogliere, colsi, colfo, will serve as a rule for those verbs that are of the same termination. * # * Indicative, Present, colgo % and coglio, I gather ; cogli, eoglie ; coglidmo, cogliete, colgono. Imperfect, coglieva, I did gather. * Preterperfect-definite, colsi, cogliesti, coke, cogliimmo, &c. I gathered. Future, corrb, &c. I will or shall gather. * Imperative. Cogli, colga, or cdglicr^ coglidmo, cogliete, cogliano, or colgano : let him gather. Optative. Che coglia, or colga, &c. Imperfect, * che cogliessi. Second Imperfect, * correl. Participle, * colio. Togliere, or Torre. Present, *iolgo t or toglio* Preter-definite, *tolsi, togliesti, &c. Future, *torrb. Optative. * Tolga. Imperfect, togliessi. * Second- Imperfect, torrei. Participle, tolto. Sciogliere, or Sciorre, to loosen. Present, * sciolgo, or scioglio. Preterperfect-definite, * sciolsi, sciogliestL Participle, sciolto. Sce'gliere, to choose, is not abridged in the infini- tive, like the above verbs : it forms in the present, scelgo, scegli, sceglie ,• sceglidmo, scegliete, scelgono* * Preterperfect-definite, scelsi. * Participle, scelto. # # # Qf the Verbs in here. IF there were any such thing in the Italian language- as a verb terminated in here, it would be trdhere, to draw, with its several compounds. But the present orthography is to write them without an h- This verb is also contracted in the infinitive. Of iraere, we form trdrre or trar. Trdssi is the preter-definite, and tratto, the participle. * Indicative, VERBS. 135 * Indicative, Present. Trdggo, trdi, trde; trajdmo y traete, trdggono, I draw, &c. Imperfect, traeva. * Preterperfect-definite, tr&ssi, traesti, &c. * Future, trarro. * Imperative. Trdi, tragga ; trojamo or traggidmo 9 . iraete, trdggano. * Optative. Che tragga. Imperfect, che traessL * Sec. Imp. Trarrei. Participle, trdtto. Gerund, traendo. Observe the same rule in its compounds. Contrdere, attrdere, distrdere, &c. which make contrdrre, attrdrre r distrarre, &c. They form the preter-definite in ssi, as coiitrdssi, attrdssi, distrdssi, and the participle in to, as, contralto, attrdtto, distrdtto, &c. Of the Verbs in lere. OF all the verbs in lere, there is only the verb svellere, to pluck, that change e into si, to form the preterperfect-definite, and into to, for the participle. Present, * svelsi, svellesti. Future, svellerb. Participle^ svelto. Of the Verbs in mere. PRE'MERE, Su'mere, and their compounds, are the only regular verbs for this rule. Premere, to press. Present* premo. Preterperfect- definite, * pressi and premei, or premetti. Participle, premuto. Its compounds in imere make the preterperfect- definite in ssi, and the participle in sso ; as, Opprimere, * oppressi, oppresso. Imprimere, * imprSssi, imprksso. Sumere is obsolete : its compounds make * sunsi, sunto, as Assumere, * assunsi, assunto ; consumere, (now consumdre), consunsi, consunto, and consumdto. O 336 VERBS. Of the Verbs in nere. PO'NERE, obs. is also irregular, with its compounds. It changes the infinitive into 6rre 9 so that we say, porre, to put ; disporre, to dispose, &c. instead of, ponere, and disponere. We may change nere or erre, into si, for the preter-definite, and into sto for the participle ; saying, * posi, disposi, posto, disposto, &c. The preter-definite may also terminate in ei, as ponei, disponei, &c. But the participle always makes sto. Nay it would be very wrong to say, esposdto, disposdto, and this should be carefully minded, because foreigners are apt to commit this error. The French are led into it by the turn of their language ; and other nations, by frequently meeting with the word posdto in printed books. But you are to take notice, that this word is derived from the verb posdre, and not from ponere or porre. For the same reason we do not say, posdi, for posi, or ponei, this word being used only for the first person of the preter-definite of the same verb posdre. Consequently, we must never say disposal, esposui, &c. for the verbs are the compounds of ponere and not posdre. *3* Remember the two remarks made on the verbs ending in lere, nere, nire, which take the letter g in the present, and change le, ne, ni, into r in the future, &c. * Present. Pongo, poni, pone ; ponidmo, ponete, pbn~ gono : I put, &c. Imperfect, poneva. * Preterperfect- definite. Posi, or ponei, ponesti, pose; ponemmo, poneste, posero. Future, porro. * Imperative. Poni, ponga ; poni&mo, ponete, pon- gano. Optative. Che ponga, a, a ; ponidmo, ponwte, pon- gano. Imperfect. Che ponessi. Second Imperfect, porrei, * Participle, posto. Gerund, ponendo. Conjugate its compounds after the same manner. Of VERBS. 137 Of the Verbs in ondere. BY changing ondere into si, or re into i, as in the case of regular verbs, you form the preterperfect defi- nite. The participle is in osto, uso, or oso. Rispqndere, to answer. Present, rispondo, ris- distriiggere ; to renew, rinno- vdre, &c. It was formerly the custom to write several adverbs and prepositions separately, which now make but one word ; but they double the first consonant of the latter word, which is joined to the former, when this ends by a vowel : for instance, gid che, since, giacche ; in tdnto, I fra 170 Of the ITALIAN fra tdnto, in the mean while ; intanto, fratt&nto ; a cib che, a Jin che, to the end that ; accioche, affinche ; si come, as, siccome; adossoil suo nemico, upon his enemy, adosso al suo nemico ; oltra a cib, besides, oltraccib : di nanzi al giudice, before the judge, dinanzi al giudice ; ubmo da bene, an honest man, uomo dabbene. After is expressed by dippoi with, the verbs, and by dopo, with a single p, before the nouns. It is true nevertheless, is elegantly rendered in Ita- lian by egli e non per tanto vero. Non v' e scuse, signifies there is no room for excuse ; and this is an ellipsis, instead of non v e luogo a scuse. We express several by parecchi for the masculine, and by parecchie for the feminine : example, several masters of languages, parecchi maestri di lingua ; se- veral women, parecchie donne. For which, or wherefore, is expressed in Italian by per lo che, or per la cjual cosa, or per cib. Ne', with an apostrophe, signifies in the in the plural, when we are speaking of the masculine gender : ex- ample, in the gardens, ?ze' or nei giardini. As there is no future tense, no second preterimper- fect in the Italian language, that terminates in arb and arei, except sarb, I shall be, and sarei, I should be ; starb, I shall remain ; starei, I should remain ; faro, I will do ; farei, I should do ; darb, I shall or will give ; darM, I should or would give; saprb, I shall or will know ; saprei, I should know ; hence we neither say nor write amarb and amarei, &c, but arnerb and amerei. The Italians usually place the particles si, vi, or the relative ne, and such like, after the persons of Terbs marked with a grave accent; but then they drop that grave accent, and repeat the consonant of those particles ; for instance, my brother will repent, mio fratello pentirassi; I will give you an inkstand, da- rovvi fan calamdjo. Th e ^ m £ ^ ias &i yen an A re ha dato cento mila hundred thousand livres lire (ilia cittd di Parigi, to the city of Paris, and e daranne cinqu&nta a he will give fifty to the cjuilla di Lione, town of Lyons. CHAP. ORTHOGRAPHY. 171 CHAP. II. Of the APOSTROPHE. THE Apostrophe is a mark made like a comma, in- serted between two letters, to denote the retrenchment of a vowel ; as, V amore, V ammo, V onore, V uomo. The Italians still observe the rule of old authors, never to make use of the apostrophe but when it renders the pronunciation more delicate ; and not so frequently as those who have but a superficial know- ledge of the language. The apostrophe is generally placed after the articles, if they precede a word commencing with a vowel ; as, Vdnime, delVanime; Vdnima, delVdnima; V onore, delV onore, &c. See what we have said concerning the apostrophe, treating of the articles, p. 6, and 38. We sometimes meet with lo'mpero, for Vimpero ; le'nsidie for Vinsidie ; but this ought rather to be avoided than imitated. %* Sometimes there is an elision of the article il, by cutting oft" its first letter, which is quite the reverse of other elisions, by which we drop the vowel at the end of words ; and when the article il happens to follow a word terminating in a vowel, the i of the article il is cut off, and the preceding word continues entire, with- out any abbreviation ; as, sopral tetto, for sopra il tetto, E"l piu garbdto, e Hpiu cortese, for il, Tuttol mondo sa, for tutto il mondo sa. Fral si el no, for fra il, &c. Sul mezzo di, for su il, &c. Sel capitdno comdnda, e ragionevole che'l solddlo ob- bedisca, for se il, and che il, N. B. Observe, in regard to this elision of the ar- ticle il, that the best modern authors constantly make use of it ; and the reason they allege is, that the i has a harsher sound than any of the other vowels. Sometimes we make an elision of the article lo, even i 2 before 172 Op the ITALIAN before words beginning with a consonant, and the two> words coalesce into one ; as, nol so, "1 f non lo so. sel crede, > for ■< se lo crede. vel prometto, J five lo pron The apostrophe is also put after mi, ti, ci, vi, di, si, ne, when they precede a vowel or the letter h ; as, rnamdte, Vascblto, Vintendo, simpbrta, m'avete, s'in- tende, vHngdnna, Vdnima, d' Antonio, narde, n'avro, Tihiii, nhdnno. Words abbreviated are written with an apostrophe ; as, de signbri, for dei signbri ; pie' for piede ; me' for meglio, in poetry ; co y for cbi or colli. CHAP. III. Of the Words that must he retrenched. THE last syllable of the subsequent five words, uno, hello, grande, sdnto, quello, hubno, must be re- trenched when they precede a word beginning- with a consonant; example, un gibrno, hel giardmo, san Pietro, quel pane, bubn libro ; and not uno gibrno, hello giar- dino, &c. Before masculine nouns, if the subsequent word com- mences with a vowel, or an h, you only cut off the final vowel, and put an apostrophe when there are two consonants ; example, un amico, helV aspetto, gran ingegno, sant' Antonio, quell' ubmo, bubn aspetto. Before the feminine nouns beginning with a conso- nant, grande is the only one of those words that we abridge, both in the singular and the plural ; as, una edsa, bella cdmera, gran famiglia, santa Maria, quelle signbra, belle edse, gran ricchezze, sdnte ckiese, quUle virtil. The masculine plurals of the six preceding words are, uni, belli, grdndi or gran, sdnti, quelli, babni. The feminine plurals are, une, belle, grdn or grandly sdnte, quelle, bubne, without any other abbreviation than of grdn ; and even this sometimes makes grdndi with nouns commencing with a vowel ; as, grdndi dnime, or dnime grdndi. You ORTHOGRAPHY. 173 You may also retrench the final vowel of the words that have one of these four letters. /, m, n, r, for their penultima; as, II carnovdl passdto, qudl signore, instead of il car- novdle and quale. Andidm presto, for andidmo presto. Aman per Vonde i velbci delfini, instead of dmano. Fior gratOy cubr generoso, instead ofjiore and cuore. N. B. When the retrenchment falls upon a word with two final consonants, you must put an apos- trophe ; as, crederann* allora, instead of crederanno allora ; vedemm' altri venir, for vedemmo altri venir. But in the modern orthography they write indifferently, vedemmo altri, or vedemm altri, and more generally vedem altri, with only one m, and without apostrophe. The words that have m or n for the penultima, are not so frequently retrenched as those that have I or r. If we should be directed by the opinion of the best authors, the following chapter would be sufficient for our purpose. CHAP. IV. Of the Words that must not be retrenched. THE vowel which terminates a sentence, or which precedes a comma, or any other stop, must never be re- trenched ; therefore we ought not to write v. s. ha una bella man, chi e quel signor ? quelVuomo e gran ; but v. s. ha una bella mdno, chi e quel signore? quelVuomo h grdnde ; and so of the rest. Neither must the words terminated in a, when they are before a consonant, be retrenched, except bra, ancora, Jinora, allora, talora ; for we may write, or su signori, ancor non viene; but it would be wrong to write, una picciol cdsa, una bel mdno, instead of una bella mdno, una picciola cdsa. Accented words must never be abbreviated : such, for example, as, faro, dirb. In not retrenching in the plural, the words which have an I before the last letter, you are warranted by the 174 Of the ITALIAN the authority of the best authors ; therefore, you must write amdbili persone, fdvole ben trovdte, parole scelte? nobili cavalieri. The singular number is more apt to admit of this abbreviation. To write correctly, you must never abridge Apollo, affdnno, tdllo, duro, ingdnno, pegno, oscuro, sostegno, strdno, vello ; therefore you must not write Apol, affdn, tdl, dur, &c. * # * The words beginning with an s, followed by a consonant, oblige the preceding word to terminate in a vowel ; as, bello studio, grdnde stdto, quello spirito, essere stdto\; and not bel studio, grdn stdto, quel spi- rito, esser stdto. *£* Observe, that if the preceding word cannot ter- minate in a vowel, that which commences with an s, followed by a consonant, takes an i before it ; as, per isdegno, in iscuola, instead of per sdegno, in scuola. See Ferrdnte Longobdrdi, Lod. Dolce, and Bentivoglio. N. B. In the beginning of a period, or when the sense is interrupted by a colon, or semicolon, we may omit the insertion of the vowel i. We never retrench the e of se, signifying if, except it be followed by another e ; for instance, we do not say s'dmo lo studio, if I love study, but se dmo lo studio. On the contrary, we do not say, se esercitasse Vdrte, if he exercised the art, but s'esercitdsse Vdrte, by reason that esercitdsse begins with an e; example, I have seen my mother, and given her a gold snuff-box, ho veduto mia mddre, e le ho ddto una scdtola d'oro: or, he loves Antony, dma Antonio, If we were to cut off the e from le, in the former sentence, we should not know whether this V was in the accusative or dative, in the singular or plural ; and if we were to retrench the final a from the word dma, we should not be able to tell whether it was the first or third person of the present indicative, or the subjunctive, or the third person of the preter-definite. You must therefore write, without any elision of the vowel, ho veduto mia mddre, e le ho ddto, &c. dma Antonio, and the rest in the same manner. You must not retrench the e in che, when the follow- ing word begins with an i, for it is the i that ought rather ORTHOGRAPHY. 17-5 rather to be retrenched : but when this i is the plural of the definite article, which does not admit of this elision, then you are to pronounce the che and i both together, as if it were only one word : example, God grant the times may be good, and the winds be not very high next winter ; then, if my brother i^nthony is well, and my cousin Harry is in town, I will go to Paris : Dio voglia che' I tempo sia buono, e eke i venti non 8ie.no gaglidrdi 7 verno prossimo ; allora, se Anto- nio mio fratello stara bene, e s Enrico mio cugino sara in cittci, andrb a Parigi. We never retrench the i from ci, us, before the vowels a and o ; because it would render the pronun- ciation too harsh : hence we do not say, il principe c aveva promesso cento scudi, the prince had promised us a hundred crowns, but ci aveva; V. S. c' onora, you do us honour, but ci onora. It would be extremely proper, if, before words be- ginning with the letter z, we were not to retrench the vowel, so as not to say, buon zucchero, good sugar ; gran zdzzera, a large head of hair : but buono zuc- chero, grdnde zdzzera. In Dante, Petrarch, Ariosto, Guarini, Tasso, Marini, and all the poets, we find several tenses of the verbs abridged. See farther on this head, in the treatise of Poetic Licences, where I have arranged them in alpha- betical order. SECOND 176 Of the ITALIAN ACCENT. SECOND TREATISE. Of the ITALIAN ACCENT. THE accent, which is the very soul of pronunciation, is the stronger or weaker elevation of the voice on particular syllables, and the manner of pronouncing them, shorter or longer. I intend to speak here only of the accent which the Italians make use of in writing, and which we find in their printed books. The Italians, indeed, are acquainted with two ac- cents, but they make use of one only, namely, the grave, which is figured by an oblique stroke from the left to the right, after this manner ( v ). It is put only in the last syllable of some words ; as, amb, when it happens to be a verb, as, parlerb. N. B. The other accent, called acute, is a contrary mark to that of the grave, as may be seen in the fol- lowing words, dmano, amavano, &c. The Italians never note it down ; so that if we sometimes meet with it in books that teach the principles of their language, as is now the case in this grammar, it is with a view of conveying thereby a just idea of the Italian accentua- tion. CHAP. I. Of the Grave Accent. THE Italian nouns in td, which in English termi- nate in ty, and in Latin in tas, are marked with a grave accent ; as, puritd, castitd, santitd, maestd, gra- vitd, &c. These words form the plural in td, without any alteration. But they do not place an accent on the a in visita, because it does not come from a Latin word in tas; neither are we to dwell upon the last syllable; and, moreover, it makes the plural visite and not visita. The Of the ITALIAN ACCENT. 177 The Italians also place a grave accent on nouns ter- minating" in u; as, virtu, servitu, &c. Monosyllables ending in o or a, according to some grammarians, are accented ; as, do, da; fb, fa ; pub, sd ; stb, std. But I should prefer the opinion of those who do not accent them, because a monosyllable ever preserves the same quantity, whether it be accented or not ; so that the accent, in that case, only serves to distinguish one word from another ; as, da, he gives, from the indefinite article da, from. They likewise put the grave accent on the first and third person singular of the future tense ; as, canterb, goderb, darb, canter d, goderd, dara. *J* Observe, that we may transpose the monosylla- bles which we happen to find before verbs accented on the last ; and then we must double the first letter of the monosyllable, and drop the accent of the verb; as, I have them, holle, for le ho ; I will do it, farbllo, for lo faro ; he showed me, mostrommi, for mi mostrb ; he heard me, sentimmi, for mi senii. The manner of transposition, after the tenses of ac- cented verbs, is very common in poetry. The verbs are marked with a grave accent in the third person singular of the preter-definite, whenever the first person terminates in two vowels ; as, amdi, amb credei, crede; dormii, dormi. If the first person of the preter-definite does not ter- minate in two vowels, there is no accent on the third. For which reason we put no accent on the last syl- lable of vinse, arse, prese, diede, fece, stette, which, in the first person, make vinsi, or si, prhi, diedi, feci, stetti. N. B. The Italians also put a grave accent on di, a day ; and on di, the imperative of the verb dire, to say; on ^, it is; on li and Id, there; to show that these words are to be pronounced with greatet emphasis, and with a somewhat longer pause ; as also to distinguish the above-said two dl's from di, the genitive indefinite, which is sounded without a pause at all; they likewise mark a grave accent on U, there, to distinguish it from li, the relative masculine plural ; as, I promise three crowns, and I give them, prometto tre scudi, e li do : and on Id, i 5 to 178 Of the ITALIAN ACCENT. to distinguish it from la, the relative feminine singu- lar ; as, the princess writes a letter, and causes it to be put in the post : la principessa scrive una lettera 9 e la fa metter alia posta. The grave accent is also put on qui and qua, here ; on costi and costd, there ; giil, below, down ; sii, up ; piu, more ; cos?, so, or thus ; si, yes ; because those words are to be sounded somewhat stronger, and, in some measure, with a greater pause ; but, on the other monosyllables, they do not mark a grave accent, for it would be entirely superfluous, as they are always pro- nounced in the same manner. We therefore do not accent da from the ablative in- definite : a, to; ma, but ; ne, of it, of them, or us ; re > king ; o, or ; and others of the like nature ; because no confusion or obscurity can arise from thence, as you will perceive by the following example : particularly with respect to da and a, the two monosyllables which seem to be somewhat equivocal, but by no means are so. Ne, when it means neither or not, is accented, to distinguish it from ne, a pronoun conjunctive. Alexander gives his word as an honest man, and he has no difficulty to give it to Peter and Paul, or to any other person. Aless&ndro da la sua parola da galantuomo, e non ha veruna difficoltd di dcirla a Pietro ed a Paolo? o a chi si sia. You see, therefore, very clearly, that in this exam- ple, the first del is the verb, the second is the ablative definite ; and that the first ha is in like manner a verb, being particularly written with an h, and that the other a's are datives indefinite. CHAP. II. Of the Pronunciation of Nouns. WE have mentioned, in the preceding chapter, that the Italians sometimes make use of the grave accent, and particularly in the examples above given ; but as to what concerns the acute accent, we may venture to affirm, that it is used by no modern Italian, at least who Of the ITALIAN ACCENT. 179 %vho understands his own language : because without insisting that it would be impossible for the printer, though ever so exact, to mark it wherever it might be wanting, it would occasion such a strange embarrass- ment and confusion in the letters, that it would be scarcely possible to read them. In order, therefore, to avoid the frequent repetition of the grave and acute accents, I have discovered a method which to me ap- pears very easy and clear, and which will be of great use to such as are desirous of learning this language, and even to the Italians themselves. But before I enter upon an explanation of the particular rules ar- ranged here in an alphabetical order, it will be neces- sary to give your attention to t\i&> general rules con- tained in the five following numbers. No. I. All nouns must be pronounced either short or long ; and their short or long sound depends entirely on their penultima syllables, that is, the last but one ; for all the other syllables are to be pronounced steadily and uniformly, that is, without making use of any brevity, except these two nouns, dugure, an augur; cl&usola, a clause ; which have the antepenultima (that is, the last but two) short; and some others mentioned in the exception of the letter c. In order to know in what manner you are to sound this penultima syllable, observe the penultima letter of the noun you want to pronounce, and look for that letter in the following arrangement, where you will see the rule with its exceptions ; as, for example, if you want to know whether the noun rammdrico, regret ; ought to be pronounced short or long, you must look for the letter c, which is the penultima letter of the noun rdmmarico, marked in the alphabetical order ; you must also examine the exception ; and if you do not find it there, then you are to conform to the rule which says, all nouns that have the letter c for their penultima, are pronounced short. No. II. Nouns of two syllables have no rule at all, because they are subject to neither brevity nor length : except a very 180 Of the ITALIAN ACCENT. a very small number, which will be found in their proper places of exception. I shall give you here, as a general rule, all such nouns as have two consonants before the filial vowel, as maciltnte, cangiamento, make the penultima syllable long, of whatever number of syllables they consist ; except a few, which you will find under the letters r and t. No. III. Neither is there any need of a rule for nouns which have a grave accent marked on the last vowel; it is sufficient to know how to pronounce one of them pro- perly ; for example, carita ; and you will be able to pronounce calamitd, veritd, virtil, bonta, and all others of the same kind, because you are to sound them all with the same degree of quickness. No. IV. All feminine nouns follow the rule of the masculines, from which they are derived. All the plurals follow the rule of their singulars, and compound nouns those of their simples. No. V. There are some nouns which the Italians pronounce as they please, that is, either long or short; and of these I have mentioned some in the exceptions to the rules. With regard to poetic nouns, we must be di- rected by the measure of the verse ; for poets have a licence to abbreviate and lengthen a great many words. You pronounce according to the custom of the coun- try, when they happen to be barbarous and foreign names, and all of Hebrew and Greek derivations. Likewise the proper names of persons, families, towns, provinces, &c. Remember the proverb, In paese ove vaiy usa cib che trovi. Let us now proceed to the particular rules. A. Nouns having the letter a for the penultima, are very few among the Tuscans, and you must pronounce them long ; as, Archelao, Nicoldo, Sta,7iisl&o. B. Nouns Of the ITALIAN ACCENT. 181 B. Nouns that have the letter b for their pen ultima, are also very few, and must be pronounced short ; as, A'rabo, Bdmaba, Celibe, I'ncubo, succubo; but pro- nounce Carobba, a Carob bean, long. C. All nouns whose pen ultima is the letter c, are short; as, Rammdrico. Alice, Amico, Aniico, Appendice, Apr ico, Arciduca, Atrbce, Beatrice, Beccafico, Berenice, Biblioteca, Caduco, Capifuoco, Cervice, Ciridco, Cloaca, Cornice^ Coiurnice, Dappoco, Enrico, Fanfaliico, Fatica, Federico, Felice, Fenice, Except Feroce, Festuca, Filuca,QT Felucca, Imbridco, Intrico, Lattuca, Lettica, Lombrico, Lorica, Ludovico, Lumtica, Mammalucco, Manttca, Matrice, Mendlco, Molica, Morice, Narice, Nemico, Opdco, Orico, gum Arabic. Ortica, Pagluca, Pampaluca, a kind of sea-fish. Panico, panic, a sort of grain. Pappafico Pendice, Per nice, Pudico, Rubrica, a rubric of a missal or other book. Sambuco, Sommdco, Tamerice, Tarlice, Tar tardea, Teridca or tridca, Veloce, Vernice, Verruca, Vescica, Ubbridco, Ulderico, Umbilico, lico. bel- And all nouns terminated in ace ; as, auddce,forndce, spindce. Likewise such as express female qualities, and end in ice ; as, meretrice. posseditrice, vendicatrice, &c. D. Nouns 182 Of the ITALIAN ACCENT. D. Nouns which have the letter d for their penultima are short. Alcide, Arredo, Belgrddo, Canicida, Congedo, Contddo, Contrdda, Corrddo, Corredo, equipa; Cupido, Cupid. Custode, Except, Diomede, Disfida, Erede, Erode, Fratricida, Ganimede, GoffredOy Ignudo, re.Lampreda, Mercede, Nicomede, Omicida, Palude, Parentddo, Parenticida, Parricida, Rugidda, Squassacoda, Tancredi, Toledo, Treppiede, Zenddo. Nouns ending in the syllable de, and formed from other nouns which have a grave accent on their final vowel, are also pronounced long ; as, cittdde, povertdde, virtude, formed of cittd, povertd, virtu. N. B. This manner of writing is used only by poets, and very rarely occurs in prose. E. All nouns that have the letter e for their penultima, are long. Except Aculeo, Borea, Cesdrea (title of majesty; but when it signifies a city, it is pronounced long) Ceruleo, Coetdneo, Collatdneo, Empireo, Etereo, Linea, Medi- terrdneo, purpureo, Tartdrea, tempordneo. Some pro- nounce the two names Teseo and Tirnoteo, long ; and they seem to be in the right. All nouns adjective derived from substantives are also short ; as, ferreo from ferro, iron ; marmoreo, from mdrmo, marble ; venereo, from Verier e } Venus. In all nouns of this ter- mination, where the letter u alone forms their ante- penultima syllable, this letter is pronounced short, as well as the syllable that follows ; as, dureo, ndusea, &c. F. You Of the ITALIAN ACCENT. 183 You are to pronounce all nouns short, whose penul- tima is the letter f; except the three following, Mar~ tufo, Pardfo, Tartufo, which are long. G. You must pronounce all nouns short, that have the letter g for their penultima, Except Areopdgo, Bottega, Castiga, Collega (Congrega, though long, is sometimes pronounced short), Dionigi, Gonzdga, Impiego, Intrigo, Lattuga, Lettiga, Luigi, Lupdgo, Origo, Parigi, Pedagogo, Presdgo (several pronounce proroga short), Ripiego, sanguisuga, selvdgo, sinagoga, sossiego, or sussiego, tartarvga. I. In some nouns where the letter i happens to be the penultima, it forms one syllable with the following let- ter, as they are pronounced jointly. In others, it is formed separately, forming a dis- tinct syllable by itself. The letter i therefore forms but one syllable with the subsequent vowel, in all nouns not contained in the fol- lowing catalogue. It forms two syllables in the follow- ing nouns, and you are to pronounce them long ; viz. Agonia, Albagia, Amnistia, Anagogia, Analogia, Anania, Anarckia, Anatomia, Anfania, Anfibologia, Antologia, Antinomia, Antipatia, Apologia, Apoplessia, Apostasia, Aristocrazia, Armonia, Arpia, Astrologia, Astronomia, Badia, Balm, power, or authority. Balio* Baronia, Bastia, Befania, or epifa- nia. * This name is given in some parts of Tuscany to the person who, at Rome, is called Cursore, a Serjeant or bailiff. Brio, 184 Of the ITALIAN ACCENT. Brio, Bugia, Calpestio, Carestia, Castellania, Codardia, Chiromanzia, €hiro?iia, Chirurgia, Compagnia, Cortesia, Cronologia, Dio or Iddio, Democrazia, Diafania, Desio, Economia, Elegia, Elia, Energia, Eresia, Etimologia, Eucaristia, Fantasia, Fellonia, Filologia, Filosofia, Fisonomia, or fi- sionomia, Fio, Follia, Frenesia, Gagliardia, Gelosia, Genealogia, Gengia, Genia, Geografia, Geomanzia, Geomelria, Gerarchia, Geremia, Golia, Idrofobia, Idrografia, Idromanzia, Idropisia, Infimgardfia, Ipocrisia, Ironia, Lebhrosia, Leggio, Liscia, or Lescia, lye to wash with. Litanie, Litar gia, or letar- gia,^ Liturgia, Lombardia, Lucia , Magia, Malacchia, Malattia, Mali a, Malvasia,orMal- vagia, Malm- sey wine. Malinconia, or Maninconia, Mattia, Melanconia, Melodia, Mercanzia, Messia, Mo, Monarchia, Mormorio, Natio, Negromanzia, Normandia, Notomia, Qbblio, Omilia, or umilia, Ortogrqfia, Paralisia, Pavia, Pazzia, Pestio, Peripezia, Picardia, Pio (but empio is pronounced short.) Piromanzia Poesia, Polizia, \ Prigionia> Prosodia, Puttania, Pestio, Ricadia, Rio, Ritrosia, Romania, Rosalia, Saettia, Sagrestia, or sa- gristia, Schiranzia, or scheranzia, Schiavonia, Scoppiettio, Simonia, Simpatia, Sinfonia, Sodomia, Sofia, Spia, Stallio, Stantio, Tentinnio, Teologia, Tipografia, Tirannia, ToMa, Traversia, Of the ITALIAN ACCENT. 185 Traversia, Via, Zacchia, Turchia, Villania, Zio. Vallonia, We likewise give a long pronunciation to all those nouns which terminate in ria ; as, allegria, idolatria, osteria. Except feminine nouns derived from short mascu- lines, only by changing the last vowel into a ; as, vit~ torio, vittoria ; fulminatorio, fulminatoria ; because these are reducible to the rule of No. IV. The following are also pronounced short. A'dria, Feria, Mdndria, Anguria, Fimbria, Materia, A'ria, Furia Memoria, Arteria, Gloria, Miseria, JBaldoria, I'dria, Mitria, \ Boria, Industria, Penuria, Caldbria, Ingiuria, Piria, Curia, I'stria, Stiria, Ddria, Lussuria, Storia. Frddicio, mudicio, sudicio, which several Tuscans use instead of frdcido, mucido, and sucido, are nouns out of all rules; because, besides the conjunction of the two last vowels, they have the syllable di short. In fine, all nouns that have for their penultima the letter i, forming one syllable with the final, as deside- rio, propizio, make the penultima long. L. Nouns that have the letter I for their penultima, are short, Except Acquamele, Candela, Crudele, Araceli, Caprarola, Fedele, Asilo, Carmelo, Idromele, Batticulo, Car 61a, Loquela, Mezzule, JBestiola, Cautela, Cammello, Corruttela, Michtle, Ossimele, 186 Of the ITALIAN ACCENT. Ossimele, Raffatle, Strozzule, Paralello, Segdla, (some Tordela, Parentela, pronounce it Vangelo, Par via , short). Varola, or verola, Pirolo, Sequela, Viola y Pistbla, a pis tol. Soggolo, Uriele. Querela, Sosamele, And all nouns terminating in ale ; as, candle, funer die , guancidle, without reckoning Annibale, Asdrubale, and fonfale. You are likewise to pronounce all nouns long that, before the final syllable, have the letter o preceded by a vowel, here called accidental, which ki verse is seldom used, but frequently in prose, though it is scarcely ever sounded ; &s,Jigliu6lo, Romagnuolo, vignajuolo. In like manner, nouns terminating in He ; as, Aprile, gentile, vedovile : but of the latter there are fourteen short, viz, Acqudtile, Fertile, Sterile, A'gile, Frdgile, Voldtile, Docile, Futile, U'mile, Difficile, Grdcile, Utile. Facile, Portdtile, All adjectives in bile, which express possi- bility or impossibility of doing any thing, are also short ; as, correggibile, invincibile, scibile, &c. N. B. Atrabile is pronounced long ; but all the other nouns in He, as amdbile, nobile, stabile, &c. fol- low the rule of the letter l. M. Pronounce all nouns short, which have the letter m for their penultima, Except Guaime, Idioma, Lattime, Maddma, Opinio, Poema, Abrdmo, Addmo, Cinamomo, Cognome, Concime, Diadema, Estremo, Except also, all nouns terminated in ame and ume ; as, bestidme, legndme f costume, legume, N. Pronounce Problema, Richidmo, Soprannome, Stratagemma, Sublime, Supremo, Of the ITALIAN ACCENT. 187 N. Pronounce all nouns long, whose penultima is the letter n, Except Abrotano, Garbfano, ging up of the Abruscino, or ar • Gemino, vineyard. bustino, Germine, Pldtano, A'cino, Gibvane, or gib • Pldtina, Amdzzone, vine, Polesine, Antifona, Gomejia, Poligono, A'rgine, Integina, Pristino, A'sino, Lacedemone, Prbdano, Cdnone, Ldmpana, Rdfano, Cdrmine, Lesina, Rdgano, Cdrpine, Libano, Rimini, Cofano, Limbsina, or ele- Rbdano, Cristofano, mbsina, Sdtana, Daino, Mdcchina, Stdggina, Didcono, Macina, Stdgina, Didfano, Mdngano, Stefano, Dibgene, Modena, Straggina, E'bano, Oceano, Termini, E'glino, O'rfano, Timpano, Elcino, O'rgano, Train a, Esdmine, Origano, Trdpano, Femmina, Pdgina, Turbine, Ferrdina, Pdmpana, Vimine, Fiorina, Patina, Ubmini, Fiocine, Pettine, Zdino, Fidmine, Pdstino, a dig- Zingdno. Grdnfano, You are likew ise to pronounce all nouns short that terminate in gine ; as, balorddggine , origine, piantdgine ; and all those which end in dine in the singular ; as, amaritudine, rbndine. 0. There are not more than four nouns, having the letter o for their penultima, in regard to which there could 188 Of the ITALIAN ACCENT. could be any doubt of tbeir pronunciation : these are Aloe, Siloe, Noe, Erbe : the three first are pronounced with some rapidity, as if they had a grave accent on the letter e, which indeed is used by some : but the fourth is long. You are to pronounce all nouns short, that have the letter p for their penultima, Except Antipdpa, archetipo, Cantalupo, Ciclopo, dirupo, Eu- ropa, Esopo, Isopo, Oroscopo ; the following three are better short than long, Piropo, Pelipo, Priapo. R. Pronounce all nouns long whose penultima is the letter r, Albero,'ov drbore, Anitra,oidnatra, Ancora, anchor. Anfora, Arbitro, A'saro, Augure, Austro, Bdratro, Bdrbaro, Bdvaro, Bischero, Bulgaro, CdncherOf Cdnfora, Cdniaro, Cdpparo, Cdtedra, Celebre, Cerebro t Chare, Except Cki&vari, the Meteor a, name of a Nettare, country. Neutro, Cldustro, Niceforo, Co ller a, O'ngaro, E'piro, Pdparo, Esd metro, Pecora, Feretro, Pentdmetro, Fdnfaro, Pesaro, Fblgore, Piffero, Gdmbaro, Pitdgora, Gdsparo, Porfiro, Geometro, and Porpora, geometra, Remora, I'caro, Sdtiro, Interprete, Scheletro, Ldzzaro, Spdlatro, Logoro, Sugaro, Mar tire, Superi, Mdrtora, Tdrtaro, Mdschera, Tenebre, T6rtora f Of the ITALIAN ACCENT. 189 Tortora, Zdccara, Zingaro, U'ngaro, Zdzzara, Zucchero. You are likewise to pronounce all nouns short, that terminate in era, ere, and ero, and have not the letter i before the antepenultima e; as, lettere, Cerere,numero ; but we must except austero, chimera, emisfero, galera, ingegnero or inyegnere, lusinghiero, menzognero,messere, Omero, pantcra primavera, severo, sincere*, statera, which conform to the rule : as do likewise almost all verbal nouns : as, ilpiacere, il par ere, and some other, which are derived from the infinitives contained in the exception to the rule of the second number in the next chapter. And the abbreviated nouns preserve the same sound as they had before their abbreviation ; for in- stance, we pronounce altero long, because it is abridged from altie.ro, inter o from intiero, magistero from magistiero, monastero from monastiero, &c. The word chidechiera is pronounced short, though it has the i before the e. S. All nouns are pronounced long which have the let- ter s for their penultima, Except Andlisi, E'feso, Pardfrasi, A'niso, E'nfasi, Plakso, Brindisi, E'stasi, Sinderesi, Citiso, Genesi, Sinteti, Didgnosi, Metamorfosi, Tunisi. Diocesi, Pronounce those nouns long, having the letter t for their penultima, Except A'bito, name, and a pre- A'ndito, Accolito, cious stone. Anelito, Adito, A'lito, Antidoto, A'gata, a christian A'mbito, Antistite, Apostata, 190 Of the ITALIAN ACCENT. Apostata, Fortuito, Proposito, Ariete, Fremito, Pulpito, Attonito, Gdlata, Ricdpito, Automata, Gemito* Recbndito, Cognito, Genito, Rendita, Comito, Gomito, Sdbato, Compito, theworl > Implicito, Seguito, of a day, or a Tnclito, Soccita, task. Interprete, Socrate, Computo, Intuito, Solito, Credit o } Ipocrate, Sollecito, Ciibito, Ipocrito, Spirito, Debito, Ippolito, Stimmate, or StU Decrepito, Lectio, mate, marks of Dedito, Libito, wounds. Deposito, Lievito, Stipite, Di sputa, Limite, Strepito, Domito, Merito, Subito, E'mpito, for Tm- Ndscita, Suddito, peto, Olocdusto, Tdcito, Epiteto, 0' spite, Trdnsito, Esdusto, Pdlmite, Tremito, Esercito, Perdita, Vegeto, E'sito, Pldcito, Vendita, Esplicito, Premito, Veneto, Fegato, Prestito, Visita, Fomite, Preterito, Vomito. u. Pronounce all nouns short that have the vowel u for their penultima : example, drduo, perpetuo, residua, assiduo, &c. Except Altrui, bde due, and its compounds, as, ambidue, ventidue, &c. colui, costui, cut, lui, ski, tui. * When it is a noun adjective, it is pronounced almost always short ; but when a supine, it is long. V. You Of the ITALIAN ACCENT. 191 V, You are to pronounce those nouns short that have v for their penultima; examples, concavo, Genova, tritavo, vescovo : Except Bisdvo, diciannove, and the other numbers of the same termination ; Ginevra, incdvo, sodve, ottdvo, and all the nouns terminating in ivo and iva ; as, sostan- tivo, motivo, gengiva, invettiva. Z. Pronounce all nouns long which have the letter z for their penultima, except the noun polizza. CHAP. III. Of the Pronunciation of Verbs and Adverbs. No. I. DISSYLLABLES, whether verbs or adverbs, ob- serve no rule, because they are pronounced indiffer- ently. See the preceding chapter, No. II, and with regard to words of two or more syllables, that have a grave accent on the last vowel, I refer to what has been said in the same chapter No. Ill, p. 180. No. II. The infinitive of the verbs is terminated in are, ere, and ire. Those which terminate in are and ire are pro- nounced long, without any exception ; and such as end in ere short, the following excepted : avere, cadere, dissuadere, dolere, dovere, giacere, godere, parere, per- suadere, piacere, potere, rimanere, sapere, sedtre, solere, tacere, temere, tenere, valere, vedere, volere, and all their compounds ; as, accadere, ottenere, provvedere, &c. it being a general maxim, that the derivatives fol- low the rale of their primitives. No. III. 192 Of the ITALIAN ACCENT. JNo. Ill, All third persons plural are pronounced short, ex- cept in the future tense, because of the two consonants which precede the final vowel; in like manner, the first person plural of all the preterimperfect subjunc- tive, which in the first person singular terminate in ssi, must be pronounced short ; as amdssi, amdssimo, leg- gessi, leggessimo, &c. No. IV. All other persons, of whatever tense or number, are made long, except those of some verbs of the first conjugation, which, in the first person of the indicative, have the penultima short, and preserve this shortness in the other persons, not only of the indicative, but of the imperative and subjunctive moods ; for instance, ricdpito, the first person indicative of the verb ricapi- tdre, has the syllable pi short : and the same quantity is preserved in ricdpiti and ricdpita. Farther, this, and other like verbs, receive, by way of augmentation, in the third persons plural of the said moods, another syllable, which is sounded as short as the penultima : for instance, ricdpito, ricdpitano, ricdpitino ; dissimulo? dissimulano, dissimulino ; and since there are several who mispronounce these third persons plural, I have thought fit to give a particular description of them in the two following numbers. No. V. In the first place, all verbs, whose infinitive termi- nates in care, without any other consonant before c, as aule?iticdre, glorificdre, masticdre, make the first person of the present indicative short, and of course the other persons just now mentioned in the exception to the preceding number, except, affiocdre, arrocdre, and such as you will find excepted in the following numbers. 2. All verbs, whose infinitive terminates in oldre as, immoldre, stimoldre, brancoldre. 3. All verbs formed of nouns which have the penul- tima Of the ITALIAN ACCENT, im tima syllable short; for example, regoldre, formecFof regola ; generdre, of genero ; sollecitdre, of sollecii&r To the three foregoing numbers you must add the fol-- lowing verbs, which are contained therein, viz. Affocdre, A git are, A Iter are, Anfandre, Annichildre, Assiderdre, Bucherdre, Calcitrdre, Capitdre, Commemordre, Compr&re, Confederdre, Consider are, Contamindre, Decifrdre, Desindre, Dissipdre, Domindre, Dubitdre, Eccettudre, F elicit dre, Gratiddre, Imitdre, Incorpordre, Insolferdre, Interrogdre, Investigdre, Irritdre, Is tig dre, Iter dre, Litigdre, Lumindre, Meditdre, Moderdre, Mormordre, Munerdre, ' Navigdre, Necessitdre, Nomindre, N over dre, Occupdre, Palpitdre, Penetrdre, Precipitdre, Procrastindre, Pulluldre, Rammemor&re? Recitdre, Refrigerdre, Ricuperdre, Robordre, Rumindre, or Rumigdre, Scalpitdre, Schiccherdre? Seguitdre, Semindre, Sgombrdre, Simuldre, Smemordre, Spettordre, Superdre, Suppeditdre, Suscitdre, Tollerdre, Tumultudre, Ventildre, Vigildre, Vituperdre.- To the above we may also add the verb offrire f belonging to the conjugation of verbs in isco.. There are some who pronounce the foregoing third 'person indifferently, short or long, in the verbs migliordre? peggiordre, and riputdre; but they are pronounced short in the verbs concitdre, eccitdre, incitdre. No. VI. From the whole we may conclude, that infinitives of two or three syllables, as, fdre, cecdre, with their compounds, as, disfdre, accecdre, do not shorten the first person indicative, nor the other persons, nor evert K tW 194 Of the ITALIAN ACCENT. the infinitives derived from nouns whose penultima is long ; example, avventurdre, derived from ventiira : intricdre, from intrico ; minchiondre, from mincki6no ; contrastdre, from contrdsto ; architettdre, from archi- tetto, &c. But I am very sure, that persevero, I per- severe, is oftener pronounced short, though it comes from severo, which is long ; perhaps to distinguish it from the Latin verb persevero, which is sounded long. No. VII. With regard to the conjunctive pronouns, mi, ti, si, &c. the four relatives, lo, la, li, le, and the particle ne, if they happen to be at the end of infinitives terminated in ere short, scrivermi, risponderti, venderne, and at the end of the third person singular of the preterper- fect simple, marked with the grave accent, as also at the end of the first and third person singular of the future ; as, rimproverolli, racconterovvi, racconterdssi, &c. ; there arises from thence no change at all in the pronunciation, though this union is productive of two consonants before the final vowel ; since the foregoing words, being placed after the said persons are always reduplicated, according to what has been observed, p. 170, and as may be seen in the above examples. If the said particles happen to be united to other per- sons, as parldtegli, temevatni, invidndolo, they cause the last verbal syllable, which is the penultima of the word, to be pronounced short. No. VIII. When two of the said particles happen to be united together, at the end of a person which, without this union> is not pronounced short, as parldtegliene, invidn- domene, portdvameli, then you shorten only the penul- tima syllable of the word, which is the first of the two particles : but when they are joined together at the end of infinitives, and of the persons marked at the be- ginning of No. VII, you make no change, as I have already observed in the pronunciation ; and the first of the two particles, being the penultima of the word, is Of the ITALIAN ACCENT. 195 is made short ; examples, scrivermelo, vendergliene, rimproverommela, racconterassene, &c. No. IX. With regard to adverbs, you must follow the rules and exceptions of the preceding chapter, especially as J they are derived for the most part from nouns : for instance, all' improvviso, un tantino, see under the letter s for the former, and under n for the latter, and you will find that both of them have the penultima syllable long. As for such as have two consonants before their final vowel, as allegramente, incontanente y the rule mentioned in the preceding chapter, No. II, must be ob- served, and with respect to compounds, remember the rule, which says, that compounds follow the nature of their simples. No. X. Here I shall observe, that when the adverb ecco is joined to the conjunctive or relative particles, as eccoci, eccoli, eccole, the penultima syllable, thus united, is to be pronounced short : and it retains the same quantity when joined to the two aforesaid particles ; for in- stance, eccotene, eccovene, eccotelo : you are moreover to observe, that the penultima, which is the first of the articles, is also pronounced short. The adverb altresi, and the interjection cap-pita, have the penultima short ; but in altrove, ancora, assdi, dappoi, giammdi, insieme, and ovvero, it is long. In the two adverbs adagio and poscia, the vowel i forms a syllable with the final vowels o and a. k 2 THIRD ( 196 ) THIRD TREATISE. OF THE ITALIAN SYNTAX. v — CHAP. I. Of the Division of Syntax. SYNTAX is a Greek word, by the Latins called constructio ; and signifies the right placing and con- necting of words in a sentence. It is divided into three parts; the first of order or arrangement, the second of concordance, the third of government. The syntax of order or arrangement, is, the right disposi- tion of words in a sentence. The syntax of concord- ance is, when the parts of speech agree with one ano- ther, as the substantive with the adjective, or the no- minative with the verb. The syntax of government is, when one part of speech governs another; or, as some grammarians express it, when one part of speech is dependent on another. The rules of syntax are much the same in Italian as in English ; but, for the sake of those who have not a grammatical knowledge of their own language, I shall lay down some general rules respecting Italian construction. I. Of the Order of Words* 1. The nominative is that to which we attribute the action of the verb, and is always arranged in the first place ; it is generally a noun, a pronoun, or an infinitive put for a noun ; as, Tommdso scrive, Thomas writes; io pdrlo, I speak ; il dormire giova, sleeping does one good. * See Bottarelli's Exercises, on the Order of Words, p. 12. 2. When Of the ITALIAN SYNTAX. 197 2. When the action of the verb is attributed to many- persons or things, these all belong to the nominative, and are ranged in the first place together with their conjunction ; as, Pietro e Pdolo leggono, Peter and Paul read. 3. The adjectives belonging to the nominative sub- stantive, to which the action of the verb is attributed, are put after the substantive, and before the verb ; as, gli scoldri morigerdti e diligenti studiano, mannerly and diligent scholars study. 4. If the nominative has an article, this article always takes the first place, that being its natural situation. 5. Sometimes a verb with its case stands for a no- minative ; as, umdna cosa e avere co?npassione degli af~ fiitti, to have compassion on the afflicted is an act of humanity. 6. The nominative is sometimes understood, as, amo, where you understand io ; and so of the other persons of the verb. 7. After the nominative you put the verb ; and if there is an adverb, it is to be placed immediately after the verbs, whose accidents and circumstances it ex- plains ; as, Pietro ama ardentemente la gloria, Peter ardently loves glory. 8. The cases governed by the verb are put after it; they may be one or many, according to the nature of the action ; as, io amo Pietro, I love Peter ; io dono un libro a Paolo, I make a present of a book to Paul. 9. The preposition is always put before the case it governs : as, vicino a cdsa, near the house. 10. The relative is always placed after the antece- dent ; as, Pietro, il quale studia, Peter, who studies. II. Of Concordance. 1. Adjectives agree with their substantives, in gender, number, and case ; as, un ubmo virtuoso, a virtuous man ; sontuosi paldzzi, sumptuous palaces ; bella donna, a handsome woman. 2. When two or more substantives singular come together, the adjective, or participle, belonging to them must be put in the plural ; as, Perdiccone, e ' I pddre, e la 198 Or the ITALIAN SYNTAX. la mddre della Lisa, ed ella altresi, contenti, grandis- sima fesia fecero ; Perdiccone, and the father and. mother of Lisa, and she likewise, contented, made great rejoicings. 3. If the substantive happens to be one in the sin- gular and the ether in the plural, the adjective or par- ticiple may then agree with either ; as, essendosi I)io- neo, con gli dltri gibvani messo a giuocdre a tavole ; Dioneo, with the other young men, having sat down to play at tables : il re co? suoi compdgni, rimontati a cavdllo, alia redle osteria sene torndro ; the king and his companions, having mounted their horses again, returned to the royal inn. 4. Every personal verb agrees with its nominative, expressed or understood, both in number and person. 5. If the nominative be a collective noun, the verb may be in the plural, though the nominative is in the singular ; as, il popolo comiine erano ignordnti del vero Dio ; the common people were ignorant of the true God. But if in the collective noun, the multitude of the persons composing is not attended to as much as the whole ; and if the action expressed by the verb cannot be done by many distributively, but only col- lectively, the verb must then agree with the number of the nominative : example, we must say, il senate- de- cretb, not decretarono, because a decree cannot be is- sued from the senators distributively, but by all toge- ther, forming only one moral body. But we may say, il comune popolo erano ignoranti, because ignorance is not exclusively attributed to the people, composing only one moral body, but to the individuals, each of which and all are ignorant. 6. When there happen to be two nominatives, one masculine and the other feminine, the preterite and par- ticiple of the verb agree with the masculine, if speaking of persons ; but if any thing else is meant, it may agree with the feminine ; as, convitdti le donne e gli uomini alle tdvole, the men and women being invited to table; ella avrebbe cosz Valtra gamba, e Vdltro piefuor manddto, she would have put out the other leg, and the other foot. 7. The relative qudle, with the article, agrees en- tirely with the antecedent ; but without the article, and Of the SYNTAX of ARTICLES. 199 and denoting an absolute quality or likeness, it agrees with what follows ; as, quel cuore il qudle, that heart which ; seco pensdndo qudli infra piccel termine dovean divenire, thinking within himself what was shortly to become of them. Except persona, which, though of the feminine gender, yet, when applied to a male, re- quires a masculine relative ; as, alcuna persona la qudle, some person who. 8. The question and answer always agree in every thing ; as, cavalierc, a qua/, donna se y tu ? ed egli rispose, sono alia regina, what lady do you belong to, sir knight? and he answered, I belong to the queen. III. Of the Dependance of the Parts of Speech on each other. 1. The nominative being the basis of the sentence, the verbs depend on it, as the other cases depend on the verb. The adjective depends on the substantive which supports it ; and the adverb on the verb whose accidents it explains. 2. The genitive depends on a substantive expressed or understood, by which it is governed. 3. The accusative depends either on a verb active, as io dmo la virtu, I love virtue ; or on an infinitive, as disse se in cib avere errdto, he owned himself to have been mistaken in that ; or on a preposition, as vddo verso la chiesa, I go towards the church. 4. The ablative depends on a preposition, by which it is governed ; as, pdrto da Roma, I go from Rome. 5. The dative and vocative have, strictly speaking, no dependence on the other parts. The dative is com- mon, as it were, to all nouns and verbs. The vocative only points out the person to whom one speaks. And so much for syntax in general. I proceed now to the construction of the several parts of speech. CHAP. II. Of the Syntax of Articles.* BEFORE we come to the Syntax of the Articles, remember that lo, la, li, le, gli, before the verb, and * See Exercises on the Articles, p. 14. the 200 Of the SYNTAX of ARTICLES. the word ecco, are no longer articles, but pronouns re- lative. Those who understand Latin will quickly perceive the difference, if they take notice, that every time they fender lo, la, li, le, gli, by ilium, Mam, Mud ; or by eum, earn, id ; illos, Mas, Ma ; eos, eas, ea ; they are relative pronouns. The particles in and to, before the names of cities, are expressed by in and a; examples, in or at Rome, in Roma; to Rome, a Roma. * i * The best authors often use the infinitives with the article il instead of substantives ; as, singing re- joices me, il cantdre mi rallegra, instead of il canto mi rallegra. Note, the article il is put before the word signor, sir, or my lord, speaking of all qualities, dignities, and relations, for the masculine ; examples, my lord the president, il signor presidente ; my lord duke, il signor d&ea; the gentlemen, i signori ; of the gentlemen, dei signor i. We must omit the article in the singular before the possessive pronoun (or, to say more properly, the pos- sessive adjective), which precedes a noun of relation : as, mio pddre mi ama, my father loves me, instead of il mio pddre, &c. But in the plural we ought to say, i miei fratelli, instead of miei fratelli. The same rule must be observed respecting the fe- minine article la, which is to be prefixed to signora, speaking of or to the ladies ; as, la signora principessa. If the Italians express madam by maddma, they put the article la after it; as, madam the princess, maddma la principessa ; of madam the, &c. di maddma la, &c. * # * Sometimes the English particle to, befo r A great deal of rain, gran pioggia. A great deal of time, gran tempo. A great deal of pleasure, gran piacere. *** A little of, is rendered in Italian by poco di; as, a little bread, un poco di pane ; a little of compassion, un poco di pietd. Qui and qua, signify here. Qua is joined with verbs of motion : example, venite qua, passdte qud, come here, pass here. The Italians frequently use cost} and costa, to point out the place where the person is, to whom we speak or write ; as, V. S. mi scr'tva da costi or da costa. See Lodovico Dolce, nel capitolo digli avvirbj locdli ; yet I should prefer costl to costd. The best writers have often followed this rule. *,* The Italians frequently use the adverb oggi to express afternoon, or after dinner ; example, come and see me after dinner, vinite oggi a vedermi, venite oggi da me. Important Remarks on the Particle si, it is, or they, &c. # SI, used with a verb impersonal, signifies it is, or they : example, si dice, it is said, or they say ; they speak, sipdrla. They not is expressed by non si: as, non si dice, they do not say ; non si parla, they do not speak. We of it, they of it, is expressed by sine : as, sine saprot qudlche cosa, they will know something of it. They not of it, is expressed by non sine : as non sine pdrla, they do not speak of it. *** Note, learners are greatly at a loss how to ex- press in Italian, they us of it, they you of it, they him of it, they me of it, they thee of it, &c. ; yet there is nothing more easy, if you but turn the phrase by the * See Bottarelli's Exercises, p. 67. tenses 216 Of the SYNTAX of the tenses of the verb essere, to be ; example, to render they will speak to us of it, we must turn it and say, it will be spoken of to us, cene sard pdrldto. ( will write to you of it, vene sard scritto. They < speak to him of it, gliene vim parldto. {write to us of it, cene viene scritto. They promise me some, mene sono promessi, or mene vien promesso, or mene vengono promessi. By these last examples you find that it is more ele- gant to use the verb venire than the verb essere. Remember that the pronouns lo, la, li, le, are not expressed after the particle si; example, they say so,. si dice, and not si lo dice ; it will be known, si conoscerd r or si saprd ; they are seen frequently, together, sono veduti spesso insieme. See at p. 211, what has been said concerning the articles del, della, degli, delle, &c. Observe, nevertheless, that the best writers have often, and even with elegance, expressed these pro- nouns ; but at present they are laid aside except by poets, who use them sometimes to help the measure of their verse. Hence we no longer say e' si dice, but simply si dice ; e' si conoscerd, or la si conoscerd, but si conoscerd. Here are the letters, they will be read, ecco le letter e, si leggerdnno. The conjunctive pronouns must be transposed when- ever the particle si comes before them, as I have already observed, p. 203. * # * Yet this rule for transposing the conjunctive pronouns, when the particle si comes before them, is not general ; for there are some phrases in which the conjunctive pronouns must by no means be expressed, but the phrase must be changed. When the conjunctive pronouns are placed after the particle si, and there is neither a noun nor a case after the verb that follows, you must then change the phrase without ever expressing the particle si; as, they ask for me, sono domanddto,\ am asked for; they seek you, siete cercdto, you are sought for ; they will praise us, saremo loddti, we shall be praised. But if there happen a case after the yerb, as they ask me for a crown, you should express the conjunctive pronoun, and say, mi si domdnda uno scudo, or mi viene domanddto ADVERBS a*d PREPOSITIONS. 217 domanddto uno scudo ; they ask some bread of you, vi si domdnda pane ; they will commend virtue to us, ci sard loddta la virtu. * # * If the conjunctive pronouns, that come after the particle si, be followed by a verb in the preterperfect definite, the phrase must be turned by the verb essere, and you must put the preter-definite fit or furono, according as you are speaking in the singular or the plural ; as, they gave me a book, mi fit ddto un libro ; they sent me letters, mi furono manddte lettere ; they wrote us a letter, cifu scritta una letter a. Sometimes the phrase is turned thus, they sent us to Rome, fiimmo manddti a Roma; they blamed you, foste biasimdto, or ellafu biasimdta. When the third persons of the verb avere, to have, are preceded by the particle si, and after those third persons there follows a particle, you are to render the third persons of the verb to have, by those of the verb essere, to be ; putting them in the same number with the thing mentioned ; as, if they said so, se si e detto questo ; if they had read the letters, se si fossero lette le lettere. When they shall have taken the town, qudndo la cittd sard presa. See at page 149, the remarks on impersonal verbs, with the particle si. But when the tenses of the verb to have, are pre- ceded by the particle si, and there is no particle after the verb to have, we must use the tenses of the verb avere, instead of those of the verb essere : example, they have some bread to eat, si ha del pane, or pdne da mangidre; they have servants to wait, si hdnno servi- tori per servire : but it is much better to omit the par- ticle si in both cases, and say hanno. For the better explanation of the foregoing important remarks on the particle si, it will be proper, I appre- hend, to add the following observations: The first is, that this particle si must not be used with reciprocal verbs, but the phrase should be turned, otherwise you would have two si's joined together, . which would be disagreeable. Thus you do not say, si si serve delle creature per offender Bio, thev make use L of 218 Of the SYNTAX of the of the creatures to offend God ; but uno si serve, or Vuomo si serve, &c. The second is, that constai experience shows it to be extremely difficult for those who are beginning to learn Italian, to express, they me of it, they thee of it 9 they him of it, they us of it, they you of it, they him of it, joined to a verb in the compound preterite. I shall therefore give here the indicative entire, which may serve as a general rule for all the other moods and tenses; therefore I shall say, Indicative -present. They write to me of it me ne viene, or men b scritto They write to thee of it te ne viene, or ten! e scritto They write to him of it glicne viene, or glien e scritto They write to us of it cene viene, or cen* e scritto They write to you of it vene viene, or ven e scritto They write to them of it ne viene, or n'e scritto loro In the other tenses, I shall only put the first person singular, as it is easy to know the rest by means of the present indicative, which is conjugated entire. Imperfect. They write to me of it, mene veniva, or men 9 era scritto, &c. Preter-definite. They wrote to me of it, mene venne, or mene fu scritto, &c. N. B. In the compound tenses we do not make use of the terb venire, but of essere. Thus, Preterperfect. They have written to me of it, men* e stdto scritto, &c. Pluperfect. They had written to me of it, men* era stdto scritto, &c. Future. They will write to me of it, mene sard scritto, &c. I shall insert here another indicative, to clear up the difficulty ADVERBS and PREPOSITIONS. 219 difficulty of mi si, ti si, gli si, &c. they me, they thee, they him; and I will s&g thus, Indicative present. They ask me, or I am Mi si domdnda, or eft- asked for an Italian or mtinda, or mi viene doman- French Grammar printed ddta una grammdtica Ita- at London. licina o Francese, stampdta in Londra. f Ti si domdnda, &c. or H They ask thee, fyc. < viene domanddto, or do- [manddta. C Gli si domdnda, &c. or They ask him, fyc. <9^ viene domanddto, or I domanddta, &c. C Ci si domdnda, &c. or They ask us, fyc. < ci viene domanddto, or do~ £ manddta, &c. C Vi si domdnda, &c. or They ask you, fyc. ' £ stdto domandato , ) \ stdta domanddta. I Mis ha \ dom <™ d f^ or do- I mandata. Future. f Mi si domanderd, or mi They will ask me, 1 verrd domanddto, or doman~ [data. *<,.* Observe, that in using the verb venire instead of tssere, you do not express the particle si. The prepositions govern some cases, as may be seen in the seventh chapter of the first part, where we treated of prepositions. The Italians frequently use the particle pure } only as an ornament of speech ; as, dite pure quel che vi pia- cerd, say what (or) whatever you please. It is customary for them to use pur or pure when the English repeat the verb in the imperative mood ; as, go, go then, anddte pure; give, give then, date pure. Not is always rendered by non : example, non dite niente, do not say any thing. , In before a noun, is expressed by in ; example, in Frdncia, in France. Some or any before a verb, is expressed by ne ; as, will you have some or any? ne volete? In before the article the, singular and plural, as also before pronouns possessive, is expressed by nel, nello, nella, nei, &c. as I have already remarked, p. 42 : example, in his book, nel suo libro. However, in is generally expressed by in ; as, in Paris, in Parigi ; in me, in me. %* Observe, that as often as in comes before nume- ral nouns to mark the time, it must be expressed by trd or frd: examples, in two hours, frd due ore ; in three months, frd tre mesi. *a* -But if in precedes numeral nouns, without marking the time, it must be expressed by in; exam- ple, ADVERBS and PREPOSITIONS. 221 pie, in three bottles, in tre bottiglie ; in a garden, in un giardino. Very is expressed by molto, &c. ; examples, He is very merry e molto allegro It is very hot fa molto cdldo. %* A great deal of, or much, is rendered by gran or grande : example, there is a great deal of folly, V & grdn pazzia; he has a great deal of vivacity, ha grande spirito. CCj" More, or more of, is expressed by maggiore whenever you can turn more by greater or more great ; example, we must have more courage, bisogna avere maggior cordggio ; it may be turned thus, we must have greater courage; with more boldness, con maggior ardire ; it may be turned, with greater boldness. %* When more denotes a great number or quantity, it is expressed in Italian by maggior numero di, or maggior quantita di\ as, we must have more soldiers, more men, more wine, bisogna avere maggior numero, or maggior quantity di solddti, d'uomini, di vino. * # *' When more than happens to precede a word of time, you may put piu at the end or at the beginning of the phrase ; example it is more than ten years, sono died dnni e piu ; it is more than an hour, e un' bra e piil; you may likewise say, sono piu di died dnni, 8 piU d y un* bra. * # * The conjunctive so, before adjectives and ad- verbs, is rendered in Italian by cost or si, with a grave accent: example, so great, cosi grande; cosi tdrdi; or, si grande, si tdrdi; si fdtto, masc. sifdtta, fem. signi- fies such; they likewise use cosh as, come, siccbme. FOURTH ( 222 ) FOURTH TREATISE Remarks on some Verbs and Prepositions, which have different Significations. THE following Phrases contain great part of the Italian Idioms, which constitute the chief elegance and beauty of that language^ Different significations of andare. We may use the verb anddre, through all its tenses, to express all the actions of the verbs of motion, by putting the same verbs of motion in the gerund, and the verb anddre in the tense and person that the verb of motion ought to be in ; as, He runs, instead of, corre, va correndo* They take a walk, spasseggiano or vdnno spasseg- He will tell every where, andra dicendo da per tutto. They must run, bisogna che vddano correndo. Make use of the verb anddre, through all the tenses, for the following phrases. [a person Anddr dietro, signifies to follow, to press, or to solicit - - mate, to perish - - via, to go away - - in estasi, to be in an ecstacy - - in collera, to put one's self in a passion [reason - - cercdndo il pelo nelV novo, to censure without - - a gdlla, to float upon the water - - in buon' ora, to go in peace Andar VERBS and PREPOSITIONS. 223 Andar in maV or a, - - avdnti, - alia lunga, - - alle corte, - - inndnzi, - - attorno, - - altiero, - - dietro ad una cosa, - colla peggio, - in semenza, - - per la mente, - - di mal in peggio, - per vible, A lungo anddre, Ci va della vita, Andar mal in arnese, - - a gdmbe levdte, -a cavdllo, - - a diletto, -a diporto, - - a soldzzo, - - a spdsso, - - a girone, - - afilo, - - a Idto, - - all' area, - -alia busca, - - alia mdzza, - - alV oscuro, - - a monte, - - a onde, - - apelo, - - a ruba, - - a riwta, - - a sdeco, - - a seconda, - - a scosse, - - a sinistra, - - a soldo, - - a sparviere, « - a vdnga, to perish, to be ruined to go before to be tedious to make haste to advance, improve, or go farther to go about to be proud, or stately [thing to stand trifling with any to be worse to run to seed to come into one's mind to go on from bad to worse to speak impertinently at long run life is at stake to be ill dressed to squander to ride on horseback to go to be merry to go sporting to go merry-making to go to take a walk to ramble about to march in order to go aside to put in pawn to go a plundering to go to the slaughter to walk in ignorance to prove vain to go waving to succeed in one's wishes to go a stealing to go a wheeling, or to hover to be plundered to go down the tide to go a reeling to miscarry by the way to go for a soldier to go a fowling to thrive well Andar 224 REMARKS on some Andar a vela, to sail - - a verso, to succeed well - - a zonzo, to lie rolling, as a ship - - a bdndo, to be published by proclamation • - barcolone, to go staggering 4 - carpbne, to go crawling - - col calzdre di plombo, to go cautiously - - con le belle, to go handsomely to work [the stake - - come la biscia alV incdnto, to go as a bear to - - con la plena, to be on the strongest side - - di pdlo in frdsca, to leap from bough to bough to set willingly about a thing to publish or report di buone gdmbe, - dicendo, - f alii to il pensiero, - gattolone, - g rosso, r in bestia, - in busca, - in cerca, - in corso, - infdscio, - in cosa materidle, - in negbzio, - in rotta, - in sincope, - in succhio, - in trdccia, - in volt a, - la ronda, - per il mondo, - per la pesta, - per la plana, - per J "do, - pidggla a pidggia. - ramingo, - rattenuto, - spdnto, - sopra le parole, - stretto, to fail in one s purpose •to go groping to look big to fall into a passion to go a seeking to search up and down to go a cruising to go to work tentone, to be routed to fall into a swoon to have one's mouth water to go a tracing to go ranging about to walk the rounds to travel up and down the world to follow the vulgar fashion to go the strait forward way to be forced to do a thing to sail close to the shore to be wandering to go warily to work to be extravagantly dressed to believe fair words to go about a thing sparingly to go a begging to grope about Andar VERBS and PREPOSITIONS. 225 Andar vuoto, to miss one's aim - - sene preso alle grida, to believe every idle report Questo non mi va t that does not please me d'occhio, Different significations of dare. DA'RE, signifies, to give, to fight, to strike to cast one's eyes on [one to throw one's self upon any to run away to fall into the snare to deal or give the cards to give courage, or encourage to have courage Dare adosso ad uno, - - a gdmbe, - - nella rete, - - le carte, - dnimo, - - si y l cuore, or V dnimo, - - fide, - - ad intendere, - - del tu, - - in nulla, - - si V dcqua a piedi, - - in luce, ~ - si a fare, - - si pensiero, - - del signore, - - delfurfdnte, - - parola. to believe to make one believe to thee and thou one not to succeed to praise one's self to publish to set about a thing to take care for to call one a gentleman to call one a rogue to promise ne ladri, to fall into the hands of thieves - la burla ad uno, to laugh at a person - - leva, - - inprcstito, - - fuoco, - - sicurtd, - - in istravagdnze, - - nel mdtto, - - la quadra, - - la cdccia, - principio, ox fine, - - conto, - - si alio studio, to provoke to tend to set on fire to give bail to talk nonsense to play the madman to criticise • to put to flight to begin or end to give an account to apply one's self to study [shadow - - cdlci al vento } e pugm all 7 aria, to fight with one's l 5 Dare 226 REMARKS on some v [every one's business Dare di bocca da per tutto, to concern one's self with [make people speak - da rider e, da parldre, to make people laugh, to [one's self - - si la zappa svUlpiede e la mtizza in cdpo, to wrong - - si bel tempo, to divert one's self - - da beccdre, to feed poultry - a credenza, to sell upon credit - - addie tro, to give back - ddito, to give access to - - alia mdno, to bribe - all' drme, to cry out for help - - a pigione, to let out for rent <■ - a ruba, to give up to plunder - - assunto, to give charge of - - a tdglio, to strike with the edge - - a tr aver so, to hit across - a vedere, to give one to understand [vain hopes baggidne, or gonfidre alcuno, to puff one up with - - balddnza, - - bdndo, - _ bastondte, - - briga, - - cagione, - - cdmpo, - - capo, - - cdpo mdno, - - carote, m - che pensdre, - - compimento, m - credenza, • - crollo, " - da bere, " - da dormire, " - da mangidre, " - da ridere, " - de cdlci, * - delle bo tie, - delle calcdgna, - - delle coltellate, to embolden to banish by proclamation to beat with a stick to trouble one to give cause to give liberty to come to the end of the matter to go beyond reason in a business to make one believe any thing to give cause of suspicion to finish to give credit to to shake to give drink to give one a night's lodging to give one some food to give cause of laughter to kick to beat to spur one, to kick to stab with a knife Dare VERBS and PREPOSITIONS. 227 Dare delle mdni, - delle pug na, - - dentro, - - di brocca, - di cozzo, - - di grdppo, - - di mdno, - - di mira, - - da parldr di se, - - di penna - - di petto, - - dipidtto, - - dipiglio, - - dipunta, - - di stoccdta, - - fastidio, - - fnocchio, - - fondo, - - fondo alia roha, - - forma, - - il battesimo, - il buon anno, - - il buon giornOj - - il buon vidggio, - - il buon arrivo, - - ilcdne, - - ilcompito, to strike with one's hands to cuff to fall to to hit the nail on the head to butt as sheep do to snatch at to lay hold of to take aim at to give occasion to be talked of to cancel a writing to hit with one's breast to strike flat to catch hold suddenly of to hit with a thrust to give a thrust to molest to give fair words to sink to waste one's property to shape to baptize to wish a happy new-year to bid one good-morrow to wish one a good journey to bid one welcome to watch one to give an end to il cuore ad una cosa, to apply one's self to a thing il dosso, il motto, il pdsso, il viso, imprestdnza, indugio, in serbo, in su la voce, in terra, in uno, la bdla, dar la berta, la ben veniita, bubna mdno, to turn one's back to pass one's word to give free passage to turn one's eyes on any thing to lead to to put off time to give in keeping to bid one speak lower to run a-ground to meet with one by chance to mock one to bid one welcome to give for drink - la Qorda, to give the strappado, to be troublesome Dare 228 REMARKS on some Dare lafdva, — la mdla pdsqua, to give one's consent to vex one sadly to coax, to flatter, to give fair words - - la mdla ventura, - - la mdno, - - la mdno, - - passo, (depecker), I)ar si spasso, Dare V anello, - - lapdlma, - - la pariglia, - - la spinta, - - la posta, - - la sdlda, to wish a man ill luck to give a helping hand to marry- to dispatch to amuse one's self to marry to yield the victory to give as good as he brings to push one to appoint the time or place to stiffen or starch - - la stretta a qualcuno, to overreach one - la trdtta, to give leave to export goods - - la voce, to raise a report - - la vblta, to turn as milk does, to overturn - - la vblta al cdnto, - - le calcdgna, - - le mosse, - - le spdlle, - - leprese, - - V ultimo crolhf - - martelloj - - menda, - - modo, - - nel bersdglio, - - nell' idropico } - - nelle mdni, ~ - nelle scattdte, - - nel vino, - - nqja, - - nome, - norma, - - bglio, - - ornbra, - opera, - - parte, - - passu to, to lose one's wits to run away to give a racer the start to take to one's heels to let one take his choice to fall down dead to make one jealous or suspicious to find fault to help or support one to hit the mark to fall into a dropsy to fall into the hands to fall into bad company to find out the design of a thing to tire one to spread a report to prescribe a rule to soothe one to give suspicion to endeavour at a thing to share or acquaint to omit Dare VERBS and PREPOSITIONS. 229 Dare pdsto, - - per Dlo, - - ricdpito, - sesto, - - spdlla, - - stento, - - un carpino, - - vista, - - vita, - - unafinta, - '* una gira volta, - - uri occhidta, - - un grifone, - - un pax tecum, - la vinta, - si a, - - si a die si sia, to feed one to give for God's sake to deliver safety to put in order to abet to give cause of sorrow to beat one soundly to seem to do a thing to give time or life to make a feint to take a turn to cast an eye on to strike one in the mouth to stun one with a blow to yield the victory to apply one's self to to be for any thing si a qualche cosa to give one's self up to any thing si a credere, to believe si a diletti, to give one's self up to pleasure si ad intendere, to flatter one's self si ad uno, to give one's self up to one si attorno, to go the round si briga, nqja,fastidio, to trouble one's self - - 5' in preda, - - s' in uno, - - si maraviglia, - - si martello, - - si pace, - si vdnto, Different FAR animo, - - si dnimo, - - aproposito, Fatto a proposito, Far motto, - • del bravo, - - scelta, - - pbmpa, - - il muso, - - dandri, to yield one's self as a prey to refer one's self to one to wonder at to vex one's self to live quietly to brag, to boast significations of fare. to give courage to take courage to do on purpose to be proper or fit \ to make a sign to brag of bravely to choose to boast to pout at one to make money Far, 230 REMARKS on some Far gente, or solddti, II far delta lima, Al far del giorno, Su'lfar delta notte, Far di mestieri, - guaddgni, - - due volte Vdnno, - si inndnzi, - - si in qud, - - si in Id, - - si in dietro, - - capoltno, - - la spia, - - pace, Fate pdce, Far a bottino, - - a capelli, - - accoglienza, - - a compdsso, - a concorrenza, - - acquisto,' - - credere, - - a gdra, - - aggudti, - - a pugni, - - all' amore, - - alle coltelldte, - - alle pugna, m - alto, - - a mdno, - - a malcuore, - - a metd, m - a pennello, - appresto, - - a regatta, - - afdrsela, - - arrosto, m m sapere, - a sdssi, - - iacere, • - avdnzo, to raise soldrers the new moon at the break of day towards the evening to be necessary to win to bear fruit twice a year to come forward y ' : to approach or advance to go back to retire to toast a health to deceive or ensnare to be spying to agree agree among yourselves to share alike to pull one another by the hair to show kindness to one to work by the compass to strive, to vie to gain to make one believe to strive for the victory to lay ambushes to box to make love to fight with knives to box to halt to come to blows to do against one's will to do by halves to do a thing exactly to make preparation to struggle, or scramble to take one's revenge to roast meat to make one know to fight with stones to make one be silent to thrive Far VERBS and PREPOSITIONS. 231 Far bdco bdco, to play at bo-peep - - bdndo, to proclaim - - beffe, to flout at - - bellin bellino, to soothe or fawn upon - - bisogno, to be needful - - broglio, to make a hurly-burly - - buona riuscita, to come to a good effect - - buona vicindnza, to keep fair with one's neighbours - - buonjidnco, to be merry and jovial - - buon partito, to make a good offer - - cantdre, to make one yield - - cappelldccio, to beat a man with his own weapons - - cdpo, to grow to a head - - cdpo ad uno, to have recourse to one for help - - cdpo in un luogo, to meet in some appointed place - - caselle, to pump a man of his secrets - cdso, to make account of, or esteem - - cerca, to seek after - - cerchio, to make a ring - - cervello, to call his wits together [mugger - - eke che si sia alia mdechia, to do things in hugger- * - cipiglioy to look frowningly - - colezione, to breakfast - - collezione to make a collection - - comparsa, to make a show - - compra, to buy a bargain - come lo sparviere, to live from hand to mouth - - congiura, to conspire - - conserva, to lay up in store - conto, to reckon - - copia, to make a copy - cordoglio, to lament - - corteggio, to fawn upon one - - cose difuoco, to do wonderful things - - cuore, to encourage - - da cena, to get supper ready - - del grdnde, to take state upon one - - del cappello f to pull off one's hat - - di meno> to do without - - divieto, to prohibit - d'occhio, to wink upon one Far 232 REMARKS on some [the world says Far dosso di buffone, to do a thing, and not care what [pence - - d' una Idncia unfuso, to bring a noble to nine [stone - - due chiodi in una c&lda, to kill two birds with one - - fdccia, to set a good face on things - - fdgotto, to pack up and be gone - - fildre uno, to make one do any thing - - forte, to strengthen - fretta, to make haste - - fronte, to face - - gdbbo, to flout at - gala, " to be gay and merry - - galloria, to show signs of joy - - gente, to raise men - - giornata, to fight a battle - - grdzia, to do a favour - - grcppo, to make mouths as a child - - grida, to cry out - -gruzzolo, to hoard up money - onterta, to set up an inn - - ifdttisuoi, to mind one's ow r n business - - il balordo, to play the simpleton [streets - - il bello in pidzza, to show one's fine clothes in the - - il buon pro to do one good when one eats - il compito, to end one's task - - il didvolOf to play the devil il gattone, to pretend not to see, or know - - il giorgio, - - il Latino a cavdllo, - - il rombo, - - il sdnto, - - il verno, - - il seme, - - istdnza, - - far la ad uno 9 - - la busca, - - la festa ad uno, - - lafschidta, - - la gdtta morta, to strut in fine clothes to be put hard to it to make a rumbling noise to play the hypocrite to pass away the winter to come to perfection to be urgent with one to play any one a trick to scramble for to kill one to make a whistling noise to play at bo-peep Far VERBS and PREPOSITIONS. 233 Far la ninfa, - - la notte, - - la ronda, - - la Scarpa , ~ - la scoperta, - - la scorta, - - le carte, - - le parole, - - la lepre vecchia, - - le spdlle gobbe, - - lasica, - - le spese, - - le stimdte, - - levdta, to mince it to pass the night to walk the round to cut a purse tp keep a watch to be a guide to deal at cards to speak at large to avoid a danger that's seen to shrug up one's shoulders to flirt at one to bear one's charges to esteem one greatly to raise men le volte del leone, to continue walking in one place - - lo spasimdto, - - lo spaventdcchio, - - luogo, or piazza, - - mala riuscita, - - mala vicindnza, - - mal oV occhio, - - mal pro, - - mdsckera, - mercdto, - - merce, - - merenda r - - motto, - - motto ad uno, - - natdle, - - occhio, - - ogni possibile, - - opera, - - orecchio di mercdnte, - - paragone, - - partito, * - passdggio, - - passdta, - - pdsto, - - pdtto, - - peduccio, - - ponta, - - ponta fdlsa, to over-play the lover to brag much to give place to have ill luck to be a bad neighbour to have sore eyes to do one no good to be masked to cheapen to show mercy to eat one's luncheon to give notice of to salute or send word to keep Christmas to wink at to do one's utmost to do the same to pretend not to hear to compare together to make a match or bargain to pass over slightly to get easily through a business to eat a meal to make a bargain to soothe one to make an end to make a false thrust Far 234 REMARKS on some ?a r popolo, to make one amongst the rest - - prezzo, to make much of - - prestito, to lend - - pro, to do good - - questione. to question - - rabuffo, to chide - - ragione, to do right or pledge one - - ricredente, to make one change his opinion - - richidmo, to appeal unto . - roba, to heap up riches . - rubta, to wheel or hover about - - sdcco, to hoard up - - saccomdno, to sack or ravage » - salvo, to give a volley of shot - - sdngue, to bleed - - sapere, to let one know - - scdla, to come to a landing place - - scommessa, to lay a wager - - sconto, to make an abatement - - se la, to go away - - sembidnte, or vista, to make a show of _ - sfoggi, to make a fine show . <- sicurtd, to be bound - - spdlla, to back one - - stare, to over-reach one - - stdr forte, to over-reach one cunningly - - stdre a segno to keep one under . - stdre a stecchetto, to force one to his obedience - - tantdra, to be gay and merry together - - tavoldccio, to prepare for good cheer - - tempone, to live a merry life - - testa, to make head - - trebbio, to live merrily in good company " - il tribolo, to cry for money [bottom - - tutte le uova in un paniere, to venture all in one - - valere, to cause to prevail - - veduta, vista tfinta, to make a show . - veduta to make one believe what is not - - vela, to sail - - velo, to make resistance ~ - vezzi, to caress Far VERBS and PREPOSITIONS. 235 Far una bravdta, - un cavalletto ad uno, - - una trincdta, - - una giostra ad uno, - - una predica ad uno, - - un farfdllone, - - uno sfregio ad uno, - - un manichetto, - - un marrone, - - un passer otto, to - - un penzolo, - - uno smdcco ad uno, - - uno stdglio, - - un tiro, - vuotdre la sella, - - uova, to make a bravado to cheat one to make a merry drinking to put a jest upon one to admonish one fairly ta make some mistake to mark one in the face to point at one in scorn to commit a great error do a thing hand over head to be hanged by the neck to affront one to fix to shoot or play a prank to supplant a man to lay eggs Different significations of stare. We use the verb stare to mark an action of repose, by putting the verb which follows in the gerund, or infinitive, with a or ad. he studies they write [together you will read Sta studidndo, or sta a studidre, Stdnno scrivendo, or stdnno ascrivere, Starete leggendo, or a leggere insieme, Stare has several other significations ; as, Star inpiedi. to stand upright - - bene o mdle, to be well or ill - - su, to rise ; state su, rise. - - giil, to sit down Stdte giil, sit down Star a sentire, to listen ; sto a sentire, I listen - - a sedere, to be sitting Stdte a sedere, sit down Sta bene, it is well, it is very well Star per uscire, to be just going out - - bene a cavdllo, to sit well on horseback - - in cdsa, to stay at home - - lesto, to be upon one's guard Star '236 REMARKS on some Star su le burle, - - per cadere, - - per morire, - - in dubbio, - - a vedere, - - con le mdni alia cintura, - - su la sua, Questo vi sta bene, Questo non mi sta bene, Star a bdda, - - a bottega, - - a crepa cuore, - ad alcuno, - - ad ascoltdre, - - in disdgio, - - a dormire, - - u dozzina, - - a fare, - - afronte, r - agdla, - - a giactre, - - al ditto, - - alia posta, - air erta, - - alle vedette, - - allegro, - - al mondo, - - a locdnda, - - al pardgone, - a martillo, - in pericolo, - a petto, - - apigione, - " appoggidto, - appresso, - - a segno, - - in sperdnza, - - aspettdndo, - - a stento, - - attbrno, - - a tu per tu, to jest, or banter to hold out stoutly to be ready to fall to be like to die to be in doubt to expect the issue to stand idly to look grave that becomes you well that does not become me to linger or expect to mind one's shop to live at heart's grief to be at any man's turn to hear to be uneasy to lie sleeping to board to be doing to out-face to float to be lying down to rely on a person's word to watch for an opportunity " to look needfully about to stand centinel on a tower to live or be merry to live in the world to live in a hired room to bear the touchstone to live in anxiety to be in danger to be opposite to live in a rented house to lean upon to stand or dwell near to stand near the mark to live in hopes to expect to live in distress to stand about to be free and easy Star VERBS and PREPOSITIONS. 237 Star a uno, - - bene a cdsa. - - buona pezza. - - cdldo, • - cheto, - - con dltm, - - del debito, - - di buona voglia, - - di mala voglia, - - di supra, - - di sotto, - - fresco, * - in aggudto, - - in bildncia, - - inndnzi, - - in a r mi, - - in cervello, - - in letio, - - in orecehio, - - in pendente, - - in rischio, - - 2tt se, - - zn sew^ore, - - in sospetto, - - in su Ipuntigho, - - in villa, - - £« zurlo, - - lontdno, - - per, - - sopra di se, to - - sdno, - - su' I avviso, - - su' I duro, - - su' I ritroso, - - su I tirdto, - - tra I si e'l no, - - vicino, - - vigilante, - - z$tfo, - - sulla caccia. to depend upon one to be well at home to stand a good while to lie warm to be hushed to live with others to answer for a debtor to be merry to be sad to lie over to lie under to be badly off to lie in wait to stand in doubt to stand before to be in arras to have a care, or to be wary to be a-bed to hearken ; to be in suspense to be in danger to be positive, to listen with suspicion tQ be suspected to stand upon punctilios to live in the country to stand in a maze to live far to stand for, to be about presume too much on one's self to be in health to be prepared to be obstinate to be coy to stand upon strict points to be in suspense to be neighbours to be watchful to be silent to be very fond of hunting Different 238 REMARKS on some Different significations of avere. AVER delV uomo da bene, to appear as an honest man to look as a miracle to be well pleased to approve of to like or consent to disapprove of to dislike to have at heart to think of other things to be busy to esteem to hate to be wont [believe him ignorant signifies to believe ; as, Vho per ignordnte, del miracolo, - cdro, aver a cdro, - a bene. - per bene, - per mdle, - a male, - a cubre, - il cdpo altrbve, - dafdre, - in pregio, in istima, - in odio, - per costume, - - il vizio, nelle ossa, - a capitate, - - a cur a, - - da dare, - a dispetto, - - a dispiacere, - - fastidio, - - dgio,^ - a grddo, - - alle mdni, - - a mdni, - - a mente, - - dnimo, - - a noja, a petto, - - ardire, - a scherno, - - a schifo, - - a vile, - - bel tempo, - - buona voce, to be very vicious to esteem much to be intrusted with to have to give to have in despite to be displeased with to loath to be at ease to like to have in hand to have ready at hand to remember well to have courage or a mind to to dislike to have at heart to dare to scorn to loath to hold very cheap to live a merry life to be well spoken of [for a trifle che si sia per un pezzo di pdne, to have a thing cimiere ad ogni elmetto, to be ready for any thing Aver VERBS and PREPOSITIONS. 239 Aver da torndre, - del tondo, - destroy - - di che, - - dietro, - - di grdzia, - - fdccia, Non aver faccia, Aver fatica, - - fede in, - freddo in piedi, - - fretta, - - fiimo, - - gola, to be about to return to have little sense to have fit occasion to have wherewith to contemn to take it as a favour to dare to blush for shame to have trouble to confide in to be in great want to be in haste to be proud to have a longing desire il capo a grilli, to have one's wits wool-gathering - - il cavello, a oriuoli, to be fickle - grand' opinione, to presume much on one's self to have need to have a roving head to have a whim in one's head to have one's full allowance to be in the wrong to have in trust - to have esteem of to keep to be careless to have in readiness to have at one's finger's ends [hands to have the law in one's own - V asso net ventriglio, to have an itching for gaming - - lingua, to have notice of a thing - V occhio al pennello, to mind one's business - V osso del poltrone, to have a bone in one's leg - - le campdne grosse, to be deaf - - le mdni ad uno, to hold one fast at his pleasure - - le traveggole, to take one thing for another - - luogo, to be expedient - mala gdtta da peldre, to have an ill crow to pluck - mala voce, to be ill spoken of - - mdle campdne r to be deaf - - mangidto nod, to have the absent ill spoken of Aver - ~ di uopo, - - il cervello che voli - - il cimurro, - - il suo pienOf - - il torto, - - in consegna, - - in conto, - - in gudrdia, - - in negligenza, - in or dine, - sidle dita, la pdlla in mdno, 240 REMARKS on some Aver martello, to be passionately jealous of - - mezzo, or modo, to be able, or have means . - nelV idea. to bear in mind - - obbligo, to be obliged . - occhio, to have a fair outside .- - occhio d* aquila, to have a sharp look _ - odore, to have an idea of a thing: - - cmbra, to be suspicious of . - paura, to be afraid - - pensiere, to be full of care, or thoughtful - - per scusdto, to excuse one - - piede, to get footing - - poco sale in zucca , to have but little sense - - ragione da vender e, to have reason to spare - - sdegno, to disdain - - sonno, to be sleepy [crime - - toccdto la coda di trial pelo, to be tainted with some - - sulla pimta della lingua, to have at one's tongue's [stake tut to 7 suo in su' ' tavoliere, to have one's all at Different significations of essere. E'SSERperfdre, - - da qudlche cosa, - -da poco, - - da niente, t .., - a cavdllo, Non hser da tdnto, Esser di giovamento, - - di buona ndscita, - - per la mdla via, - - per lefrdtte, - - fuor di Bologna, to be just going to do to be good for something to have but little sense to be good for nothing to be out of trouble or pain [able not to be capable of, not to be to help, to assist to come of a good family [condition to be ruined, to be in a bad to be undone or ruined to be ignorant Esser VERBS and PREPOSITIONS. 241 E'sser a Jerri, - - a grddo, - - a mal partito, - -a parte, - - 272 questione, - - ben veduto, « - d'avviso, - - bene in gdmbe, - - brillo, - - ddnno, - - di poca levdta, - - di testa, - -forza, - - in detto, - - in assetto, - - in detto, - - in disgrazia, - - in essere, to be - - injacenda, - - injiori, - - injbrtuna, - - z« piega, - - in predicamenio, - - fo?*o-0 cfr bocca 9 - - luogo, - -rmala lingua, - - jwd/ veduto, - - ;;dc - in bocca, - - le poste, - - mdno, - - mente, - - mercdto, - - ragione, - - parlamento, - - in sospeso, . - - perfede, - - trattdto, to keep a boarding house to hold in suspense to be still in one's mind to keep one's word to keep a secret to hold stakes to lend a hand to heed to bargain to judge according to law to hold a parley to hold in suspense to take upon trust to hold correspondence with Different significations of vole re. VOLE' RE, ^ Vogliono alcrini, Volerla con uno, Voler bene, - - male, m - piic tosto, - - qualsivoglia, Le cose vogliono essere cosi, Si vudle, Voler dire, - - meglio, - - la baja, - - la gotta, - - male a morle, Volessepnr Dio, signifies to believe; as some believe to have a spite against one to love to hate to have rather whatsoever things must be so they will, or will have to mean to have rather to affect mocking to pick a quarrel with one to hate deadly oh ! would to God Different significations of venire. [faint VENTR meno, venir mdnco, to fall into weakness, or - - in succhio, to have one's mouth water - - in sorte, to fall to one's lot - - sotto il nome, to go by the name of m 2 Venir 244 REMARKS on some Venir stimdto, - - biasimato, - - alle strette, Non mi vien bene, Questo vi vien bene, Qudnti vene vengono ? JMene vengono due, Mi viene voglia, Venir adosso, - - al di sopra, - - alle prese, - - alle brutte, - - a battdglia^ - - a bene, - - a dire, m m alle mdni, - - detto, - - posti gli occhi, - -fallito, - - scontrdto, - - a tdglio, - - trovdto, to be esteemed to be blamed to come to a conclusion it does not please me that becomes you well how many must you have 1 must have two of them I have a mind to fall upon to have the upper hand to come to close fight to come to foul words to fight a battle to come to good to import or mean to come to blows to be said to fix one's eyes on to miss one's aim or purpose to meet withall to suit well to happen to find Of the Particles ci and vi. CI signifies us ; he speaks to us, ci pdrla, &c. Vi signifies you ; he speaks to you, vi pdrla ; he gives you, vi da, Ci and vi are adverbs of place ; as, Ci siamo, we are here, there, or at it. Vi andremo, we will go there. Ci and vi are conjunctive pronouns, when they sig- nify us and you ; and when ci and vi signify there, at it, &c. they are adverbs of place. Different significations of che. CHE signifies that, tvho, whom, that he, that she t that they, 'which, xvhat f Che VERBS and PREPOSITIONS. 245 Che signifies what ; mas. what man is that ? che uomo c ? Che ? what ? fem. what house ? che cdsa ? Che ? what ? plural mas. what books have they ? che libri hanno ? Che, plural fem. what lessons ? che lezioni ? Che signifies because; che la donna net desiar e hen di noi piic frdle, because a woman is much more weak in her desires than we are. Guarini nel Pastor Fido. Che signifies so that, or in that manner. I will do it, so that, or in that manner, that you shall be con- tented, faro che sarete contento. Different significations of via. VTA signifies the way ; example, by the way of Paris, per la via di Parigi. Via is put after the verbs an dare, passdre, condurre, fuggire, gettare, and then these verbs have more force and elegance ; as, Anddr via, to go away. Va* via, get thee away, Pdssa via, furf ante, get thee gone, scoundrel. Condur via, to take away. Fuggir via, to run away. Gettdte via questo, throw this away. Via signifies much : as, much more learned, via piic ddtto. Via signifies come ; as, come, come, gentlemen, do not fear, via, via, signori, non temete. Via is sometimes taken for vblta ; example, ire via. ire sono nove, three times three make nine ; qudttro via qudttro sono sedici, four times four make sixteen. Via signifies the means ; as, by the means of the passages in the holy fathers, per via de testi de santi pddri. Different 246 REMARKS on some Different significations of da. DA is oftentimes the ablative of the indefinite article, and signifies in English^ow .* example, ho ricevuto da Pietro, I have received from Peter. * - ■>•'* Da* with an apostrophe is the ablative of the defi- nite article, and signifiesyrom the, or by the : example, e stimdto d(C Francesi, he is esteemed by the French. Da signifies he gives; example, mi da buona spe- rdnza, he gives me good hopes, &c. Da signifies upon the faith ; example, da galdnt- uomo, upon the faith of an honest man. Da signifies like; example, ha traitdto da galdnV uomo, he has acted like an honest man. V. S.pdrla da amico, you speak like a friend. Da signifies of, or to put ; example, una scdtola da iabdcco, a snufl-box, or a box to put snuff in. Da signifies about ; example, un uumo attempato da cinqudnt* mini, a man about fifty years old. l)a signifies, from ; example, from Rome to Paris, da Romafino a Parigi. Da chevi vidi, since I saw you. Da beiore infinitives signifies to be ; example, Jt is easy to be seen, e facile da vedere. Different significations of per. PER signifiesjftr ; example, for me, per me. Per signifies through, or all over ; example, through or all over the city, per tutia la citta. Per signifies during ; as, during a year, per un anno. Per signifies to fetch, and seek after ; example, go fetch some wine, anddte per vino ; go for a physician, andate per un medico. Per signifies hotv ; example, how good soever it be, per bubno die sia. Per signifies each or every ; example, one in each hand, uno per mdno. Per signifies just or ready to ; example, he is just going away, he is ready to go, t' per partire. Per VERBS and PREPOSITIONS. 247 Per signifies every one ; example, every one, un per uno. Per signifies depending on ; example, it does not de- pend on me, now rest a per me. It signifies, as Jar as ; example, as far as I see, per quel che vedo. Per signifies as for ; example, as for me, io per me. Per dnche signifies not yet ; example, I have not seen him yet, non l 9 ho per dnche veduto. Different significations of si, ne, and pur or pure. THOUGH the following particles si, ne, pur or pure, are not prepositions, yet their vast extent and signifi- cation in Italian has induced me to insert the different acceptations of them here, for the greater ease and advantage of the learner. SI Signifies it is, they, men, the tvorld, yes, so, so as, as much, as well, until, nevertheless, himself, &c. Examples., Si dice, it is said, Si dma, or si dmano, they love. Si dira, the world, or people will say. Si, signore, yes, sir. Cavaliere si avventurdto nonfu mdi, never was there so fortunate a gentleman. Si per il mio, quanto, per il vostro inter esse, as well for my interest as your's. Si la moglie come il manto, as well the wife as the husband. Si vi dmo, perche, nevertheless I love you, because. Egli si ricordb, he or she remembered. * # * Note, that when si is accented, it is always an adverb. NE Signifies nor, neither, in the, with, hence, thence, away, at it, of it, us, from us, none, any, some, thereof, else, &c. Examples, 248 REMARKS on some VERBS, &c . Examples. Ne guesto, ne quello vi concedo, I grant you neither this nor that. Spasseggidndo ne campi, walking in the fields. M' Hncontrdi me miei amid, I met with my friends. Vdttene pe Jatti tuoi, get thee hence about thy busi- ness. Egli sene viene alia volta nostra, he is coming to- wards us. Egli ne ha tolto il nostro riposo, he has taken our rest from us. Jo mene vado, I am going away. Sene ride, he laughs at it. Sene lamenta, he complains of it. Egli ci diede il buon di, he bade us good morrow. Jo non ne ho, I have none. Se ne avessi, if I had any. Venejarei parte, I would give you some. Voi ne potrete disporre, you may dispose of it. %* Note, that when ne is accented, it is always an adverb. Pur or pure Is a particle of great use and elegance in the Italian language, and signifies in English, yet, although, more- over, besides, notwithstanding all conditions, in the end, 'when all is said and done, so much as, not only, in case, surely, even, at least, needs, or of force : as it would be tedious to give examples of all the different significa- tions of this extensive particle, I shall only mention the following phrases : m Example, Pur adesso, even now. Pur 6ra, just now. Pur mo, at this instant. Pur allora, even then. Pur assdi, too, too much. Pur parole ? what ; nothing but words ? Pur pure, yet, for all that. \* Note, that the following particles, di, e egli, sib- hen, ne gid, pur me, che, il, have often no signification at Of ITALIAN COMPOSITION. 24,9 at all, but are used as expletives by way of embellish- ing the discourse. See the eighth Treatise, chapter 1, of Expletives. FIFTH TREATISE. Of Composition, and Rules for Writing and Speaking Italian, contained in a Jew Themes.* AFTER we have learned the auxiliary verbs, and the three conjugations, we may begin to translate Eng- lish into Italian, and observe the rules of concordance : and, if we think proper, we may compose the following themes, upon the principles of the Italian language, without looking at the Italian that is put after the English, except it be to compare it with the transla- tion. The first is upon the articles. The second upon the verb avere. The third upon the verb essere. The fourth upon the pronouns mi, ti, ci, vi, gli. The fifth upon the particle si. The sixth upon there is, there tvas, there mill he % there has been. The seventh upon the articles of the, of, &c. Be careful in composing these themes, as they con- tain a great many niceties in the Italian tongue. I have put them in Italian, word for word, to render them the more easy. The words marked with a number, show that there are some rules to be observed, as appears by the page which follows the Italian theme. * The student is also recommended to consult Bot- tarelli's Exercises upon the-.various parts of Ita- lian speech, andjreferring'to the rules of this grammar. m 5 THEME 250 Of ITALIAN COMPOSITION. THEME On the Articles, My brother's fancy and desire for the study of the Italian language, are the cause that the passion he had for hunting, gaming, and musical instruments, is at present much abated ; if he had believed the advice you gave him in the President's garden, when he spoke to us of the wit of that gentleman, who was much esteemed by the king, he would then have begun to h^ie studied the principles of it, he would at present have known part of the difficulties, and would have made a great many journeys with the nephew of a great prince, who would have had him. 12 3 LA voglia, e 7 desiderio, di mio fratello, per lo studio 4 delta lingua Italidna 9 sono cagione, che gli ardori che 5 6 7^ aveva per la cdccia, i giuochi, e gli stromenti di musica, 8 9 sono adesso motto moderdti : se avesse creduto agli avvisi 10 11 12 13 che gli davdte net giardino del signor Presidente, quando 14 15 16 ci parldva delV ingegno di quel gentiluomo ch'era idnto 17 18 19 stimato dal re, avrebbe allora comminciato a studi&rne i 20 21 principj, saprebbe adesso una pdrte delle dijjicoltcL, ed 22 23 24 worebbe fdtto molti viaggi col nipote dhtn gran prmcipe 25 che lo voleva avere. This theme, and those which follow, are translated word for word. The number 1 shows that 7 is in the place of il ; see page 171. Number Of ITALIAN COMPOSITION. 251 Number 2 teaches that we must say di mio, and not del mio ; see page 69. 3. lo, and not il, p. 36. 4. gli, and not gP, p. 38. 5. i is better than li, p. 38. 6. giuochi, and not giuoci, p. 49. 7. g&j and not /z, p. 38.. 8. se avesse, and not se aveva, p. 90. 9. agli avvisi, and not g£' avvisi, p. 38. 10. g/i ? and not lui, p. 64. 11. net, and not «» il, p. 41. 12. cte/, and not dello, p. 36. 13. signor Presidente, and not signdre, p. 173. 14. ci, and not noi, p. 66. 15. dell 9 ) and not cfe/, p. 38. 16. quel, and not quello, p. 56. 17. ddl, in the ablative, p. 95. 18. studidme, and not ne studidre, p. 67. 19. i for li, p. 37. 20. princzpj, and not principi, p. 50. 21. difficolth, and not difficolte, p. 44. 22. vidggi, and not viaggii, p. 50. 23. co/, and not cow z7, p. 43. 24. o-rarc, and not grande % p. 56. 25. /o, and not il, p. 73. THEME, In vohick all the tenses of the Verb avere are inserted* I have the curiosity to know if you have done the business I had recommended to you ? If I had had time, I would have done it; but not having had it, I have not been able to do it. You would have had it if you had been willing, and if you had not played so much. I have quitted play altogether, to have my mind at rest. I shall therefore have some hopes that you will work for me. It 252 Of ITALIAN COMPOSITION. It is reasonable that I take care of your affairs, since you take care of mine. Have some of mine, and I will have some of yours, 1 * 2 Ho la curiositii di sapere se avete Jatto Vqffdre che 3 v* avevo raccommanddto ? 4< 5 6 Se avessi avuto it tempo, I 9 avrei Jatto, ma non aven- -! I dolo avuto, non V ho potirto fare. 8 L 9 avriste avuto, se aveste voluto, e se non aveste giuocato tdnto. 9 Holascidto il giuoco affdtto, per avere lo spirito in ripbso. 10 Avro dunque qudlche sperdnza, che lavorerete per me, 11 12 JL' ragionevole ch 9 abbia aura de 9 vostri (tffari, giacche 13 n 9 avete de 9 miei. 14 15 Abbidtene de 9 miei, e n 9 avro de 9 vostri. 1. curiosita with an accent, p. 176. * se avete, we use the plural, though we speak but to one person, p. 253. 2. /' affdre, and not lo affare, p. 36. 3. v avevo for vi avevo, p. 172. 4>. avessi, and not avevo, p. 90. 5. I 9 avrei, for lo avrei, p. 172. 6. avendolo, and not lo avendo, p. 41. 7. V ho, for lo ho, p. 172. 8. aveste, and not avevdte, p. 90, 91. 9. avere, without an h, p. 29. 10. avro, with an accent, p. 177. 11. cK dbbia, and not che abbia, p. 172. 12. de' is better than delli, p. 37, 172. 13. n' avete, instead of ne avete, p. 172. I4t. de 9 is better than delli, p. 37, 172. 15. n 9 avro for ne 9 avro, p. 172. THEME Of ITALIAN COMPSITION. 258 THEME On the Tenses of the Verb essere. I am much pleased in being received as tutor to those gentlemen who have been in the country where you have been. You have reason to be pleased, for they are very generous gentlemen. I should be yet more glad if they had not been in Italy, because I should have made that journey with them. It seems that you were there for some months last year. I should have been there, it is true, if my brother had been here when those gentlemen were with you in the army ; but not being here, I was obliged to stay at Paris. * # * Before you compose this theme, remember that the verb essere is formed or conjugated by itself; and that you must never put any tense of the verb avere before the participle stdto : for we say sono stdto, sidmo stdti, and not ho stdto abbidmo stdti. You must use stdto in speaking of a single person only, by you ; example, you have been my friend, siete stdto mio amico, and not siete stdti. 1 2 Sono molto contento <&, p. 64. 23. prestdrmi, and not wzi prestar, p. 67. 24. # swo, and not swo, p. 68. 25. fe, and not /wj, p. 64. 26. i miei, p. 68. 27. se vedrdi, or se vedi, p. 88. 28. we/, and not zw, p. 42. 29. gliene, p. 67. 30. alcune, and not qudlche, p. 75. %* In order to write and speak Italian fluently, it will be absolutely necessary to go over this, and the three following themes, more than once. THEME Containing all the difficulties of the Particles si, it is, they, voe, &c. It is said that you do not know if we have received the letters which we expected the last post ; and that in case we have not received them, or do not receive them to-day, they will send fifty men into the forest, w r here it is thought they have robbed the courier, because they knew we had given him letters of great conse- quence ; and it is not doubted but they are enemies that have detained him, because we have had certain advice that they have some of our letters in their hands ; we have sent a spy to inform himself of what they say, and we promise him two hundred crowns if we can have any tidings of them. I do not put the number which refers you to the rules upon these two last themes, because to make this, it will be sufficient to read the pages 211, 212. Si dice che non sapete se sono state ricevute le lettere (or se si sono ricevute le lettere ) , che s aspettdvano V ordindrio passdto* e che in cdso che non sidno state rice- vute, Of ITALIAN COMPOSITION. 257 vute, o che non si ricevano oggi, manderdnno cinqudnta ubmini nella selva, 6ve si crede che sia stdto svaligidto 7 corriere, per che si sa che gli erano state (or gli s^ erano) consegndte letter e di gran conseguenza ; e come non si ha dubbio che siano i nemici, che Phdnno ritenute, giacche si hdnno avvisi certi. che sono stdte viste alcune delle nostre lettere nelle loro mani ; si e invidta una spia per informdrsi segretamente di quanto (or di quel che si pdssa, or rather di quanto si dice) e gli si promettono dugento sciidi, se sene potra aver nuo-cay ( or se potrdnno averne nuove). THEME On the Phrases there is, there was, there be. Before you compose this theme, refer to the pages 150, 151. Remember also, that you must express there is of it or them, there was of it or them, by coi'e, or cene sono, cene fii, or vene furono, and not by ci ne, vi ne. See p. 153, 154. There is a man in the street, who says, that yester- day there was a riot opposite the palace, where there were three men killed ; and he swears that if he had been present, there would have been a great many more, because he has heard there had been two of his friends wounded, and that two women and three chil- dren have also been maimed. They talk likewise of several merchants whom the passengers report to have been cruelly beaten ; and that of the ten soldiers who are in prison, four of them will be hanged, and the six others are condemned to the galleys. V'e (ore' e) un uomo ?iella strdda, che dice cheviju jeri un gran rumore dirimpetto al paldzzo ove furono uccisi tre uomini ; e giura che, se vifosse stdto, vene sa- rebbero stati molto piu : perciocche ha sapido che *o erano stdtiferiti due amici suoi, e che due dvnne e trefanciulli vi sono stati storpidti. Si pdrla dnche di moiti mercdnti, che i vianddnti dicono essere stdti atrocemente battuti, e che di died solddti che sono in prigione, vene sardnno qudttro 258 Of ITALIAN COMPOSITION. gudttro impiccdti, e che gli altri set sono condannati alia galera. Observe, that, according to the rule in p. 150, one might leave out «' or c f of the first line, and only put e un uomo nella strdda. THEME To learn when to express, and when to omit, in Italian, the Articles the, of the, of. See pages 210, 211, &c. where you will find all the difficulties explained. There are men and women that look on the pic- tures, who say that they are paintings much esteemed by all the connoisseurs, and the ignorant themselves. Do not come here with persons of your country, to talk of the affairs of your brother. You will have time to write letters to all your friends. We must separate them from the rest, and give no- thing to them but bread and water. I received yesterday news of the prince, and of madam the princess. I have received a hundred crowns from the prince, and fifty from the princess. Talk to me of philosophy, and of the affairs of the times. He labours for ungrateful people, that give pain and sorrow to all their relations. You will be praised by the soldiers, but you will be blamed by the captains, and the chief officers of the army. You have had a great deal of pain, and little profit. We have eaten for dinner partridges, quails, and young pigeons. 1. Give us some bread, some wine, and some meat. 2. Give us bread, wine, and meat. Your brothers are arrived from the Indies; they have brought pearls, diamonds, and a great many other goods, in deal boxes, upon horses and camels. * # * I have put the phrase give us bread, wine, and meat Of ITALIAN COMPOSITION. 259 meat, twice, that you may consider when to express, and when to omit, the article of the. A Translation according to the Rules. E'cco uomini, e donne, eke considerano i quadri, e che d!icono, che sono pitture molto stimdte da tutti i dotti } e dagV ignordnti medesimu Non venite qua con persone del vostro paese, per par- lar degli qffari di vostro fratello. Avrete tempo per iscrivere letter e a tutf i vostri amid. Bisogna separdrli dagli altri, e non dar loro die pane ed dequa. Riceveijeri nuove del signor principe, e della signora principessa. Ho ricevhto cento scudi dal principe, e cinqudnta dalla principessa. Parldtemi della Jilosofia, e degli qffari del tempo. Lavora per ingrdti, che ddnno pena, e fastidio a tutf i loro parenti. Sarete loddto ddi solddti, ma sarete biasimato ddi ca~ pitani) e ddi principali dell 9 armdta. Avete avuto grand' incomodo, e poco prqfitto. Abbidmo mangidto a pranzo pernici, qudglie e pic- cioncini. 1. Ddteci del pane, del vino, e della came. 2. Ddteci pane, vino e came. I vostri fratelli sono arrivdti dalle Indie, hanno por- tdto perle, diamanti, e molte dltre mercanzie, in iscatole di abete, sopra cavdlli e cammelli. THE ( 260 ) SIXTH TREATISE. Of Poetical Licences, and the Synonymous Names of the Heathen Gods. THE principal difficulties of the Italian poetry con- sist in the poetical licences, and in the different syn- onyma ; which shall constitute the two chapters of this treatise. CHAP. I. Of Poetical Licences, POETICAL licences are certain diminutions or augmentations at the end of words, which frequently occur in poetry ; as, alma ' dnima the soul dltri dltro one, and some andaro anddrono they went anddr andarono they went andidnne andiamocene let us go away amdro amarono they loved augei augelli birds appo appresso near to hacidnne baciamoci let us kiss bea - for J beva let him drink bevve bevette he drank beea beveva he did drink bee beve he drinks bei belli fair, beautiful cdggio cddo I fall caggidmo cadidmo we fall capei capelli hairs cavdi cavalli horses cadeo Of the POETICAL LICENCES. 261 cadto ' cddde eele cela celan celano ce V han ce V hdnno chere chiede china chindta china chindto coltei coltelli cor cogliere correm coglieremo - costdro costdrono costdr costdrono crederia crederebbe de 1 or dee deve deggio devo deggi, or del devi deggia debba deggidmo dobbidmo deggiano debbano deggidte debbiaie deggio degg'io f - for- debbo debV io? deggiono debbono denno debbono deo debbo, or devo deono devono die diede diero \ron diedero dier and di'e- diedero dieronsi si diedero dicestu dicesti tu disser dissero domo domdto ei, e egli empio empi face >-, fa-dan facevano p fede fe fece fea faccva fei 1 feci he fell [conceals he, or she hides or they hide they have it to us he demands a bending down bent down knives to gather we shall gather they cost they cost [believe he should or would he owes I owe thou owest he may owe we may owe they may owe 3'ou may owe I owe do I owe ? they owe they owe • I owe they owe he gave they gave they gave they gave or applied themselves to saidst thou they said tamed he he filled he does, or makes they did, or made faith he did, or made he did, or was doing I did, or made felli 262 Of the POETICAL LICENCES. jm femmo fenne ferno fero fera fere feron ferono feste Jia Jian jie fieiw fi fora for an fossino fra fee fur' furo giro, or gir gite • giva hdggio hdlle hdlmi hdn ami avia avian have avia avria havvi holle honne £ ir for r lifece he made them facemmo we made [them nefece he made some, or of fecero they made fece he made fecero they made ferisca he may strike ferisce he strikes fecero they did, or made fecero they did, or made faceste you did, or made sard he shall be sardnno they shall be sara he shall be saran.no they shall be sii be thou sarebbe he should be sarebbero they should be fossero they were, or might frdte a brother £be A he was furono they were fkrono they were anddva he did go anddrono they went s anddte go you anddva he did go ho I have le ha he has them me V ha he has it to me hdnno they have avrei I should have avrebbe he should have avrebbero they should have ha he has aveva he had avrebbe he should have vi ha there is le ho I have to herorthem ne ho I have some or of it 10 I ^ and are to go ite Of the POETICAL LICENCES. 263 Ue ' anddte go ye _ [going roan anddvano they did go or were lave la ove there where len gliene to him of it loddro loddrono they praised loddr loddrono they praised me meglio better men' mene me some, or of it men m en o less morio morz died ne 7 ne il neither the no sco con noi with us pdga pagdta contented pdgo pagdto contented par pare it seems par porre to put pie piede a foot ponno possono they can puote puo he can potria potrebbe he should be able que 1 - for - quelli these ritor ritogliere to retake sdllo lo sa he knows it sdlsi sdlii I went up sdlse sail he went up sditi ? tisa? dost thou find I salti buo?io? ti sa buouo ? dost thou like ? se' sei thou art seggo, seggio sedo I sit down seggono seg- sedono they sit down set \_giono selo to himself it si cost so, as much siede sede he sits sic don sedono they sit sien siano they be sollevaro sollevdrono they raised up sollevar sollevdrono they raised up spene speme hope spirt o spirito a spirit sta questa this ste' stette he stood or dwelt stel ^sUlo the stalk or stem sulla 264* Of the POETICAL LICENCES. sulla, " sopra la upon the tdi tali such t err alio lo terra he will hold it tiello tieni lo hold it thou totnmi toglimi take me away tor togliere to take away- tronche troncdte cut tronco troncdto cut ti one where vdlso valuto worth ("ness vanne vattene go about thy busi- ve 9 vkli see thou veggie, veggo vedo I see veggiono,veg- J- for - vedono th»ey see veglio \_gono vecchio an old man vMle vedile see thou them velli vedili see thou them •villi eccoli there they are vello eccolo there he is ven. vene you some, or of it ver verso towards t)o' voglio I will volto voltato turned vosco con voi with you usczano uscivano they were going out nscio usci he went out vsciro ^uscirono they went out %* Observe, that the third person plural of the pre- terperfect definite terminating in drono, as, legdrono, amdrono, scolordrono, negdrono, are generally to have their poetical terminations in dro; thus they say, legdro. amdro, scolordro, negdro. See Petrdrca, Tasso, Gua- rini, and all the other poets. The poets generally retrench an / from the articles dello, delta, delli, dclle ; dlli, alle, &c. and from nella, nelli, nelle; cdlla, colle, hence they put, de lo, de la, de li, &c, ne la, ne li, ne le ; co la, co le, &c. ; example, de lajutura cdccia, They use sometimes il before verbs instead of lo ; as il vedo for lo vedo ; il dicea for lo diceva. Remember also, that the poets more frequently use the Or THE DIFFERENT SYNONYMA. 265 the verbs in gio, than those in do, when they have two terminations; thus they write veggio oftener thass vedo ; veggendo more usually than vedendo. CHAP. II. Of the different Synonyma of the Heathen Gods and Goddesses, THE poets make use of different Synonyma to ex- press the names of the Heathen Gods and Goddesses* which I have inserted in this chapter in their alphas betical order. They use as Synonyma for APOLLO, II divin musico Febo II biondo Dio, che in Tes- sdglia S* adora L 1 ordcolo di Delfo II rettore del Parndsso II Dio d } Elicona BA'CCO, II giovinetto Dio che 7 Gdnge adora II Dio nutrito dalle Nirtfe di Nisa II Dio due volte ndto Libero CICLO'PI, I trefratelli d* un sol ccchio in front e I gigdnti di Vulcano IJabbri di Vulcano The names of the Cyclops* Bronte, Ste'rope, Ps- RAMMONE. CIE'LO, Eterea mole. Regione siet~» lata La magione degli Dei CERE'RE, Inventrice delle prime bidde Mddre di Proserpina Dea d* Eleusi CIBE'LE, La Dea Dindimena La Dea Berecenzia La moglie di Saturno Rea N CU'PIDO, 266 Of the different SYNONYMA. CUPI'DO, L'amore, II vincitor degli mi Valdto Dio, Uarciero vo- lant e II faretrdto Arciero. II nudo Arciero II cieco Dio II vagabondo aldto II nudo pargoletto Garzon sovra V etdde astuto Vagofiglio di Ciprigna, di Citerea, di Vetiere Fanciul bendato e nudo DIA'NA, La Cinzia. La Luna. sorella di Febo Delia, La Dea delle selve, de* monti E'OLO, Dio de venti FLO'RA, Dea de' Fiori. Dea arnica di Giunone GIA'NO, Amico di Saturno, II Dio bifronte II Dio die porta due chidvi GIO'VE, Rettore delle stelle Primofiglio di Saturno II gran motore Altitonante GIUNO'NE, La moglie di Giove. La Dea Lucina La Dea gelosa. La re- gina degli Dei L y orgogliosa Diva INFERNO, Bolgia ardente Bdratro puzzolente, Aver- no Nero speco LUCI'FERO, STE'LLA, Foriera del giorno Stella nunzia del giorno LU'NA, Diana, Cinzia, F'cate Regina della notte MA'RE, Pelago, Oceano, Reggia Cristallina Regno umido. II padre de jiumi MARTE, Dio della guerra MERCURIO, Messo, interprete degli De* Inventor della lotto, II divin Citarista II Dio de 1 ladroni. Cilli~ nio MINERVA, Pdllade Dea Of the different SYNONYMA. 267 Dea ricamatrice La Dea che Atene adora La Dea di Sdmo Inventrice delle prime ulive NETTUNO, II regnator canuto de 9 Jtiitti II gran rettore delle acque II Tirdnno del mdre Ilfr'eddo ed umido Marito di Teti PALLADE, Quella che senza mddre dal gran Giove ndcque Bellona, Minerva, Dea della guerra Dea che trovb I 9 uso dell' olio e della lana Inventrice delle prime ulive PLUTO'NE, Dio delle tenebre Dio dell 9 oscuro regno L'autore della sepoltura II prima che onorb con esequie i morti PROSERPI'NA, Lafiglia di Cerere La moglie di Plutone La regina delle grotte Tar- idree Dea del cupojondo SATU'RNO, 17 tempo, il Dio del tempo L'aldto vecchio, or veglio, il vecchio eddce SO'LE, II principe delle ore II gran mondrca de' tempi Illuminoso auriga, Apollo Febo t il Fratello di Diana II pianeta eterno TE'RRA, La mddre comune de 9 mor- tdli Vantica mddre II suolo TETI, Regina de 9 Jlutii Dea del mdre VE'NERE, Citerea, Ciprina, Ciprigna La Dea Ericina Verticordia Figlia del mare Dea che per Adone ardeva Dea di Pdfo D6a d' Amatunta Dea, or donna del terzo giro Leggiadro onor delC acque VULCA'NO, Zoppo Dio Fdbbro adusto II divin artista II genilor d'amore in Len~ no 2 SEVENTH ( 268 ) SEVENTH TREATISE. Of Improper mid Obsolete Words. THE Italian, as well as other languages, has a great many improper words, which are used only by the vulgar and illiterate. It is a mistake to think that the Italian tongue is spoken and pronounced best at Florence, for this is one of the places where the pronunciation of it is the most harsh and uncouth. The Court and the Academies, indeed, speak well there ; but all the rest have a bad accent, and pronounce through the throat and nose. The writings of the Florentine authors, both an- cient and modern, are in a beautiful style ; hence it is that the Italian proverb says, in regard to their pro- nunciation, Lingua Toscdna in bbcca Romana. It is most certain the inhabitants of Rome and Siena speak the best Italian ; therefore we say, Per ben parldr Italidno, Bisogna parldr Romano. Nevertheless, the vulgar at Rome generally commit a mistake in the preterperfect-definite, by making it end in the first person plural, in ssimo instead of mmo: example, We loved 1 Camdssimo We went f . .„ exnrpssed bv J anddssimo We believed f 1S i]1 ex P ressed W \ credhsimo We wrote J [scrivessimo We should say, amdmmo, anddmmo, credemmo, scri* vemmo ; and so of all the rest of the verbs. Neither must we say, amaressimo, crederessimo, and the like, to express we should love, we should believe ; but ameremmo, crederemmo ; and the same with regard to all verbs in the second imperfect. The Of Improper and Obsolete Words. 269 The first person plural of the present tense ought to terminate in iamo, in all verbs without exception, as well in the indicative as the imperative and subjunctive ; so that we must absolutely say, ami&mo, and che ami- dmo, to express we love, and that we may love ; and in like manner, abbidmo, sidmo, parlidmo, credidmo, vedidmo, dormidmo, concepidmo, &c. and not avemo, semo, parldmo, credemo, vedemo, dormimo, capimo, con- cepimo, which are Calabrian and Neapolitan words de- rived from the Spanish : for by adding an 5 at the end of them, we should find, avemos, semos, parlamos, dor- ?nimos, &c. words entirely Spanish. Avoid saying, as the Florentines do, voi dicevi, voi amdvi, voi credevi, voi anddvi, and the like, instead of voi dicevdte, voi amavdte, voi credevdte, voi andavdte, because the termination in vi is never used but with tu in the singular ; as, tu amdvi, tu dicevi. * # * Read those authors who have written on the purity of the Italian language, whom I have quoted at the end of this treatise ; and all those who have written since the origin of that language to the present time, and you will see they disapprove of voi avevi, voi amdvi, which is a great error made by the Florentines, and illiterate persons. The reason of it is indisputable, for there must be a difference between the second person singular and the second person plural. To convince those who say voi amdvi, instead of voi amavdte ; voi dicevi, instead of voi dicevdte ; voi vedtvi instead of voi vedevdte, &c. I shall only refer them to the remarks of Giacomo Pergamini, who, in his book intituled Trattdto della lingua Italidna, says, in page 173, La seconda persona deW imperfetto net numero del piu t deve esser termindta in vale : as, cantavdte, dice- vdte. E contra questa terminazione ricevuta universal' mente da* regoldti dicitori, hdnno alcuni moderni usdto di scrivere, cantavi, vedevi, il che c un manifesto errore. Ferrante Longobardi, in his book intituled, II Torto ed il Dritto, condemns this manner of speaking, voi cantavi, as improper. For the same reason as that above given, you must not 270 Of Improper and Obsolete Words. not say voi amdsli, voi credesti, voi vedesti, but voi amdste, voi credeste, voi vedeste. To express tve read, tve remain, toe say, xve go out, you must say, leggidnw, rimanidmo, dicidmo, uscidmo ; and not leghidmo, rimanghidmo, dichiamo, e&chidmo, and that for two incontestible reasons : First, because there are none but verbs terminated in the inf.nitive in care and gare, as cercare, pagdre, &c. that take an h in the tenses and persons, where the letter cor g precedes an e and an i, as I have said before. So that the verbs in ere and ire are not in- cluded in this rule. Secondly, because leghidmo comes from legare, sig- nifying to tie, and so of the rest. Neither must you say, as those of Lucca do, io direbbi, io Jarebbi, io sarebbi, to express I should say, I should do, 1 should be, instead of io direi, iojarci, io sarei. You must neither say nor write dmono, cantono, bal- lono, in the third person plural of verbs of the first con- jugation, when all terminate in ano ; therefore write and speak dmano, cdntano, ballano ; because there are none but the verbs in ere and in ire that end in ono in the third person plural of the indicative. Before we finish this second part, it will be proper to mention three things worthy of attention. The first relates to the letter h, the second to the letter z, when used instead of ti ; and the third to the conjugating of all verbs in the first person singular of the imperfect indicative. So begin with the first. The dispute concerning the letter h is of no small consequence. The question is, whether it ought to be retrenched in those words in which it is not pro- nounced ? Some pretend that it ought not to be re- trenched, because this will occasion ambiguity in se- veral words, and the reader will thereby be led into mistakes ; for instance, if we leave out the h in the words hdnno, they have, and hdmo, a hook, there is no distinguishing them from anno, a year, and amo, I love. The same difficulty occurs in a great many other words, which, for the sake of brevity, we omit. See page 27, concerning the use of the letter h. Others Of Improper and Obsolete Words. 271 Others (of which number are members of the Aca- demy of La Crusca) maintain, that it ought absolutely to be retrenched. Their reason is, that they look upon it as altogether superfluous in words where it is not pronounced : and moreover, by using it without neces- sity, it becomes a stumbling block to foreigners, espe- cially to the Germans and Swiss, who, being accus- tomed in their own language to pronounce it wherever they find it written, do the same in Italian, which is wrong. The second point I have to mention relates to the letter z, when used for t. followed by two vowels, the first of which is i s in words derived from the Latin, as, gratia, vitio, which at present are written with a z; example, grdzia, vizio* There are a great many who condemn this change of orthography, and insist that these words ought to be spelled with a t, as in Latin ; yet I think it is right to make use of the z, for otherwise it will be impossible to give a just and true pronunciation to those words. It may be said, there is a rule which teaches, that the syllable ti is sounded be- fore a vowel, as if there was an s in the middle ; but how shall I know that I am not to pronounce this syl- lable in the same manner in the words natio, native « simpatia, sympathy ; partio, he went away ; and several others ? How comes it that we do not say, natsio, simpatsia, partsio ? Doubtless the common reason of this difference may be assigned, namely, that those words are not derived from the Latin, or if they be, they are still of Greek derivation, and that even in Latin they are pronounced differently from words of Latin origin. This reason perhaps is good in itself, but is of no use to those who are not acquainted with the Latin tongue, and consequently incapable of tracing the etymology of words. I shall now proceed to the third difficulty, concerning the first person singular of the imperfect indicative of all verbs. In regard to this article, one might impli- citly follow the rule which commonly prevails at present; that is, to terminate it in a and not in o ; for example, we might say aveva instead of avevo ; yet, to give my opinion freely, I can see no reason for making 272 Of Improper and Obsolete Words. snaking this alteration, which I apprehend ought rather to be considered as an abuse than as a rule. If it is owing to examples which occur in good authors, these .eKamples, I make no doubt, are owing to the mistakes of typographers. And, indeed, I can never imagine that Boccaccio, Villdni, and several others, to whom a great many pay a degree of veneration bordering opon idolatry, should make use of the third person Instead of the first. I can never believe they would attempt to introduce such an abuse, except by chance, and in poems, where the rhyme and measure of the verse will plead excuse for a multitude of words, which would never be tolerated in prose. Convinced of this, I maintain that we ought ever to make use of the termination o, and not that of a, till I see a better reason to justify this alteration. Hitherto I have met with none among the best writers on this subject; and they who pretend that we should say amdva, aveva, &c. instead of amdvo, avevo, &c. are able to assign no other reason than this, viz. that we some- times meet with the expression in the best authors; tapon which they take upon them boldly to pronounce, that amdvo, avevo, &c. are low words, and only used by the common people. For my part, I think quite the contrary, and am con- vinced that the words amdva, aveva, &c. are more suitable to the vulgar than to polite persons and people of education, because I cannot eompreherfd how those who ought naturally to surpass others so much in knowledge, should attempt to defend an expression in usany respects repugnant to good sense. Besides, I Jhave three reasons for being of this opinion. The first is, that in all verbs, and-in what sense soever, I never could *ind that the third person was used instead of the first. The second is, that this change is productive of ambiguity in discourse, which ought always to be avoided. The third and last reason, which to me appears altogether definitive in regard to those who pay so great a deference to the authority of writers of the first order is, that since we often meet with both terminations in their works, and it will not be granted us, that either of them is owing to the mis- takes Of EXPLETIVES. 273 takes of printers, this is a demonstration, that these writers looked upon both the one and the other termi- nation as equally good, since they could not make use of amdvo, which some moderns absolutely prescribe, without thinking of amdva, which they would surely have adopted, had they thought it more elegant than the other. The best argument, however, in favour of the latter termination is, that it may deserve the pre- ference in phrases where a great number of words terminating in o might be disagreeable to the ear ; but even then it will be proper to make use of the pronoun personal, in order to avoid the ambiguity I have mentioned. EIGHTH TREATISE. Of Expletives, Compound Words, Capitals, and Punctuation, CHAP. I. Of Expletives, EXPLETIVES are certain particles which, though not absolutely necessary for the grammatical construc- tion, add great strength and elegance to discourse. There are three sorts of Expletives. First, those which give energy to speech, so as to represent the thing, as it were, to your sight. Secondly, those which add grace and ornament. Thirdly, those which the Italians call accompdgna Jiomi, and accompdgna verbi, and are certain particles added to nouns or verbs, re- dundant indeed in sense, but peculiar to the Italian idiom. 1. Of the first sort are the following ; ecco, behold, or see now, in the beginning of a sentence ; as, ecco, io non so dir, behold, I cannot tell. n 5 Bene 2745 Of EXPLETIVES. Bene, well, is used in the beginning of a sentence before an interrogation : bene, chefdi tu qui 1 ? well, what dost thou here ? or in answering in the affirmative, bene, io lo fa.ro> well, I will do it ; sometimes the par- ticle si is added to it ; disse Calandrino, si bene, Calan- drino said, yes, indeed : sometimes ora is prefixed to it, as, ora bene, come far emo? well, what shall we do? Pur is equivalent to the English word indeed, and adds evidence and clearness : la cosa andb pur cod, the thing went so indeed : when it is prefixed to a par- ticle of time, it signifies exactly ; perciocche pur all6ra> n'erano smontati i signori, because the gentleman had then exactly dismounted. Gia has also sometimes the force of indeed; ora fossero essi pur gia disposti a venire, now if they were really disposed to come ; sometimes the particle mdi is added to it, and then it signifies never: non usdva giammai, he never used. Mdi either prefixed to or put after sempre, gives it great force ; io sempre mdi faro cib, I will always do this ; che si giace mdi sempre in ghidccio 9 that is always covered with ice. Mica and punto strengthen negatives ; no mica d'uomo di poco ajfare, a man of no small consequence ; il re non e punto morto ma vivo, the king is not dead, but alive. Tutto gives strength; la gentil giovane tutta timida 9 the genteel young woman quite afraid. Via, joined to verbs, increases their force ; via a casa del prete ne portdrono, they carried us away to the priest's house. II. Of the second sort of Expletives are the following : TL'gli is sometimes used for ornament, without re- gard to gender or number : egli e il vero, it is true ; egli non sono ancora molti anni passdti, it is not many years since ; egli e ora di desindre a cdsa, it is dinner time at home. E'lla is therefore used as an ornamental Expletive ; comincib a dire 9 ella non andra cosi, she began to say, it shall not go so. E'sso is used in both genders and numbers, with the particle con before some pronouns, and even without the Of EXPLETIVES. 275 the pronouns ; ella voleva con esso lui digiundre, she was willing to fast with him ; rise con esso lei, he laughed with her ; comincib a cantare con esso loro, he began to sing with them ; che venga a desindre con esso noi, let him come and dine with us ; la disavventura era tdnta, e con esso, la discordia de* Fiorentini, the disaster was so great, and withal the discord of the Florentines. Ora is used in resuming or continuing a discourse, in the same manner as now in English ; ora io ve I'ho udito dire mille volte, novo I heard you say it a thousand times. Sometimes it gives a force to interrogations ; disse alV ora, ora che vorra dir questof he then said, novo, what does this mean ? Si has a particular beauty as an expletive; 6ltre,a quello cJi egli fu ottimo Jilosofo, si fu egli leggiadris- simo e costumato, for besides his being an excellent philosopher, he was moreover very courteous and man-, nerly. / Di is used in a manner peculiar to the Italian lan- guage; e di giorno e di notte, both day and night. Non is often used as an expletive; quesio fanciullo appena ancora non ha quattordici anni, this child is hardly fourteen years old. This is worth observing, because we find thereby that in Italian non does not always imply a negative. Altrimenti is also used merely as an ornament : senza saper altrimenti che egli si fosse, without knowing who he was. III. Of the third sort are the following words : Uno and una, not as numeral nouns, but as particles whose office it is to accompany nouns, without adding any thing to the signification, for which reason the Ita- lians call them accompagnanomi : io credo che gran noja sia ad una bella e delicdta donna aver per marito un mentecdtto, I believe it is very disagreeable for a fine sensible woman to have a fool for a husband. Alcuno is sometimes used instead of uno ; erano legati in alcun luogo pubblico, they were tied in a public place. The particles that accompany verbs without adding any thing to the signification, are mi, ci, ti, vi, si, and ne. Mi : io mi credo, che le donne sien tutte a dormire, I believe 276 Of COMPOUND WORDS. I believe the women are all asleep. Sometimes the particle ne is added to it ; but then we say me, and not mi: sommene venuto, I am come. Ci : la donna e Pirro dicevano not ci seggidmo, the woman and Pyrrhus said, let us sit down. With the pronominal article, it makes ce ; e poscia eel godremo gui, and afterwards we will enjoy it here. In like manner with the particle ne ; vogliamcene noi anddre ancora? shall we go yet? Ti : eke tu con noi ti rimdnga per questa sera, stay with us this evening. Before the pronoun relative they say te: tu te ne pentirdi, thou wilt repent it; and with ne they also sayte: wentene meco, come along with me. Vi : io non so se voi conosceste il cavaliere, I know not whether you were acquainted with the gentleman. With ne they say ve : noi potrete tornarvene a edsa ; you may go home. Si del paldgio s'usci, e Juggissi a edsa sua, he went out of the palace, and ran home. With the pronoun relative, and with ne, it makes se : se gli mangio, he ate them, Jece vista di bersela, he pretended to drink It; i ire giovani se n anddrono, the three young men went away. Ne; chetamente n ando, he went away quietly; andidnne la, let us go there., CHAP. II. Of Compound Verbs. THE Italians, for the sake of elegance and strength pf expression, have often recourse to compound words ; concerning which it is impossible to give any general rule ; the surest way is to make use of those which are established by custom ; as, Ognuno every one Gentiluomo a gentleman Sottovoce whispering Sottomdno Of CAPITALS and PUNCTUATION. 277 Sottomdno, underhand. Nondimeno, nulladimeno, nevertheless. Trcntotto, thirty-eight. Quardnta cinque, forty-five. Sottosopra, topsy-turvy. However, we shall make a few remarks on this sub- ject, which may be of use to the learner. When the first of the compounding words ends with a vowel, and the second begins with a consonant, the Italians are accustomed to pronounce them with greater emphasis, and therefore they repeat the first consonant of the second word, as dello, colassu y laggiu, appie, &c. We except from this rule the verb ridirizzdre. The first of the compounding words sometimes loses the lastfvowel, whatever consonant it precedes ; and the first consonant of the second word is repeated, as, sotterra, seggiola, soppamio, sozzopra, &c. When one of the compounding words is a pronoun, and the last syllable of the word is accented, the con- sonant of the particle is repeated, unless it happens to be followed by another consonant ; for example, we say dimmi, tell me ; dirotti, I will tell thee ; dirogli t I will tell him. But if the word to which the particle is joined, loses its final vowel in the junction, the conso- nant of the particle is not repeated; for which reason dirai Jardi, and the like, with the junction of the par- ticle, makes dirdloyfardne^ &c. In some words, for the facility of utterance, and more agreeable sound, a consonant is changed : thus, for in- stance, before the letters b, c, I, we put an n instead of an m, as panbollito, amia?wi 9 Jarerilo, &c. instead of pa?nbollzto, amidmci 9 Jare7nlo, &c. CHAP. III. Of Capitals and Punctuation* 1. Of CAPITALS. IN regard to Capital Letters, the following rules are established by the Italians : 1. Over 278 Of CAPITALS and PUNCTUATION. 1. Over capitals you are never to put any mark of accent or apostrophe. 2. Proper names always begin with a capital 3. Names of nations taken substantively, begin with a capital ; as, i Francesi fecero guerra, the French made war ; but taken adjectively they require a small letter, and therefore they write, mercdniefrancese. 4. The expressing of a genus or species requires a capital, hence they write I* U6mo e la piii nobile delle inferiori creature, Man is the noblest of the inferior creatures ; il Cavdllo e utile alia guerra, the Horse is useful for war ; but the capital is dropped when they are applied to individuals ; quest' e un buon uomo, this is a good man ; ecco un bel cavallo, there is a fine horse. 5. Those appellatives which are used instead of proper names, require a capital ; hence they write il Padre, il Medico, il Maestro, the Father, the Physician, the Master, when speaking of some particular person. 6. All names of dignities, degrees, and honours, re- quire a capital ; thus they write Papa, Imperalore, Re y Vescovo, &c. Pope, Emperor, King, Bishop, &c. 7. At the beginning of a period, the first letter is always a capital. II. Of Punctuation. The use of stops or points is to distinguish words and sentences, so as to express the sense with clear- ness. The Italians have five stops, or pauses. 1. The punto fermo, the same as our period, or full stop (.), is used at the end of a period, to show that the sentence is completely finished. 2. The mezzo punto, which is our colon (:), is the pause made between two members of a period, that is, when the sense is complete, but the sentence not ended. 3. The piinto e virgola, our semicolon (;), denotes that short pause which is made in the subdivision of the members or parts of a sentence. 4. The point of interrogation, thus (?), or the point of admiration, thus (!). 5. The virgola, the same as our comma (,) is the shortest pause of resting in speech, being used chiefly to Of PUNCTUATION. 279 to distinguish nouns, verbs, and adverbs, as also the parts of a shorter sentence. The use of these stops is much the same among the Italians as the English ; if the former have any particu- larity, it is in regard to the virgole, or commas ; con- cerning which we shall make the following remarks : Whenever a word or a preposition is inserted in a period, of which it does not form a part, it is put be- tween commas: as, faccidm dunque a cotesto m6do> ma con questo, vedi, die tic non parta da me, let us proceed in this manner, but with this condition, take care, that you do not leave rae. The conjunction e, and the disjunctions o or ne. re- quire a comma before them ; yet when these particles are repeated, and the first stands as an expletive, it ought to have no comma before it ; as, quanta egli, neW una, e 7ieW dltra interpreiazione si segnaldsse, non fa d'uopo ch' io vi ridica, how much he distinguished himself both in one and the other explanation, there is no necessity for my telling you. In like manner, jpesdndolo o colla stadera, o colla bildncia : perciocche ne nelV uno, ne neW dltro. The relatives die, and quale, require a comma before them, as they suppose some kind of pause, though very small ; but when die signifies what, it requires no comma, as attento a vedere che di lui avvenisse, atten- tive to see what became of him ; avvegnane che puo 7 let what will happen. A comma is always to be prefixed to conjunctions, even when those conjunctions are not expressed, but understood : as, non sia ubbridco, ne taverniere, non giuocatore, non masnadiere, the conjunction e is under- stood. When conjunctions and adverbial expressions are repeated, and correspond to one another, the first does not require a comma : era Cimone si per la sua forma y e si per la nobilta, e ricdiezza del pddre, quasi noto a ciascuno del paese. Cymon was known almost to every man in the country, as well on account of his person, as for the nobility and wealth of his father. THE END OF THE SECOND PART. THE THE ITALIAN MASTER. PART III. CONTAINING, I. A Vocabulary of Words most necessary to be knotvn. II. The Words most used in Discourse. III. Familiar Dialogues. IV. A Collection of Italian Phrases, in which the Delicacy of that Language consists. V. Several little Stories, Jests, Sentences of divers Authors, and a Collection of the choicest Italian Proverbs. VI. An Introduction to Italian Poetry. VII. Fine Thoughts from the Italian Poets. VIII. Different Inscriptions and Titles used in Italian Letters. IX. Letters of Business and Compliment. A VOCABULARY OF WORDS NECESSARY TO BE KNOWN. Del Cielo e degli Ele- Of the Heavens and the menti. Elements. DFO, Iddio GOD Gesii Cristo Jesus Christ lo Spirito Sdnto the Holy Ghost la Trinita the Trinity gli dngeli the angels un prof eta a prophet il cielo heaven il cielo the sky il paradiso paradise V inferno hell il mondo the world ilfuoco VOCABULARY. 281 iljuoco Varia la terra il mare, V dcqua il sole la luna le stelle, gli astri i rdggi le nuvole il vento la pioggia il tuono il balcnoy il lampo la grdndine ilfulmine la neve il gelo il ghidccio la brina la rugidda la nebbia il terremoto, il tremuoto il diluvio il cdldo, or colore ilfreddo the fire the air the earth the sea, the water the sun the moon the stars the rays the clouds the wind the rain the thunder the lightning the hail the thunderbolt the snow the frost the ice the glazed frost the dew a fog or mist the earthquake a deluge or flood the heat the cold Del Tempo, e dSlle Stagioni. Of the Time and Seasons. II giorno le notte il mezzo giorno la m'ezza notte la mattina la sera 2i n' or a un quarto d'ora una mezz ora tre quarti d'ora j'en the day the night noon or mid-day midnight the morning the evening an hour a quarter of an hour half an hour three quarters of an hour to-day yesterday domdni, 282 VOCABULARY. domdni, dimani to-morrow jer Paltro, l y dltrojeri the day before yesterday posdomani) domdn I* altro the day after to-morrow questa sera this evening questa mattina this morning dopo prdnzo after dinner dopo cena after supper una settimdna a week un mese a month un dnno a year un minuto a minute un istante an instant un momento a moment la primavera the spring la state, I 'estate the summer Vautunno autumn Vinwrno, il verno the winter giorno difesta a holiday giorno di lavoro a working-day il levar del sole the sun-rising il tramontdr del sole the sun-setting Valba, l* aurora the dawn, aurora I Giorni della Settimdna. The Days of the Week. Lunedl Monday Venerdl Friday Martedi Tuesday Sdbato Saturday Mercoledl Wednesday Domenica Sunday Giovedi Thursday IMtsi. The Months. Genndjo January Luglio July Febbraje February Agosto August Mdrzo March Settembre September Aprile April Ottobre October Mdggio May Novembre November Giugno June Dicembre December Le VOCABULARY. 283- Lefeste delV anno, ■ II capo d' dnno il giorno dei Re la Quaresima le Quattro tempora la Dominica delle pdlme la settimana santa il Ve?ierdi santo il giorno di Pdsqua le Pentecoste il giorno de 9 Morti Naidle la vigilia la mietitura, messe, raccolta le vendemmie The holidays of the yeaiv New-year's day Twelfth-day Lent the Ember-weeks Palm-Sunday Passion-week Good-Friday Easter-day Whitsuntide All-souls day Christm as-day the eve the harvest the vintage Regni d'Europa e loro Capitali. The Kingdoms of Europe and their Capital Cities* Spagna Francia Inghilterra Scozia Irlanda Boemia Norvegia Polonia Russi Danimarca Svezia Turchia Ungheria Napoli Sicilia Sardegna Piemonte Spain France England Scotland Ireland Bohemia Norway Poland Russia Denmark Sweden Turkey Hungary Naples Sicily Sardinia Piedmont Madrid Madrid Parigi Londra Paris London Edinburgo Dublino Edinburgh Dublin Praga Bergen Varsavia Prague Bergen Warsaw 5 Pietroburgo \ Mosca Petersburg Moscow Copenaghen Stockholm Copenhagen Stockholm Costantinopoli Constantinople Presburgo Napoli Palermo Presburg Naples Palermo Cagliari Torino Cagliari Turin Delle 284 VOCABULARY. DelleDignitaEcclesidstiche. II papa, il pontefice un cardindle un arcivescovo » un vescovo un nunzio un preldto un rettore un vicdrio un vicdrio generdle un decdno un canonico un prete un cappellano un elemosiniere cappellano un curdto, un pdrroco. un piovdno un predicatore un sagristdno un cherico un musico, un suonatore i Of EcclesiasticalDignities. the pope a cardinal an archbishop a bishop a nuncio a prelate a rector a vicar a vicar-general a dean a canon a priest a chaplain an almoner a curate a preacher a sexton a clerk a musician Names of' some Pane dcqua vino birra came pesce alesso arrosto un boccone di pane un pasticcio unafetta di pasticcio una minestra un brodo utC insalata una salsa un intingolo dillejrutta delformdggio Articles of Food. bread water wine beer meat or flesh fish boiled meat roast meat a mouthful of bread a pie a slice of pie a soup a basin of broth a salad the sauce a ragout fruit cheese V Apparecchio. VOCABULARY. 285 VApparecchiodella Tdvola. The Covering of the Table. La tdvola una sedia la tovaglia una salvietta un coltello unaforchetta un cucchidjo un tondo un pidtto una satiera un acetdjo una zuccke- riera un candeliere una candela lo smoccola- tojo the table the chair the table- cloth a napkin a knife a fork a spoon a plate a dish a salt-cellar a vinegar- bottle a sugar-dish a candle- stick a candle the snuffers uno scalda- un bacile un bicchiere unjidsco, una bottiglia una tazza una sotto- coppa uno sciugar mdni un servizio una cesta, un cestone ■unafoglietta una pinta un boccale una bottiglia un cavasu- ghero a chafing- dish a basin a glass a flask a bottle a cup a towel a service or course a basket a half- pint a pint a jug a bottle a corkscrew Quel che si mdngia a Ta- vola per V Alesso. Bue, mdnzo beef castrato mutton vitello veal What is eaten at Table i boiled Meat. agnello lamb una gallina a hen un pollastro a fowl Per gli Antipdsti. Un guazzetto unajricassea una stufdto un' animella di vitello una crostdta, una torta dei pasticcetti del presciutto For the first Course. a ragout a fricassee stewed meat sweet bread a tart petty patties some ham delle 286 VOCABULARY. ■delle salsicce un salame di Bologna del sanguindccio delfegato delle radici , popone sausages a Bologna sausage black pudding liver radishes a melon Quel che si fa arrostire. What is roasted Un cappone a capon polldstri pullets picciofii pigeons le heccdcce woodcocks le pernici partridges i tordi thrushes le lodole larks le qudglie quails ijagi&ni pheasants un gallindccio a turkey un ''oca a goose un papero a gosling un dnitra a duck un daino a deer -Ana lepre a hare un coniglio a rabbit un porco, un majale a pig un porchetto a roasting pig un cinghidle a wild boar salvaggina venison testuggine di mare turtle un cervo a stag un cosciotto a leg of mutton un lombo di vitello a loin of veal una spalletta di castrdto a shoulder of mutton -una braciuola a steak del selvaggiume, dell'uc- 7 celldme \ game Per condire le Vivande. Del sale salt del pepe pepper dell' olio oil To season Meat with. delP aceto vinegar delV agresto verjuice della mostarda mustard dei VOCABULARY. 287 del garbfani cloves dell' dglio garlick della cannella cinnamon del lardo bacon dei cdpperi capers dei meldngoli, oranges del lauro laurel degli aranci deifunghi mushrooms dei limoni lemons dei tartufoli trufles del persemolo parsley delle cipolle onions delle cipollette young onions degli scalogni shalots delle uova eggs Per V Insalata. For a Salad. DelV erbe herbs de selleri cellery dell* indivia endive del cerfoglio chervel della lattuga lettuce del crescione cresses Per i Giorni di Mdgro. For Fish Days. Del butirro butter delle ostriche oysters del latte milk del salmone salmon; delle uova da eggs in the del merluzzo cod-fish here shell delle alici anchovies delle uova qf- poached un gdmbero a lobster fdgate eggs dei piselli peas unajrittdta an omelet delle fdve beans dei gdmberi un luccio crawSsh degli spindci spinage a pike dti carciofoli artichokes una cdrpa a carp degli spdragi asparagus una trot a a trout dei cdvoli cabbages una sogliola a sole dei broccoli sprouts un' anguilla una tinea an eel a tench dei cdvoli ji- 6ri cauliflowers uno storione a sturgeon delfinbcchio fennel mi' aringa a herring Per le Frutta. For the Dessert. Delle mele, dei pomi apples delle pere pears delle persiche peaches dei bricoccoli apricots delle cerdse cherries delle uvespine goosebc ries dei 288 VOCABULARY. deifichi delle susine dei lamponi delV uva delle frit elle una torta, una crostata dei zuccherini dei confetti delle noci delle nocciuole delle castdgne delle mdndorle delle nespole delle more nere delle mela cotogne delle melagrdne delle ardnce delle ulive delle more di gelso dei meloni, poponi cocomeri figs plumbs raspberries grapes frittars a tart sugar-plums sweet-meats nuts filberts chesnuts almonds medlars blackberries quinces pomegranates oranges olives mulberries melons water-melons Grddi di Parentado. II padre la mddre fdvo, il nonno F dva, la nonna il bisdvo la bisdva ilfiglio lafiglia ilfratello la sorella il primogenito Vultimo nato lo zio la zia il nipote la nipote il pronipole la pronipote Degrees of Kindred, the father the mother the grandfather the grandmother the great-grandfather the great-grandmother the son the daughter the brother the sister the eldest son the youngest son the uncle the aunt the nephew the niece the nephew's son the niece's daughter il VOCABULARY. 2S9 V il cugbio the cousin la cugina the female cousin il cognato the brother-in-law la cogndta the sister-in-law il suocero the father-in-law la suocera the mother-in-law il genero the son-in-law la nuora the daughter-in-law il nipotino the grand- son la nipotina the grand-daughter i geniiori the parents lo sposo the spouse, masc. la sposa the spouse,/em. consorte, masc. and fem. a consort il gemello the twin-brother iljiglioccio the god-son lafiglioccia the god-daughter padrino the god -fat her matrina the god-mother la bdlia the nurse un parente a relation, a relative la parente the female relation, rela- Vamico the friend [live V arnica the female friend v.n nem'ico an enemy, masc. una nemica a female enemy un vedovo a widower una vedova a widow un erede an heir una erede, una rede an heiress unpupillo a pupil, masc. una pupilla a female pupil un parent ado an alliance un matrimonio a marriage uno sposalizio ' a wedding Degli Stati dell' Uomo e Of the Conditions of Man delta Donna. and Woman. Un uomo a man una donna a woman 290 VOCABULARY. «« uomo attempdto dna donna attempdta un vecchio una vecchia un giovane una giovane un marito una moglie un bambino, masc. una bambina, fem. un ragdzzo,fanciullo un ragazzino,Janciullino una fanciullina una zitella it padrone la padrona il servitore la serva il cittadino il contadino un forestiero un barone un monello, unfurbo un Iddro an aged man an aged woman an old man an old woman a young man a young girl a husband a wife an infant a boy a little boy a little girl a maid the master the mistress the man servant the female servant the citizen the countryman a stranger a rogue a sharper, a knave a thief Quel che bisogna per vestirsi. Un vestito, un abito un cappello una perucca una cravdtta unjerrajuolo un abito, un vestito le calzette, calze le sottocalzette y le sottocalze gli scarpini le scdrpe lepianelle una camicia What is necessary for dressing oneself. a suit of clothes a hat a wig a cravat a great coat a coat stockings under stockings the pumps the shoes the slippers a shirt una VOCABULARY. 291 una camiciola } una sottoveste £ una mdnica i manichetti una berretta una zimdrra una tasca, una saccoccia it borsellino pantaloni calzoni lunghi mutande a waistcoat a sleeve the ruffles a cap a night-gown a pocket the fob pantaloons trowsers drawers Coi Vestiti, bisogna With Clothes, we Delle fettiicce ribbons dei merletti lace dei bottoni buttons delle bottoniere button-holes dellafr&ngia fringe dei gudnti gloves unjazzoletto a handkerchief un oriuolo, orologio a watch un manicotto a mutt* delle fibbie buckles delle legdcce garters un anello a ring un pet tine a comb una tabacchiera a snuff-box Per quei che montano a Cavdllo. Un pendone una cintura le pistole una brzglia una sella lestaffe o 2 For those who ride on Horseback. a belt a girdle the pistols a bridle a saddle the stirrups la 292 VOCABULARY. lajrusta the whip the boots gli speroni the spurs la ginocchiera the top of the boot la rotella the rowel of the spur la gdmba the leg la suola the sole il calcdgno the heel Per le Signore. For the Ladies. Una cuffia a cap, or head-dress una gonn&tta, una soft ana a petticoat il busto the stays il gremhidle the apron una mdschera a mask un velo a veil gli orecchini ear-rings i ricci the curls tin ventdglio a fan una stecca a busk gli smanigl'i bracelets l' apparecchiatojo the toilet le spiile pins un torsello a pincushion un pajo di forbid a pair of seissars un ditdle a thimble un ago a needle ilfilo, il refe thread il liscio paint le mosche patches acque odorose sweet waters della polvere powder lo spillone di testa a bodkin I 9 acconciatura di cdpo a head-dress la scdtola a box le gioje jewels una gioja, un ginjello a jewel un diamante a diamond uno smerdldo an emerald un rubino a ruby una VOCABULARY. 293 una per la a pearl tin zqffiro a sapphire uno stuzzicadenti a tooth-pick delta tela linen una conocckia, rocca a distaff ilfuso the spindle la seta silk la Idna wool dell 9 dmido starch del sapone soap lo stuccio a case Delle Parti del Corpo. Of the Parts of the Body. La testa, il capo the head le hraccia il gomito the arras the elbow il viso, la Jaccia the face 1 it pugno la mdno the fist the hand lafronte the forehead il dito the finger gli occld the eyes il pollice the thumb le ciglia the eyebrows le unghie the nails le palpebre the eye-lids lo stbmaco the stomach la papilla the eye-ball il petto the bosom le orecchie the ears le zinne the breasts i capelli the hair le caste the ribs le tempia the temples le cosce the thighs le gudnce the cheeks le ginocchia the knees il ndso the nose la gdmba the leg le narici the nostrils la polpa della the calf ol la bdrba the beard gdmba the leg la bocca the mouth la noce del the ancle- i denti the teeth piede bone la lingua the tongue il collo del the instep le Idbbra the lips piede il paldto the palate il piede the foot le basette, i baffl the whiskers il calcdgno la ciera the heel the mien il menlo the chin la comples- the complex il collo the neck sione ion la gola the throat V aria the air le spdlle the shoulders 294 VOCABULARY. il portamenti the demean- our ilfegato the liver il pulmone the lungs la grassezza the fatness la tosse cough la magrezza the leanness il catdrro the rheum la statura the stature iljidto the breath V andatura the gait la voce the voice il ghto the gesture la parola the speech il cervello the brain un sospiro a sigh il sdngue the blood la vista the sight le xsene the veins V udito the hearing le arierie the arteries /' odordto the smell i nervi the nerves il gusto the taste i muscoli the muscles il tdtto the feeling la pelle il cuore the skin the heart il sentimento. Al . . ,, • •• the opinion I opimone r Per Istudiare. For Study. La libreria the library il gabinetto the closet un libro a book uno zibaldone a common-place book la carta the paper unfoglio a leaf una pagina a page la coperta d\ in libro the cover of a book una penna a pen Vinchiostro ink un calamajo an ink-stand un lemperinc a pen-knife lo spago [bia packthread la polvere, I arena, la sab- sand il polverino the sand-box la cera the wax un sigillo a seal una letter a a letter tm biglietto a note la scrittura the writing il ricordo, il taccuino the pocket-book la cartapecora,lapergamena parchment VOCABULARY. 295 il pennello il lapis una lezione una traduzione un iema un portqfoglio the pencil or brush the pencil (blacklead) a lesson a translation a theme a case for paper Strumenti di Musica, fyc. Instruments of M Un violino a violin (ma viola a bass-viol un cbrno a horn unjlautoj un traversiere a flute uno zuffblo a flageolet una zampogna a bagpipe una piva, un oboe a hautboy una chitdrra a guitar un cembalo a harpsichord un pianoforte a piano-forte un liuto a lute uri > drpa a harp un drgano an organ una trbmba a trumpet un tamburo a drum un piffero a fife un orchestra an orchestra una bdnda a band il basso the bass il soprano the treble il tenor e the tenor il contra tenore the counter-tenor D'una Cdsa e delle sue parti. La cdsa la porta il portbne Of a House and its parts. the house the door the gate la 296 VOCABULARY. la camera, la stanza la sella la sella da pranzare la sdla bassa I'anticdmera la sdla il gabinetto lajinestra le invetridte la cucina il cor tile il pozzo la stdlla la cantina la scdla le scale il giardino lajontdna la dispensa il prima piano il secondo piano il terrdzzo la saffitta il tetto le iegole le gronddje il m uro, la murdglia il camino i mattoni il pdlco, il tax>oldto la rimessa iljorrio la trdve i travicelli le tdvole Vinsegna la pigione, iljitto il gesso la calcina il mdrmo la pietra the room the drawing-room the dining-room the parlour the anti-chamber the hall the closet the window the panes of glass the kitchen the yard the well the stable the cellar the stair-case the stairs the garden the fountain the pantry the first floor the second floor the terrace the garret the roof the tiles the gutters the wall the chimney the bricks the floor the coach-house the oven the beam the joists the planks the sign the rent ' the plastering the lime the marble the stone VOCABULARY. 297 la colomhaja the pigeon-house il polldjo the hen-house il comodo the water-closet I Mobili della Camera, The Furniture of a Roon La tapezzeria the tapestry lo specchio the looking-glass il letto the bed le lenzuola the sheets il materdsso the mattress la coltrice the feather-bed il paglidccio the straw-bed il capezzdle the bolster il sopraccielo del letto the tester of the bed le cortine the curtains la bandinella the head-curtain la coperta the counterpane il guancidle the pillow le verghe the curtain-rods la sponda del letto the bed-side i quddri the pictures tin orologio a clock la cornice the frame le sedie the chairs una sedia d 1 appoggio an arm-chair la tdvola the table il tappeto the carpet il sofa the sopha la credenza the cupboard un paravento a screen una scdtola a chest una cassetta a box unJbrziSre a strong-box la ricamatiira embroidery la pittura the painting V indoratura the gilding la scultura the carving, or sculpture V intagliatura carving on wood unafigura a figure o 5 298 VOCABULARY. una statu a una colonna un piedestdllo a statue a pillar a pedestal Quel die si trova intorno at Cammzno. La porcelldna un urna un vaso iljuoco il carbone le ceneri, la cenere ilfocoldre un pezzo di legna unajascina di legna grossa un S(>ffietto la paletta le mollette iljbrcone zolfanelli iljucile la pietrajbcaja V esca lajiamma il parqfuoco ilfumo la caligine, lajuligine il piarabrace What we find about the Chimney. the China ware an urn a vase, a vessel the fire coals ashes the hearth a log of wood a faggot a pair of bellows the shovel the tongs the poker the matches the steel the flint the tinder the flame the screen the smoke the soot the fender Quel che si trova nella Cucina* Lo spiedo il girarrosto il voltaspiedo il calddro una padella un treppiede una graticola, una gratella una brocca "What we find in the Kitchen. the spit the jack the jack the kettle a frying-pan a trivet a gridiron a pitcher VOCABULARY. 299 una secchia, un secchio a pail una corda a rope una girella a pulley un catino an earthen pan una pigndtta a pot una pentola a great pot una cucchiajo a spoon una mestola a ladle unajbrcina,forchetia a fork uno scaldavivdnde a chafing-dish lo scaldaletto the warming-pan un rampino a hook la catena the pot-hanger una gratuggia a grater una tortiera a pudding-pan un mortdro a mortar un pistello a pestle uno sciacquatore the sink una scop a a broom uno strdccio a rag uno sirojjinaccio a duster Quel che si trova nella What we find in the Cantlna* Cellar. Una bolte a butt un barile a barrel un imbottatojo a funnel un cerchio a hoop la feccia the dregs del vino wine della birr a beer del sidro cider mn vecchio old wine vin nuovo new wine vi?i rosso red wine vin bianco white wine vin chiaretto claret vino gudsto sour wine aceto vinegar vin dolce sweet wine mbsto must 300 VOCABULARY. un martello a hammer metier mdno ad una botte to tap a butt cavdr vino to draw wine tirar un sughero un cava sughero to draw a cork a corkscrew Quel die si trova intorno What is found about a alia Porta, door. La chidve the key la serralura the lock il catenaccio the bolt il saliscendi the latch il chiavistello the bolt i riscontri the wards of a lock il battitojo the knocker la campanella the bell la stdnga the bar il soglio the threshold i gdngheri the hinges Quel eke si trova nella What we find in the St alia. Stable. Deljieno hay della bidda oats della pdglia straw una rastellicra a rack ■una mangiatoja a manger la semola the bran il pettine the comb la striglia the CLirry-comb un vaglio a sieve la briglia the bridle la sella the saddle ilpettordle the breast-plate le cinghie the girths il cavicchio the peg V arcione the saddle-bow una cavezza a halter VOCABULARY. 301 il mozzo di stdlla the groom i cavalli the horses la carrozza the coach il calesso the chariot carrozza per due per son e the chaise un cdrro a waggon una carretta a cart Quel che si trova nel What is found in the Gar- Giardino> i Jiori, e gli den, the flowers and the dlberi. trees. Una spalliera a row of wall-trees una pergola an arbor una rota a rose un gelsomino a jessamin del gdrqfani pinks del geranio geraniums delle tidipe, dei tulipdni tulips del gigli lilies delle viole violets delle gio?ichiglie jonquils un pomaro, or porno an apple-tree un pero a pear-tree un ciregio a cherry-tree un susino a plum-tree un dlbero d* albicocco an apricot-tree un persico a peach-tree un moro a mu.'berry-tree unfico a fig-tree un ulivo an olive- tree il bos so the box-tree il lauro the laurel-tree V abete the fir-tree la querela, il rdvere the oak tifaggio the beech-tree V olmo the elm V uva spina the gooseberry-tree V ardncio the orange-tree un rosdjo a rose-bush il semenzdjo the nursery 302 VOCABULARY. la vile the vine la vigua the vineyard V edera ivy un rdmo a branch un mandorlo an almond-tree un male an avenue un boschetto a little wood V ombra the shade it fresco the cool lajontana the fountain i candli the canals un cespuglio a bush un mirto a myrtle la verdura verdure un mcizzo dijiori a nosegay Dignita temporali. Temporal Dign Un imperatore an emperor una imperatrice an empress un re a king una regina il delfino a queen the dauphin la delfina the dauphiness ilprincipe the prince la principessa the princess il gran due a the grand-duke la granduchessa the grand-duchess V arciduca the arch-duke T arciduchessa the arch-duchess il duca the duke la duchessa the duchess il marchese the marquis la marchesa the marchioness il conte the earl la contessa the countess il visconte the viscount la viscontessa the viscountess il bar one the baron la baronessa the baroness /' am~ VOCABULARY. SOS- V ambasciadore V ambasciadrice un incaricdto d y affari un segretario di legazione un baronetto un cavaliere il govematore la govematrice un invidio un residente un agente un console the ambassador the ambassadress the charge d'affaires a secretary of legation a baronet a knight the governor the governor's lady an envoy a resident an agent a consul Cdriche ed Ufficidli di Giustizia. II cancelliere il custode de* sigUli il segretario di sidto V intendente il tesoriere il presidcnte il consigliere il maestro delle suppliche il maestro de conti il giudice il luogotenente civile il luogotenente crimindle il podesta uno schiavino V avvocdto il procuratore il procurator jiscdle un sostituto un notdjo un segretario un sollecitatore uno scrivdno un copista I 9 usciere il sergente, il cursore Officers and Offices of Justice. the chancellor the keeper of the seals the secretary of state the surveyor the treasurer the president the councillor the master of requests the master of accounts the judge the civil magistrate the criminal magistrate the mayor an alderman the advocate the attorney the attorney-general a deputy a notary a secretary a solicitor a clerk a hackney-writer the door-keeper, usher the Serjeant 304 VOCABULARY. un carceriere a jailor un litigatore, or litigante a pleader un prigioniere a prisoner ', campo Ufficidli di Guerra. II generate V ammirdglio il luogotenente generate un marescidllo di I un brigadiere il colonnello tenente colonnello il maggiore V ajutdnte maggiore il capita" no il luogotenente, il tenente il cometta V alfiere il ser genie il capordle un sottocapordle un quartier maestro un commissdrio un cavaliere unjantaccino il cavalleggero un dragone un moschettiere la bdnda un trombettiere } trombetta un tamburino ilpifaro la sentinella la ronda lapattuglia un guastatore un cannoniere un minatore gli avventwieri, i volmtarj ifdnti perduti un ingegnere Officers of War. the general the admiral the lieutenant-general a major-general a brigadier the colonel the lieutenant-colonel the major the adjutant the captain the lieutenant the cornet the ensign the Serjeant the corporal the under-corporal a quarter-master a commissary a horse-man a foot-soldier the light-horseman a dragoon a musqueteer the band a trumpeter a drummer the fifer the sentinel the round the patrole a pioneer a gunner a miner volunteers the forlorn hope an engineer L 9 Armata VOCABULARY. 305 V Armata, Un' armata unajlotta una squadra il corpo di battdglia la vangudrdia la retrogudrdia il corpo di riserva una line a un cdmpo volante la cavalleria lajanteria uno squadrone un battaglione la prima fila, or schiera la seed n da fila il bagaglio i cannoni le tende il padiglione un reggimento una compagnia un presidio, or una guar- nigione una brigdta una suddivisione The Army. an army a fleet a squadron the main-body the van-guard the rear-guard the body of reserve a line a flying camp the cavalry the infantry a squadron a battalion the first rank the second rank the baggage the guns the tents the pavilion a regiment a company a garrison a division a sub-division Le Fortificaziom, Una citth la cittadella un forte unafortezza un castello le mura ilfosso una palizzdta, uno stecedto la cortina la mezza luna la casamdtta The Fortifications* a city the citadel a fort a fortress a castle the walls the ditch a pallisado the curtain the half-moon the casemate la 306 VOCABULARY. la strdda coperta unfortino le trinciere una mina una contramina una torre un -parapet to il terrapieno una pidtta forma un cavalier e un bastione provvisioni da bocca provvisioni da guerra munizioni un assedio le capitolazioni i soccorsi una sortita un assdlto the covered way a small fort the trenches *a mine a counter-mine a tower a parapet the rampart a platform a cavalier a bastion provisions ammunition a siege the capitulations succours a sally a storm Professioni, e Mestieri. Professions, and Trades. Un aid ore un editore un traduttore un librajo uno stampatore un legatore di libri un medico un cerusico uno speziale un barbiere unjbrndjo un pasticciere un rosticciere un macellajo un oste un mercdnte, un negozidnte un sdrto, un sartore un calzoldjo un ciabattino an author an editor a translator a bookseller a printer a bookbinder a physician a surgeon an apothecary a barber a baker a pastry-cook a cook that roasts a butcher an innkeeper a merchant a taylor a shoemaker a cobler VOCABULARY. 307 un cappelldjo un mercidjo un sellajo un maniscdlco un incisor e un intagliatore un pittore un ricamatore un falegndme un mar an gone un muraiore un magndno, un chiavajo un molindjo, un mugn6jo una lavandaja un orologidjo un giojeiliere un argentiere un orefice un tapezziere un rigattiere un guantdjo un commedi&nte un suonatore uno spadajo una scuffiaja, una modista unfacchino un vetrajo a hat-maker a mercer, haberdasher a sadler a farrier a copper-plate engraver a carver a painter an embroiderer a joiner a carpenter a mason a locksmith a miller a washer-woman a watchmaker a jeweller a silversmith a goldsmith an upholsterer a broker a glover a player a musician a sword-cutler a milliner a porter a glazier Ufficidli di Cdsa. Un lacche uno staffiere, un servitore it pdggio il cocc hier e il palajreniere la serva la cameriera il cameriere i portantini ilportindjo lo scudiere, il cavallerizzo lo scdlco Officers of the House. a running footman a footman, a man, a servant the page the coachman the groom the maid-servant the chamber-maid the valet the chairmen the porter the gentleman of the horse the carver il 308 VOCABULARY. il coppiere il cantiniere il credenziere il maestro di cdsa il segretdrio il cappelldno il gentiluomo V intendente il cuoco il giardiniere il mgnaiuolo il padrone la padrona the cup-bearer the butler the cupboard-keeper the steward the secretary the chaplain the gentleman the intendant the cook the gardener the vins-dresser the master the mistress Qualita, Difetti, Imperfez- zioni e malattie dell 9 Uomo. Qualities, Defects, Imper- fections, Diseases, &c. of man. Un guercio un cieco un gobbo uno zoppo ■uno storpidto un mancino un mdnco un sordo un muto uno scilii un cdlvo un ?idno un ladro unfurfdnte un rndgo, uno stregone una strega un cattivo huonafortuna disgrdzia lafortuna un ammaldto a one-eyed man a blind man a hunch-backed man a lame man a cripple a left-handed man a one-handed man a deaf man a dumb man a stammerer a bald man a dwarf a thief a rascal a rogue a magician a sorcerer a witch a wicked fellow good luck bad Juck fortune a sick person la VOCABULARY. S09 la malattia unafebbre una terzdna una quartdna il tr emtio unaferita una contuzione la podagra, la gotta i dolori colici la rosolia il vajuolo V infreddatura, il catdrro il renmatismo la tosse la rognuzza, la scdbbia il pizzicore un apostema una sgrafignaiura una caduta un biiffetto uno schiqffb un pugno un cdlcio una stoccdta una pistolsttdta un archibugidta, una 3 Juccilata, una schiop- > pettata 3 uno svenimento la morte sickness fever a tertian ague a quartan ague the cold fit a wound a contusion the gout the cholic the measles the small-pox the cold the rheumatism the cough the itch an itching an imposthume a scratch a fall a fillip a box on the ear a cuff a kick a thrust with a sword a pistol-shot a gun-shot a swooning death Degli Uccelli. Of Birds. Un aquila un uccello un uccellino un cardello unfanello , un canarmo un verzellmo un lucarino an eagle a bird a little bird a goldf.nch a linnet a canary-bird a yellow-hammer a goldfinch 310 VOCABULARY. una rondine un usignolo uno siorno unjringuello una passera., un passerbtto un pappagdllo un merio unagdzza una ghiandaja un tortorello, una tortorelia un allbdola a swallow a nightingale a starling a chaffinch a sparrow a parrot a blackbird a magpye a J a y a turtle dove, masc. fyfen a lark De Quadrupedi. Un cane un cagnolino una cagnolina un gdtto, una gdtta un sorcio un topo, un sorcio una scirnia una pecora tin porco un porch'etto una sctofa, una trqja una volpe un lupo un toro una vdcca un mtello un mulo, una mula un cammello una cdpra un elejdnte un leone un leopdrdj una tigre un cavdl/o una cavdlla un asino Of Quadrupeds. a dog a little dog a little she dog a cat, a she cat a mouse a rat an ape, a monkey a sheep a pig a sucking pig a sow a fox a wolf a bull a cow a calf a mule, masc, and Jem. a camel a goat an elephant a lion a leopard a tyger a horse a mare an ass Degli VOCABULARY. 311 Vegli Animdli rettili, ed Insetti a toad Un rospo una ran6c- chia, rdna una lucertola una lumdca una chiocciola a beetle uno scorpione a scorpion un rdgno un serpente, una biscia una Jarf alia a frog a lizard a snail a spider a serpent a butterfly Quel che si vede nella Campdgna. La strdda la strdda maestra una ptanura una vdlle una montdgna un poggio, un cdlle un bosco unajbresta, una selva una siepe un cespuglio, unafrdtta un dlbero un rdmo del grdno dcljormento 4eW orzo delta bidda, dell' avena una vigna un giardino un viale un castello un campanile tin prdtu un Idgo uno stdgno un dirupo 9 uno scoglio Of Reptiles and Insects. una mosca una zanzdra, zanzdla un bruco un verme, un lombrico un pidocchio una pulce un cimice una formica a fly a gnat a caterpillar a worm a louse a flea a bug an ant una tartaruga a tortoise What one sees in the Country. the road the high-way a plain a valley a mountain a hill a wood a forest a hedge a bush a tree a branch corn wheat barley oats a vine a garden an alley, or walk a castle a steeple a meadow a lake a pond a rock 312 VOCABULARY. unjosso a ditch un ruscello a brook unjiume a river un ponte a bridge una bdrca a bark una palude, un pantdno a marsh una laguna a slough una terra^ un villdggio a village un borgo t un paese a town Quel die si vcde nella Citta. What we see in a City 11 ponte the bridge la porta the gate la strdda, la via the street la cdsa the house il paldzzo the palace la chiesa, la cappella the church, the chapel il convento the convent lo speddle the hospital il mercdto the market lajiera the fair la piazza a" drme the place of arms la bottega the shop la dogdna the custom-house la prigione, la carcere ihe prison lajbntdna the fountain I Colori. II bianco il nero, il ne- gro il rosso il verde il gidllo il turchino, ilblu il bigio il pnvondzzo V in earn at 'o il color di fnoco white black red green yellow- blue grey violet-colour carnation fire-colour Colours. /' olivdstro olive- colour il color di pdglia il cremeszno il leondto scarlattino straw-colour crimson dun-colour scarlet il color dicarne pink porpora azzurro color di lilla colore d y a- rdncio color bruno purple sky-blue lilac orange brown I Metdlli. VOCABULARY. SIS .L' oro V argento ilferro il piombo il brhnzo, V ottone Vaccidjo il rame lo stdgno I Metallu gold silver iron lead brass steel copper tin, or pewter Of Metal? il mercurio, V argento vivo la calamita la latta lo zolfo quicksilver a loadstone tin brimstoner il verderdme verdigrise il vetro glass Delle Nazioni. Of Nations. Italidno an Italian Francese a Frenchman TedSsco a German Spagnuolo a Spaniard Portoghese a Portuguese Svedese a Swede IngUse an Englishman Poldcco a Polander Irlandese an Irishman JJ'ngaro a Hungarian* Scozzese a Scotchman Danese a Dane Olandese a Dutchman Maltese a Maltese Russo a Russian Turco a Turk Borgognone a Burgundian Flamingo a Fleming Europeo a European Lorenese a Lorrainer Africano an African Tdrtaro a Tartar Cinese a Chinese Asidtico an Asiatic Giapponese a Japanese Americano an American Svizzero a Swiss Egizidno an Egyptian Piemuntese a Piedmontese Lappone a Laplander La Data delle Letter e. II primo ' due, di due tre, di tre quattro, ai quattro cinque, ai cinque s'ei, ai sei sette, ai sette gli otto, dgli otto i nove, ai nove died, ai died gli undid, dgli undid ' dodici, ai dodici i tridedy ai tredeci The Date of Letters^ the first the second the third the fourth the fifth the sixth the seventh the eighth the ninth the tenth the eleventh the twelfth the thirteenth P i quattordici 314, VOCABULARY. i quattordici, ai quattordici the fourteenth i quindici, ai quindici the fifteenth i sedici, ai 16 the J 6th i diecisette, ai 1 7 the 17th i dieciotto, ai 18 the 18th i diecinove, ai 19 the 19th i venti, ai 20 the 20th i ventf lino, ai 21 the 2 1 st i venti due, ai 22 the 22nd i venti tre, ai 23 the 23rd i venti qudttro, ai 24 the 24th f venti cinque, ai 25 the 25th i venti sei, ai 26 the 26th i venti sette, ai 27 the 27th i venti otto, ai 28 the 28th % venti nove, ai 29 the 29th i trenta, ai trenta the 30th i trent* uno, ai trenf iino, or /' ultimo the 31st We may put, i or a di, primo, due, tre, qudttro, &c. / Giudchi. The several Games. La pallacorda tennis il biglidrdo billiards a f dadi at dice alle carte at cards aW bmbra at ombre alia bassetta at basset alia bestia at loo dgli sedechi, d > sedechi at chess alle ddme at draughts alle trichetrdche at tick-tack dlle piastrelle at quoits alle bucce at bowls a chid ma V oste an Italian game at votdnte, alia racchetta at shuttlecock Mia cieca at blind-man's buff uW oca at the game of goose quadnglidti tavolino da gmocdre quadrille card-table tavo/iere draught-board scacch'dre chess-board A COL* ( 315 ) A COLLECTION OF VERBS, Most necessary to be first learnt. Per lo Studio. Stitdidre impardre impardr a mente leggere scrivere sottoscrivere piegdre sigilldre Jdre il soprascritto correggere scassdre, scancelldre tradurre comincidre cnntinudre fcnire ripetere Jdre sapere potere volere ricorddrsi dimenticdre, scorddrsi compardre Per Pari are, Pronunzidre accent u are For Study. to study to learn to learn by heart to read to write to sign or subscribe to fold up to seal to put the superscription to correct to blot out to translate to begin to go on to make an end to repeat to do, to make to know to be able to be willing to remember to forget to compare To Speak. to pronounce to accent p2 proferire 316 VERBS. prqferire dire ciarlare cicaldre griddre sgriddre aprire la bocca serrdre la bocca tacere chiamdre rispondere Per Bere, e Mwgiare. Masticdre inghiottire taglidre provdre 9 gustdre sciacquare here mangidre digiundre far colezione merenddre pranzdre, desindre cenare aver fame aver sete aver appetito Per anddr a dormire. Anddr a letto dormire veglidre riposdre addormentdrsi sogndre russdre sveglidrsi, destdrsi levdrsi to utter to say to prattle to chat to cry out to scold to open one's mouth to shut it to be silent to call to answer To Drink and Eat. to chew to swallow to cut to taste to rinse to drink to eat to fast to breakfast to lunch to dine to sup to be hungry to be thirsty to have an appetite To go to sleep. to go to bed to sleep to watch to rest to fall asleep to dream to snore to wake to rise Per VERBS. 317 Per vestirsi, Vestirsi spoglidrsi calzdrsi scalzdrsi pettindrsi acconcidrsi 7 cdpo metier si la polvere Jarsi i ricci mettersi H cappello coprirsi abbottondrsi allaccidrsi, qffibbi&rsi To dress one's self. to dress one's self to undress one's self to put on one's shoes to pull off one's shoes to comb one's head to dress one's head to powder one's head to curl one's hair to put on one's hat to be covered to button one's self to lace one's self Azioni ordindrie all 9 Uomo, Jtidere pidngere sospirdre siernutdre sbadiglidre sqffiare Jischidre ascoltdre odordre sputdre snffidrsi 7 ndso uscir sdngue dal ndso gli esce sangue dal ndso asciugdre tremdre gonfidre tossire essere infreddato guarddre, mirdre pizzicdre grattdre solleticdre The ordinary Actions of Men. to laugh to weep to sigh to sneeze to gape to blow to whistle to hearken to smell to spit to blow one's nose to bleed at the nose he bleeds at the nose to dry or wipe to tremble to swell to cough to have a cold to look to pinch to scratch to tickle Azioni 518 VERBS. Azioni d* A 'more, e Actions of Love and d' Odio, Hatred. Amdre to love accarezzdre to caress lusingdre to flatter far carezze to show a kindness abbraccidre to embrace bacidre to kiss salutdre to salute insegndre to teach nudrire to nourish corrcggere to correct punire to punish casiigdre to chastise Jrustdre to whip loddre to praise biasimdre to blame dare, concedere to give, to grant negate to deny proibire to forbid sirappazzdre to use ill bdttere to beat odidre to hate , scaccidre, manddr via to drive away, tosendaway perdondre to pardon disputdre to dispute contrastdre to quarrel litigdre to plead proteggere abbandondre to protect to forsake benedire to bless maledire to curse Per gli Esercizj, For Diversion or Exercise. Cantdre to sing correre to run balldre to dance saltdre to jump giuocdre to play son&rc VERBS. 3 sondre la childrra to play on the guitar sondre '/ violino to play on the violin tirdr di spdda to fence cavalcdre, montdr a cavdllo to ride on horseback giuocdr alia patlacoida to play at tennis giuocdr alle carte to play at cards giuocdr a picchetto to play at picquet giuocdr all' ombra to play at ombre giuocdr alia bassetta to play at basset giuocdr a* dddi to play at dice guadagndre, vincere to win perdere to lose scommettere to lay a wager risicdre to venture esser pace to be quits scar tare to lay out mescoldre to shuffle alzdre to lift up tra-stulldrsi, divert ir si to divert one's self scherzdre to joke burldrsi to laugh at motteggidre to make one laugh star in piedi to stand up inchindrsi to stoop downwards girdre to turn fermdrsi, trattenSrsi to stop Per Comprare. For Buying. Domanddre il prezzo to ask the price qudnto vale ? how much is it worth I qudnto casta ? what does it cost ? prezzoldre, fare H prezzo, mercantdre to haggle misurdre to measure comprdre to buy pagdre to pay qfferire to bid or offer sopraffdre, far una domdn- da esor bit ante to exact 319 vender 320 VERBS. vender cdro vender a buon mercdto prestdre torre in prestito, piglidr in prestito impegndre disimpegndre dare inganndre to sell dear to sell cheap to lend to borrow to pawn to take out of pawn to give to cheat Per la Chiesa. For the Church. Anddr alia chiesa to go to church pregdr Iddio to pray to God comunicdrsi to receive the sacrament predicdre to preach orndre to adorn battezzdre to baptize confermdre to confirm son are le campane to ring the bells seppellire to bury sotterrdre to inter cantdre to sing inginocchidrsi to kneel rizzdrsi, alzdrsi to rise Per le Azioni di Movi- mento. Anddre stare ', dimordre venire torndre Jermdrsi cammindre correre seguitdre fuggire scappdre partire For the Actions of Mo- tion. to go to stand, to dwell to come to return to stop or stay to walk to run to follow to fly to escape to depart anddr V E R B S. 321 n anddr inndnzi, avanz&re anddr in dietro, rinculdre allontandrsi avvicindrsi, appressdm accostdrsi voltdre cascdre, cadere sdruccioldre fdrsi mdle,ferirsi giungere, arrivdre, or j giugnere \ incontrdre, anddr all' in" j contro \ entrdre uscire salire, montdre scendere trattenersi, stdr a bada, sedere spasseggidre anddr a spasso, anddr a J cammindre, a spasseg- > gidre ] affrettdrsi to advance to stand back to be distant to come near to turn to fall down to slide to hurt one's self to wound ones self to arrive to go, to meet to go, or come in to go t or come out to go, or come up to go, or come down to stand idle to sit down to take a walk to go a walking to make haste Azioni ManudlL Lavordre toccdre maneggidre legate sciorre, slegdre } sciogliere attaccdre ' staccdre allentdre levdre, togliere, torre piglidre, prendere rubdre raccogliere straccidre, strappdre Manual Action?. to work to touch to handle to tie or bind to untie to tie to untie to let loose to take away to take, to steal to gather up to tear p 5 pment&rCf VERBS. presentdre, dondre regal are ricevere strhigere, strignere tenere rompere^ spezzdre nascondere coprire scoprire, manifestdre sporcdre, insuciddre nettdre, pulire,forbire stroffindre, stroppicidre, 7 fregdre \ tastdre additdre, mostrdr a dito pizzicdre solleticdre [tare sgrqffidre 9 graffidre y fygrat- Azioni di memoria e d'immaginazione. Ricorddrsi dimenticdrsi, scorddrsi pensdre credere dubitdre sospettdre osservdre avvertire conoscere, sapere Jigurdrsi, immagindrsi bramdre, desiderdre sperdre tern ere assicurdre giudicdre conchiudere risolvere J"mgere intestdrsi ostindrsi to present, to give to make a present to receive to crowd to hold to break to hide to cover to discover to dirty- to clean to rub to feel to point with one's 6nger to pinch to tickle to scratch Actions of the memory and imagination. to remember to forget to think to believe to doubt to suspect to observe to take care to know to imagine to wish to hope to fear to assure to adjudge to conclude to resolve to feign to be conceited of to be obstinate adirdr VERBS. 323 adirarsi, anddr in collera pacificdrsi inganndrsi perdere la tramontane/, 7 imbrogli&rsi \ aver per certo aver sulla punta dclle > dita \ esser geloso Per le Arti ed i Mestieri. JDipingere intaglidre, scolpire disegndre,Jur un disegno abbozzdre ri cam are smaltdre indordre inargentdre incassdre invernicidre stampdre legdr un libro lavordre to fly into a passion to be appeased to mistake to embroil one's self to be certain of to have it at one's finger's end to be jealous For Arts and Trades. to paint or draw to engrave to design to draw a sketch to embroider to enamel to gild to silver over to enlay to varnish to print to bind a book to work Per V Armdta. Far solddti toccdre, bdttere '/ tamburo sondre la trombetta accamparsi alloggidre montdr a cavdllo smontdre Jar giornata, dar battaglia riportdre la vittoria scompigli&re, disordin&re sbaraglidre, sconfiggere svaligidre For the Army. to raise soldiers to beat the drum to sound the trumpet to march to encamp to lodge to get on horseback to alight to give battle to gain the victory to put in disorder to rout to plunder 324 FAMILIAR PHRASES. saccheggidre ddre 'Igudsto circonvalldre, stringere assediare dar un assdlto prender d' assdlto jar volar la mina spar tire capitoldre rendersi a pdtti caeciar mano alia spdda ammazzdre, uccidere dar quartiere Jerire aprire la trinciera sondr la raccolta incalzdre 7 nemico to sack to lay waste to blockade to besiege to storm to take by storm to spring a mine to fire to capitulate to surrender on terms to clap one's hand on one's sword to kill to give quarter to wound to open the trenches to sound a retreat to pursue the enemy SHORT and FAMILIAR PHRASES, IN ITALIAN AND ENGLISH. I beg of you I Give me. Do not give me. Bring me. Do not bring me. Some toast. Some rolls. Some butter. Some milk. Some cream. Some tea and coffee. Some chocolate. Some water. Some wine. Vi prego ? Ddtemi. Non mi date. Portatemi. Non mi portdte, Del pane arrostito. Dei panelti. Del burro, or butirro, Del latte. Delia ere ma. Del te e del caffe, Delia cioccoldta. DeW acqua. Del vino. Some FAMILIAR PHRASES. Some beer. Some meat. My hat. My cane. My shoes. His boots. My books. Yes, sir. No, madam. Good morning. Good evening. Delia birra. Delia came. II mio cappello. II mio bastone. Le mie scarpe. I suoi stivdli. I miei libri. Si, signore. No, sign or a. Buon giorno. Buona sera. II. I am not ready. After you. It is true. It is so. Here I am. Here we are. Here she is. Here he is. Believe me. Do not believe me. Lend me. Some money. Do me. This favour. This pleasure. Permit me. Where are you going ? Where do you come from ? I am going home. I come from church. I am going. Come (or go) up stairs. Go down. Come up. Wait for me here. Come here. Come (or go) down. Non son pronto. Dopo di voi. E vero. Cost e. Eccomi. E r ccoci. E'ccola. E'ccolo. Credetemi. Non mi credete. Prestatemi. Del dandro. Fdtemi. Questojavore. Quest o piacere. Permettetemi. Dove anddte f Di dove venite ? Vado a casa. Vengo di chiesa. Me ne vado. Salite le scale. Anddte giu. Venite su. Aspettdtemi qui. Venite qua. Scendete. III. How 326 FAMILIAR PHRASES. III. How do you do? Well, I thank you. Not very well. What ails you ? I have a cold. I have a head-ache. I have a pain in my heart. That makes me ill. I have the tooth-ache. How long since ? Since this morning. Since yesterday. I have a sore throat. You must keep in bed. And your sister? She has a head-ache. She has the gout. I am sorry for it. She is better. I am very glad of it. Is she at home ? I think not. I think so. Come state ? Bene, grdzie. Non trdppo bene. Che cosa avete ? Sono infreddato. Mi duole il capo* Mi sento male. Questo mi fa nausea. Ho dolor di denti. Da quando in qua ? Da questa mattina. Dajeri in qua. Ho male alia gola. Bisogna star in letto. E vostra sorella ? Ha mal di testa. Ha la gotta. Me ne dispidce. St a meglio. Me ne rallegro. E" ella in casa '? Credo di no. Credo di si. IV. I thaDk you. Your most humble servant. I am yours. Your servant. Without compliments. Sit down. You are very civil. You are very obliging. Go and play. Come, come. Presently. O how tiresome you are ! You are very naughty. Leave me in peace. Let me alone. Vi ringrdzio. Servitor e umilissimo. Padrone stimatissimoe Serva vostra. Senza cerimonie. Accomod&tevi. Siete molto civile. Siete molto compito. Anddte a divertirvi. Via* via. Ora. ora. SH pur nojbso. Siete molto cattivo. Lascidmi in pace. Lascidtemi stare. Don't FAMILIAR PHRASES. wr Don't stun me. Don't plague me. Go about your business. I come from there. Go away then. O ! thank God. Non mi st or dire. Non mi stordite. Andate a spasso. Ne vengo. Andate via dunque. Oh J sia ringrazidto IddiOc V. Have you dined ? Not yet.' At what o'clock do you sup ? At nine o'clock. I dine at five. And I at half past four. It is a convenient hour. Prepare breakfast. Eat something. I have no appetite left. I am very thirst}'. Drink a glass of water. Have you breakfasted? It is too soon. You are still sleepy. Rise up quickly. Do not take the trouble. Shut the door. Open the window. It is open. Shut it then. You are in the right. He is in the wrong. Make haste. Go to bed. Avete pranzato? Non ancbra. A che ora cenate ? A lie nove delta sera. Desino a cinque ore. Ed io alle quattro e mizza* E y un 9 ora comoda. Prepardie la colezione. Mangtdte qualche cosa. Non ho piu appetito* Ho gran sete. Bevete un bicchiir d'acqua. AvUeJuttn colezione? E s tropp'i presto. Siete ancora addormenl&to* Levatevi subito. Non v incomodate. Chiudete la porta. Aprite iajinestra. E" aperta. Serrdtela dunque. Avete ragione. Egli ha torto. Spicciatevi. Andate a letto. VI. What is it o'clock. Tell me what it is o'clock. Do you know what o'clock it is ? I do not know exactly. Che ora e ? Ditemi che ora e. Sapete che ora e ? Non so precisamente* Look 328 FAMILIAR PHRASES. Look at your'watch. It is almost one o'clock. It has struck one. It is a quarter past one. It is almost two. It is half past two. It has just struck two. It is three quarters past two. It is not three o'clock yet. What weather is it ? It is fine. It is bad weather. It is gloomy weather. The wind is changed. It will rain. See the sun appears. Let us go and take a walk. Guardate at vostro oriuolo. E x quasi un y ora. E x un* ora sonata. JE X un ora e un quarto* Son quasi le due. Sono le due e mezza. Son due ore passdte. Son le due e tre quarti. Non sono ancora le tre. Che tempo fa f Fa Ml tempo. Fa cattvoo tempo. Fa un tempo tristo. E s cambidto il vento. Vuol piovere. Ecco eke esce il sole. Andiamo a spasso. VII. Hear me. Hear him. Hear her. Look at them. Tell him, her. Show it me. Let him know it. Tell it him (or her). Do not look for it. Do not speak to him. Tell her nothing. Remember. Do you remember ? Take care of yourself. Stop. Dress yourself. Help me. Go away. I repent it. Thou shalt go He will be angry at it. He will speak to us about it. Ascoltdtemi. Ascoltdtelo. Ascoltdtela. Guarddteli. Dzte-gli (m.) le (f.). Mostrdtemelo. Fdteglielo sapere. Diteglielo (m. ou f.). Non lo ceredte. Non gli (m.) par late, Non le ( t\ ) kite niente. Ricorddtevi. Vi ricorddte voi ? Baddte a voi. Fermdtevi. VestUevi. Ajutdtemi. Anddtevene. Me ne pento. Tu te n* andrdi. Ei se ne sdegnerh. Egli ce ne parlera. He FAMILIAR PHRASES. 329 He gave him two of them. He wrote it to him. He sent for them for him. Gliene diede due, Glielo scrisse, Glielifece venire. VIII. What are you doing ? I am writing some letters. Have you been at the play ? I have not been there. What did they perform yesterday ? Look at the bill. Do you like tragedy. No, I like comedy. Do you like operas ? O yes, very much. Did you amuse yourself well? Who is the first singer ? And the first actress ? What parts did they play ? Who is the first violin ? He plays well on the flute. He plays like a professor. Have you heard Catalani ? What do you think of Pasta? Che state Jacendo ? Stb scrivendo delle letter e, Siete stato al tedtro ? Non vi sono stato, Che si rappresentbjeri ? Guarddte al cartello, Vi pidcciono le tragedie ? No, mi pidcciono le com' medie divertevoli. Vi pidcciono le Opere in musica ? Oh y si, moltissimo, Vi siete ben divertito ? Chi e il prinio uomo ? E la prima donna ? Che parte Jacevano ? Chi e il primo violino. Suona bene iljlauto, Lo suona da maestro. Ha ella sentito la Catalani? E come le piace la Pasta ? IX. Where do you dine to-day? I dine out. With much pleasure. There are so many things. There were so many peo- ple. My father will be there. My friend is not there. Send him word. Dove pranzate oggi ? Pranzojuori di casa. Con molto piacere, Vi sono tante cose, V 9 era tanta gente. Vi sarh mio padre. II mio amico non v' e. Fateglielo dire. I think 330 FAMILIAR PHRASES. I think he is gone out. I shall go to your house. If I had known it yester- day. If you knew that. I would if I could. I could if I would. You need not tell it me. I cannot help it. You may stay at home. I will tell you. I am going to write. I have just been eating. Who does this belong to? It is mine, it is his, &c. It is our turn to speak. It is my turn to deal. Credo che siajuori. Verro da voi. Se lo sapevajSri. Se sapeste che. Vorrei se potessi. Potrei s J to volessi. Non occorre che me lo di- ddle. Non posso Jarci nulla ou non saprei chefarci. Bisogna restdre in casa, Vi diro. Stavo per iscrivere. Ho gia mangidtq.' JDi chi e questo ? E K mio 9 e suo, fyc, Tocc a noi a parldre, Tocc 9 a me ajar le carte* You are more learned than I. Do not be angry (or sorry) for it. I am rather poor than rich. It is better to laugh than to cry. It is better late than never. He is taller than him. He is very clever. Every body says so. They were near fifty. Stay with me. Tell him from me. Let us have a game. Cut a part. He is of a very strong party. Draw near the fire. Voi stile piu sapiente di me, Non tie ne dispidecia, - Son piu povero che ricco, E x meglio ridere che pidn- gere. JET meglio tardi che mdu Egli e m-aggior di lui. Ha motto ingegno. Ognun lo dice. Erano da cinqudnta in circa. Restdte meco. Ditegli da parte mza, Giuochidmo una partita. Taglidtene una parte, Egli e d 9 un partito fortis- simo. Avvicindtem aljuoco They DIALOGUES. 331' They say so. One says what one thinks. They do not say so. Speaking of you. 1 think I see you. It seems to me so natural. He did all that was bid him. I saw my parents. I saw them this morning*. I wanted to tell them. You know as much about it as I. You speak as I do. I know it as well as you. The prince is not so pow- erful as the king. How does Mr. N do? He is just gone out. As for Mr. N he is not well. Yesterday he was perfectly well. Si dice cosi. Si dice quel che si pensa* Nor. si dice questo. Parlando di voi. Par mi di vedervi. Mi par tanto naturdle. Fece quanto giifu d tto. Ho vcduto i miii genitori. Gli ho veduti stamattina. Volevo dir loro. Ne sapite quanto me. Voi parlate come me. Io to so bene quanto voi, or al par di voi. Non e tanto potente «» prtncipe, quanto un re* Come st a il Sign or N.f K uscito di casa in questo momento. In quanto al Signor N*. non ista bene. Jeri siava a maravigliav FAMILIAR DIALOGUES. DIA'LOGHI F AMIGLI A' RI» DIALOGUE I. GOOD morrow, sir. Good night, sir. How do you do, sir? Well ; not very well ; so. DIALOGO I. BUON giorno, signore Bubna sera, signore Come sta, signore Bene ; non troppo bene / cosi cosi Very 332 DIALOGUES. Very well to serve you. At your service I am obliged to you, sir. I thank you. How does yourbrother do? He is well. He will be glad to see you. I shall have no time to see him to-day. Be pleased to sit down. Give a chair to the gentle- man. There's no occasion. I must go to pay a visit in the neighbourhood. You are in great haste. I will be back presently. Farewell, sir. I am glad to see you in good health. I am your servant. Your mosthumble servant. Your servant. Your most humble servant. DIALOGUE II. To make a Visit in the Morning. WHERE is your master 1 Is he asleep still ? No, sir, he is awake. Is he up ? No, sir, he is in bed. What a shame 'tis to be in bed at this time of day ! I went to bed so late last night I could not rise early this morning. What did you do after supper ? Benissimo per servzrla. Al suo servizio. Le sono obbligato, signore* La ringrdzio. Come sta suojratello. Sta bene. Avrd gusto di vederla. Non avrb tempo di vederlo oggi. Segga, signore. Date una sedia al signore. Non e necessario. Bisogna che vada a Jar una visita qui vicino. JB X mblto ajfrettata> signore. Tomer o adesso adesso. Addio, signore. Ho gran gusto di vederla in buona salute. Servo suo. Umilissimo servo suo ? Serva sua. Umilissima serva sua. DIALOGO II. Per Jar una Visita la Mattina. DOV'eiltuo padrone? Dorme ancora ? Signor no> e sveglidto. E" egli levato ? Signor no, sta ancora a letto. Che vergogna di star a letto a quest 9 or a ! Anddi jeri a letto tdnto tardi, che non ho potuto levdrmi a buon or a. Che si fece qui dopo cena ? We DIALOGUES. 333 We danced, we sang, we laugh'd, we play'd. At what game ? We play'd at picquet with the knight. What did the rest do ? They play'd at chess. How grieved am I, I did not know it. Who won ? who lost ? I won ten pistoles. Till what hour did you play ? Till two in the morning. At what o'clock did you go to bed? At three, half an hour after three. I don't wonder at your rising so late. What's o'clock? What do you think it is ? Scarcely eight, I believe, yet. How ! eight ! It has struck ten ! Then I must rise with all speed. DIALOGUE III. To dress one's self. WHO is there? What will you please to have, sir ? Be quick, make a fire, dress me. There is a fire, sir. Give me my shirt. Si ballb, si canto, si rise, si giuocb. A che giuoco f Giuocdmmo a picchetto col signor cavaliere. Che fecero gli dltri ? Giuocdrono a scdcchi. Quanto mi dispi&ce di nort averlo saputo. Chi ha vinto ? Chi ha per- dttto? Ho guadagndto died dop- pie. Fin a che ora avete giuo- cdto? Fin dlle due dopo mezza' notte. A che ora siete anddto a letto ? AUe tre, alle ire e mezza. Non mi maraviglio che vi levidte cosi tardi. Che ora e ? Che ora credit e che sia ? Credo che non siano ancora le otto. Come le otto ! sono suondte le died I Bisogna dunque che mi levi quanto prima. DIALOGO III. Per vestirsi. CHI 2B? Che comdnda, signore? Sit su, presto, fate fuoco vestitemi. II fuoco e acceso, signor e. Ddtemi la mia camicia. It 334 DIALOGUES. It is here, sir. 'Tis not warm, 'tis quite cold. If you please, sir, I'll warm it. No, no; bring me my silk stockings. They are torn. Darn them a little, or get them mended. I have given them to the stocking- mender. You have done right — Where are my slippers ? Where is my night-gown ? Comb my hair. Take another comb. Give me my handkerchief. There's a clean one, sir. Give me that which is in my pocket. I gave it to the washer- woman, it was dirty. Has she brought my linen? Yes, sir, there wants no- thing. What clothes will you wear to-dav ? Those I wore yesterday. The tailor will bring your cloth suit presently. Somebody knocks, see who it is. Who is it. It is the tailor. Let him come in. E'ccola, signore. Non e cdlda, e ancdra fredda. Se vuole, la scaldero. No no ; portdtemi le mie calzelte di seta. Sono rotte. Dated tin punto, o fdtele acconcidre. Le ho date alia c.nciacal- zette. Avete fdlto bene. Dove sono le mie pianelle ? Dov e la mia zimdrra ? Pettindtemi. Pigliote un altro pettine. Ddtemi V miofnzzolttto. Ffccone unopulito, signore. Ddtemi quel ch' e nella mia saccoccia. & ho dato alia lavanddja 9 era sporco. Ha portdto la mia bian~ cheria % Signor si, non ci mdnca niente. Che vestito metterd V. S. Sggi ¥ Quello ch? avevajeri. II sartore deve portdr presto quello di pdnno. Si picchia % vedete chi e. Chief jE x '/ sartore. Fatelo entrdre. DIA- DIALOGUES. 335 DIALOGUE IV. The Gentleman and the Tailor. DO you bring my suit of clothes ? Yes, sir, here it is. You make me wait a great while. I could not come sooner. It was not finished. The lining was not sewed. Will you be pleased to try the coat on ? Let's see whether it be well made. I believe it will please you. It seems to me to be very long. They wear them long now. Button me. It is too close. To fit properly it ought to be close. Are not the sleeves too , wide \ ISIo, sir, they fit very well. This suit becomes you ex- tremely well. It is too short, too long, too wide, too narrow. Pardon me, sir, it fits very well. How do you like my trim- ming? ^Tis very fine and rich. What did these ribbons cost a-yard ? I paid a crown. DIALOGO IV. II Gentiluomo ed il Sartore. PORTA'TEforse il mlo vestito? Si, signore, eccolo qui. Vifdte aspettdr motto. Non ho potuto venir piu presto. Non erajinito. hafodera non era cucita. Vuole provdre il vestito, signore ? Vedidmo s* e benfdtto. Credo che V. S. ne sarci contenta. Mi pare mblto lungo. Si portano lunghi addesso. Abbottondtemi. Mi stringe troppo. Per esser ben fdtto bisogna che sin giusto. Le mdnicke non sono troppo larghe ? Signorno, stanno benissimo. Quest' dbito le sta benis- simo. JET troppo corto, troppo liingo, troppo largo, troppo stretto. V. S. mi perdoni, le sta bene. Che dite del mio forni- mento ? 1? bellissimo, e ricchissimo. Qudnto costano al brdccio questi ndstri f Li ho pagdti una scudo. That's 336 DIALOGUES. That's not too much, 'tis Non e troppo, non son cheap. cart. Where is the rest of my Dov 9 e H resto del mio cloth ? pdnno ? There is not a bit left. Non v'e* niente qffatto d'avdnzo. Have you made your bill ? Avetefdtto 7 vosiro conto ? No, sir, I had not time. Signor no, non ho avuto 7 tempo. Bring it to-morrow, I will Portdtelo domani, vi pa- pay you. gherb. DIALOGUE V. DIALOGO V. To go to Breakfast. Per far Colezione. BRING us something for PORTA'TECIqualche breakfast. cosa da far colezione. Yes, sir, here is tea and Signor si ; ecco ie e cajfe, coffee. Do you choose some bread Comanda signore che porti and butter ? pane e butirro. Yes, bring it, we will cut Si, portatene ; ne taglieremo some slices of it. dellefette. Bring some cold meat, Portate della carnefredm, and some eggs. e delle uova. Set the ham on the table. Mettete del prosciutto in tdvola. Lay a napkin on the table. Mettete una sahie'tta sopra la tavola. Give us plates, knives, and Dated tondi, coltelli, efor- forks. chette. Give the gentleman a chair. Ddte una sedia al signore. Sit down, sir ; sit by the Segga, signore ; si metta fire. vicino alfuoco. I am not cold, I am very Non i ho freddo, sto benis- well here. simo qui. Let us see whether the tea Vediamo se 7 te e buono. is good. Give me that cup. Ddtemi quella tazza. Taste that coffee, pray. Di grazia, assdggi questo cq0. How do you like it ? what Che gliene pare ? che ne say you to it ? dice? It DIALOGUES. 337 It is not bad, it is very good. Here is the toast, take away this plate. Eat some toast. I have eaten some, it is very good. Give me some more cof- fee, sir. Sir, I thank you. Give the gentleman some tea. I had some just now. The toast was very good. It was toasted a little too much. You do not eat. I have eaten so much, I shall not be able to eat any dinner. You only jest, you have eaten nothing at all. I have eaten very heartily both of the bread and butter, and toast. DIALOGUE VI. At dinner. AT what o'clock do you dine ? Dinner is generally on ta- ble at six. I think that hour is fitter for supper than dinner. Yes, it is true ; but it is a very convenient hour for gentlemen and mer- chants. Shall you have much com- pany to-day? Non e cattivo, e squisito. Ecco il pan tostato, levdte questo pidtto. Mdngi del pan tostato. Ne ho mangidto, e buonis- simo. Mi dia delV altro caffe, La ringrdzio, signore,- Ddte del te at signore* Ne ho avuto adesso. II pan tostato era ononis-' simo. E'ra un tantino troppo cot to, V. S. non mdngia. Ho mangidto tdnto, che non potrb pranzdre. V. S. burla, ha mangidta niente. Ho mangidto benissimo del pane e butirro, e del pan tostato. DIALOGO VL Pranzo. A CHE or a pranza ella? Generalmente il pranzo e in tdvola alle sei. Mi par che a quelV ora sia piuttesto tempo da cena che da pranzo. Si, e verb ; ma d un ora molto comoda pei &"- gnori ed i negozianti. Vi sard molta gente oggi a pranzo ? Q No, 338 DIALOGUES. No, there will be only you, my wife, the doc- tor, and I. Have you always a doctor to dine with you % No, sir; it is only through friendship. I have more appetite to- day than usual. Well, we are going to have dinner served up imme- diately, Francis, lay the cloth. Put on a cleaner cloth. Bring up the plates, knives, and forks. Rinse the glasses, Prepare some napkins too. Where are the silver salts ? Dust that sideboard : don't you see that it is quite covered with dust? Make haste, tell the cook to send up the dinner as soon as it is ready. First, put some chairs round the table. Ladies and gentlemen, dinner is on table. Please to sit next to the lady. Much obliged to you. Do you like rice soup with fowl broth ? Yes \ but I like it much better in the Venetian way, with parmesan cheese. No ; non vi sard, altri che lei, mia mo g lie, il medico ed io. Usa ella forse di pranzar sempre in cornpagnia oV un medico! No, signore ; e solamente per amicizia. O'ggi mi sento appetito piw del solito. Ebbene, or a faremo portdr in tdvola. Francesco, apparecchidte. Mettete una tovdglia piit pulita. Portdte su tondi, coltelli e forchette. Sciacqudte i bicchieri, Prepardte anche delle sal- viette. Dove son le saliere eP ar- gent o ? Ripultte quella credenza: non vedete cK e tutta coperta di polvere ? Presto, dite al cuoco che mandi in tdvola subito che sard pronto. Mettete prima delle sedie intorno alia tdvola. Signori, ilpranzoh servito, or & in tdvola. Favorisca sedere qui ac- canto alia Signora. Grdzie infinite. Le piace la minestra di riso cotto nel brodo di pUlol Si ; ma mi piace molto piU alia Veneziana col cdcio parmigidno. I will DIALOGUES. 339> I will give you a slice of this boiled beef, which seems very tender. I do not think it is done enough. But, my dear friend, when meat is too much done, it loses its flavour ; it becomes like tow. No matter, I will eat some roast beef. There is also some fried fish, if you do not like meat. Favour me rather with some of that pigeon pie. Immediately : here is some salad too. O ! what a flue lettuce ! Will you have an anchovy in it? Willingly, your oil is ex- cellent ; where do you get it? An Italian merchant, a friend of mine, furnishes it to me in small boxes of thirty bottles each. To make a good salad, it is absolutely necessary to have oil of the best quality, and vinegar made from wine, as I perceive your's is. But, sir, you do not drink. ! yes, I had forgot it ; I will take a glass of wine, with all my heart. Will you have red or white ? 1 will first take a glass of beer. Q Le darb unafetia di questo lesso, che mi par molto tenero. Non mi par cbtto abba- stanza. Ma, caro amico, quando la came e troppo cotta, nonka piil gusto, diventa Non importa, mangerb del manzo arrosto. V* e anche del pesce fritto, se la came non le piace. Mi favorisca piuttosto di quel pasticcio dipiccionL Subito ; ecco qui anche delV insaldta. Oh che bella lattuga ! Vuole metiervi uri alice ? Volontieri : il suo oglio b eceellente ; dove lo fa prendere f Me lofornisce per cassette di trenta Jiaschetti ca- duna uno spedizioniere Italiano mio amico. Per fare una buona insa- lata e indispenshbile che Volio sia delta miglior qualita e che Vaceto sia di vino, come m'avvedo che e 7 suo. Ma> signore, ella non beve. Oh ! st, me n ero scorddto ; beverb volentieri un bic- chier di vino. Vuol ella del rosso o del bianco ? Prenderb prima un bicchier di birra. 2 Help 340 DIALOGUES. Help yourself please. Your health, sir. as you Si serva come vuole. Thank you, sir. "What do you think of it? What do you say to this wine ? It is not bad : on the con- trary, it is excellent, Taste now a glass of this other. O ! this is delicious, and it is much older than the other. It is so : I have had this more than ten years in my cellar. It cannot be denied that Port is a very good wine. Now we will have on table a fine roasted bird, which I do net know how to name in Italian. In Italian they call it gal- linaccio, or polio d' In- dia, and in Tuscany, tacchina. Help yourself, for I know that you carve very well. ISTo, indeed ; I am not ex- pert at it. Will you give me leave to assist you ? If you please ; but I beg of you to attend to the lady first. Shall I help you to a bit • of the breast ? I beg your pardon, if Bevero alia sua salute ; evviva. JEvviva, grdzie. Che gliene pare? cosa dice di questo vino? Non e cattivo ; anzi squi- sito. Assdggi adesso un bicchier di quest 1 altro. Oh questo si cK e una de- lizia, ed e molto piu vec- chio delV altro. E x vero; son piu di died anni che Vho in cantina. Non si pub negdre che il vin di Porto non sia un gran buon vino. Or or a porter anno in tdvo- laun belVuccello arrosto, che non saprei come chia- mare in Italidno. In Itdlia lo chidmano gal- linaccio, o polio d'India, e in Toscdna, tacchina. Si serva da se, perche so che ella trincia a mar a- viglia. No, davvtro ; io non ci ho troppo buona mano. Mi permette di servirla ? Mi far d, grazia; ma la sup- plico di servir prima la signora. Vuol che le dia un pezzo di petto ? Scusi, poiche vuol favo- since DIALOGUES. 341 you will favour me, I will beg of you to cut me a wing. "With pleasure : I will also give you a little of the stuffing. . You will oblige me ; but give me also a little of the gravy. James, a spoon ; bring also a salt-cellar ; don't you see that we have neither salt nor pepper? Change these plates, and' bring the second course. Bring the fruit. Here are some fine cher- ries. They are beautiful ; I would rather eat some of-- those strawberries and raspberries. Take some of these cur- rants, some gooseber- ries, and one of these fine peaches. At this season apples are no longer good. That is a winter fruit. Oranges, however, are al- ways good, when juicy. In England fruit is not so plentiful as in Italy. Pray do not bring it to my memory ; for, when I think on those figs, those grapes, and above all, the water-melons, my mouth waters. Well, let us not think any rirmi, la preghero di taglidrmi un' ala. Con piacere : le darb a?i- che un poco del ripieno. Mi farct grdzia ; ma mi dia anche un po' oV in- tinto. Giacomino, un cucchidjo ; portdte anche una sali- era : non vedete che non abbidmo ne sale ne pepe? Cambidte questi pidtti, e portdteilsecondoservizio. Portdte in tdvola lefrutta. Ecco qui delle belle ciriege. Son bellissime ; mangerb piuttosto quattro di quelle frdgole e di quel lamponi. Prenda anche del ribes, delV uva spina, ed una di queste belle pesche. Le mele in questa stagione non sono piii buone. E s unfrutto d' inverno. Le arance, per altro, son sempre buone tutto V an- no quando son sugose. In Inghilterra le frutta non sono cost abondanti come in Italia. Per carita, non me ne rin~ freschi la memoria ; ckb quando pens o a queifichi e a quelV uva, e soprattut- to ai cocomeri, mi viene V acquolina in bocca. Via, non vi si pensi pi& 9 more 342 DIALOGUES. more about it; let us go and take a turn in the garden. DIALOGUE VII. To speak Italian. HOW goes on your Ita- lian 1 Are you much improved in it now ? Not much ; I know scarcely any thing. It is said, however, you speak it very well. I wish it were true. Those that say so are much mistaken. I assure you I was told so. I can say a few words which I have learnt by heart. And so much as is neces- sary to begin to speak. The beginning is not all, you must make an end. Be always speaking, whe- ther well or ill. I am afraid of making mistakes. Never fear ; the Italian I know it ; and that it pos- sesses many graces. It is true ; and especially from the mouth of a lady. How happy should I be, if I were master of it. Application is the only way of learning it. andidmo a far una pas- seggiata nel giardino. DIALOGO VII. Per parlar Italiano. COME va V Italiano ? V. S. vi ha quesf orafatti molti progressi ? Non troppa, non so quasi niente. Si dice, perb, die V. S. parli benissimo. Iddio volesse che fosse vero ! Quei che lo dicono iingdn- nano molto. La assicuro che tyC e stato detto. Posso dir alcune parole che so a mente. E qudnto bdsta per comin- cidr a parldre. II cornincidre non e il tutto, bisognafnzre. Parli sempre, o bene o mdle. Temo difar errori. Non tenia, signore ; la lingua Italidna non $ difficile. Lo so, e so che ha molta leggiadria. E x vero, e particolarmente nellaboccadelle Signore. quanto sarei contento se la sapessi. Per impardrla bisogna stu- didre. How DIALOGUES. 343 How long have you been learning? Scarcely a month yet. What books do you use? I have Veneroni's Italian and English Grammar ; and Biagioli's in Italian and French. What Dictionaries? Bottarelli's in Italian, French, and English ; Baretti's Italian and English ; and Graglia's small Dictionary. — I also use Bottarelli's Ex- What Authors do you read ? At present I read Goldo- ni's Select Comedies ; Soave's Moral Tales ; and Metastasio. What is your master's name ? His name is — « I have known him a great while. He has taught several friends of mine. Does not he tell you that you must constantly speak Italian ? Yes, he often tells me so. Why do you not talk then ? Who will you have me talk with? With those that shall talk to you. I wish to talk, but dare not. You must not be afraid, you must be bold. Qudnto tempo e die V. S. la studia? Non e ancora un mese. Di die libri si serve ? Ho la grammatica Italiana ed Inglese di Verier oni ; e cpiella di Biagioli in Italiano e Francese, Che Dizionarj ? Quelli di Boitarelli in Ita- liano, Francese ed In- glese ; quello di Baretti, in Italiano ed Inglese ; ed il piccolo Dizionario di Graglia. — Mi servo degli Esercizj di Boita- relli. Che Autari legge ? Adesso leggo le Commedie Scelte di Goldoni ; le Novelle Morali di Soave, e Metastasio. Come si chidma 7 suo mae- stro ? Si chidma 7 signor -E" un pezzo die lo conosco. Ha insegndto a molti de' miei amici. Non le dice eke bisogna parldr sempre Italiano ? Signor s\, melo dice spesso. Perche dunque non pdrla? Con chi vuol diio pdrli ? Cofi quei che le parlerdnno. V or rei parldr e, ma non ar- disco. Non bisogna temere, biso- gna csser ardito. DIA- 3U DIALOGUES. DIALOGUE VIII. Of the Weather. WHAT sort of weather is it? It is fine weather. It is bad weather. Is it cold ? is it hot ? Is it not cold? is it not hot? Does it rain ? does it not rain ? I do not believe it. The wind is changed. We shall have rain. It will not rain to-day. It rains, it pours. It snows. It thunders. It hails. It lightens. It is very hot. Did it freeze last night ? No, sir, but it freezes now. It appears to me to be a great fog. You are not mistaken, it is true. You have caught a violent cold. I have had it this fortnight. "lis the fruit of the season. What's o'clock. 'Tis early, 'tis not late. Is it breakfast time ? 'Twill be dinner-time im- mediately. What shall we do after dinner? We'll take a walk. DIALOGO VIII. Del Tempo. CHE tempo fa? Fa bel tempo. Fa cattivo tempo. Fafreddo? facaldo? Non fa freddo ? non fa cdldo ? Piove ? non piove f Non lo credo. II vento e cambidto. Avremo delta pioggia? Non pioverd oggi. Piove. diluvia. Nevica. Tuona. Grdndina. Lampeggia. Fa motto cdldo. Ha geldto sta notte? Signor no, ma gela adesso. Mi par chefaccia una gran nebbia. V. So non s ingdnna, e vero. V. S. e molto infredddta. Sono quindici giorni che sono infredddto. Sono frutti delta stagione. Che or a e ? jET di buon' 6ra, non e tdrdL E" tempo di far colezio?ie ? Sard presto tempo di desi- ndre. Che faremo dopo prdnzo f Andremo a spdsso. Let's DIALOGUES. 345 Let's take a turn now. Andidmo a far un giro We must not go abroad this weather. DIALOGUE IX. Of the Charms of a young Delle Bellezze d'una $i- Lady. gnorina. . Non bisogna uscir per que? to tempo. DIALOGO IX. THERE'S a beautiful young lady. She is finely shaped. She is charming, she is pretty. Do you know her ? I do not know her. She has fine eyes. I never saw a better shape. She has an easy carriage. She has a noble mien. The shape of her face is well proportioned. Her cheeks are plump and delicate. Her mouth is little, and red. Her nose well made. Have you taken notice of her complexion ? It is the finest in the world. A complexion fair, and lively. What white hands she has ! The white and vermilion of her cheeks shame the lilies and the roses. She has teeth as white as snow. It may be said that she's a fair beauty. Q E'CCO una bella signo- rina. £J S benfdtta. E s vezzosa, c leggiddra. La conoscete ? Non la conosco. Ha begli occki. Non ho mdi veduto una piu bella vita. .E" disinvolta. Ha tin aspetto nobile. II contorno del suo viso e benfdtto. Le sue gudnce sonopienotte e delicate. La sua bocca e picciola, e vermiglia. II ndso benfdtto. Avete osservdto la sua car- nagione ? E s 'I piil bel colore del mondo. Una carnagione bidnca, e vivdce. Che belle mdni che ha ! II bianco e vermiglio del suo viso f anno, senza dubbio 9 torto ai gigli ed due rose. Ha i denti bidnchi come la neve. Si pub dire ch' e una bella biondina. 5 She 346 DIALOGUES. She is the finest brown woman one can see. She has a noble gait. She has a sprightly coun- tenance. She has exquisite features. She is greatly extolled for her beauty. I think she has a great deal of wit. Beauty may be seen, but not wit. They say her wit is equal to her beauty. Then she is an epitome of all perfections. DIALOGUE X. To inquire after news. WHAT news is stirring? Do you know any ? I have heard none. What is the talk of the town? There's no talk of any thing. Have you heard no talk of war ? I have not heard any thing of it. There's a talk however of a siege. It was reported so, but it is not true. On the contrary, there's a talk of peace. Do you think we shall have peace ? I believe so. What say they at court ? E" la piu bella brunetta che si possa vedere. Cammina con bel gdrbo. Ha unajisonomia spiritosa. Ha fattezze vdghe. E x molto commenddta* per la sua belle zza. Credo che dbbia molto spi- rit o. Ben si pub vedere la bel" lezza, ma lo spirito no. Si dice che sia altrettanto spiritosa che bella. E y dunque un compendio di tutte le perfezioni. DIALOGO X. P er domanddr quel che si dice di Nuovo. CHE si dice di nuovo f Sapete niente di nuovo f Non ho inteso niente. Di che si pdrla ? Non si pdrla di niente. Avete sentito dire che avre- mo la guerra ? Non ne ho inteso parldre. Si pdrla perb oV un assedio. Si diceva, ma non £ vero, Al contrdrio f si parla di pace. Credete che avremo la, pdce? Credo di si. Che si dice in corte ? They DIALOGUES, 347 They talk of a secret ex- pedition. When do they think the king will set out? 'Tis not known. They do not say when. Where do they say he'll go? Some say into Flanders, others into Germany. And what says the Ga- zette ? I have not read it. Is what is reported of Mr. true ? What of him ? They say he's mortally wounded. I should be sorry for that ; he's a worthy man. Who wounded him? Mr. in a duel. Is it known why? The report is, a quarrel at the Opera. I do not believe it. Nor I neither. However, v/e shall soon know the truth. Is the newspaper come in ? Does it mention the duel? No — not a word about it. Then let us hope there is no truth in the report. DIALOGUE XL To inquire after one. WHO is that gentleman that spoke to you a lit- tle while ago ? Si pdrla d' una spedizione segreta. Qudndo si crede che partira il re ? Non si sa. Non si dice. Dove si diee che andra? Chi dice in Fiandra, chi in Ger??idnia. E la Gazzetia che dice ? Non V ho letta* Sarebbe vero quel che si dice del Sig. ? Che sene dice ? Si dice che sia ferito a morte. Mi dispiacerebbe, perche e un galantuomo. Chi V ha ferito? II Sig nor in un duello. Si sa perche 9 Corre voce che sia per una disputa all' Opera. Non to credo. Nemmen io. Comunque sia, si saprd presto. E s arrivata la gazzetta? Parla del duello ? No — non ne dice parola. Dunque speriamo che sia unfalso rapporto. D1ALOGO XL Per domanddre d'uno. CHI e quel signore che vi parldva pocofa? He 348 DIALOGUES. He is a German. 1 took him for an English- man. He came from Saxony. He speaks French very well. He speaks French like the French themselves. The Spaniards take him for a Spaniard, the English for an Englishman. It is difficult to be conver- sant in so many different languages. He has been a long time in those countries. Have you known him for any time ? About two years. He has a noble air, he has a good mien. He is a genteel person. He is neither too tall, nor too short. He is handsome, he is well shaped. He plays upon the flute, the guitar, and several other instruments. I should be very glad to know him. I will bring you acquainted with him. Where does he live? He lives just by. When will you have us go and wait on him? Whenever you please, for he is my intimate friend. It shall be when you have leisure. E" un Tedesco. Lo credeva Inglese. jE n della parte di Sassonia. Pdrla benissimo France.se. Pdrla Francese come un Francese. Gli SpagnuoWlo prendono per uno Spagnuolo, e gV Ingle si per un Inglese. jE x pur difficile d'esser prd- tico in tdnte lingue cosi differ enti. E s stdto un pezzo in quel paesi. E s un pezzo che lo cono- scete ? Sono due anni incirca. Ha un aspetto nobile, ha unacieradagalantuomo. E s di bella presenza. Non e ne troppo grdnde, ne troppo piccolo. E s ben fdtto, ed ha un bel portamento. Suona 'Iflauto, la chitdrra, e molti dltri strumenti. Avrei a euro di conoscerlo, Vene procurero la co?io- scenza. Dove sta di edsa ? Sta costi vicino. Qudndo volete che andidmo a riverirlo ? Qudndo vipiacerd,perche e amico mzo intrinseco. Sard quando avrete tempo. We'll DIALOGUES. 349 We'll go to-morrow morn- V andremo domattina. ing, I shall be obliged to you. Ve ne sarb obbligdto. DIALOGUE XII. To write. GIVE me a sheet of paper, a pen, and a little ink. Step into my closet, you'll find on the table what- ever you want. There are no pens. There are a great many in the ink-stand. They are good for nothing. There are some others. They are not made. Where is your penknife ? Can you make pens ? I make them my own way. This is not bad. While I finish this letter, do me the favour to make a packet of the rest. What seal will you have me put to it ? Seal it with my cipher or coat of arms. What wax shall I put to it? Put either red or black, no matter which. Have you put the date? I believe I have, but I have not signed it. What day of the month is this? BIALOGO XII. Per iscrivere. DA'TEMI un foglio di cdrta, una penna ed un poco d' inchiostro. Entrdte nel mio gabinetto, troverete sopra la tdvola qudnto vi fara di biso- gnx>. Non vi sonopenne. Vene sono molte nel cala- mdjo. Non vdgliono niente. E'ccone delle dltre. Non sono temperate. Dov' el vostro temperino ? Sapete temper dr le penne ? Le tbnpero a modo mio. Questa non I cattiva. Mhitre Jinisco questa let- tera, favoritemi di far un piego di quelle dltre. Che sigillo volete che ci metta ? Sigilldtele colla mia cijra, ovvero colle mie drmi. Che cera ci mettero ? Mettetevi delta rossa o delta nera, non importa. Avete messo la ddta ? Credo di si, ma non ho sot- toscritto. Quantin abbiamo delmese f The 350 DIALOGUES. The eighth, the tenth, fif- teenth, twentieth. Put the direction. Where is the powder ? You never have neither powder nor sand. There is some in the sand- box. There's your servant ; will you let him carry the letters to the post-house ? Carry my letters to the post-office, and don't forget to pay postage. I have no money. Hold your hand, there's a pistole. Go quickly and return as soon as possible. DIALOGUE XIII. Sidmo oggi agli otto, ai dieci,ai quindici,aiventi. Metteteci la soprascritta. Dov' £ la polvere ? Non avete mat nk polvere, ne arena. Veri k nel polverino. E'cco 'I vostro servo ; volete eke porti le lettere alia posta ? Portdte le mie lettere alia posta, e non vi dimenti- cdte dipagdrne ilpbrto* Non ho quattrini, signore, non ho dandri. Piglidte, ecco una doppia. Anddte presto, e t ornate qudnto prima. DIALOGO XIIL To buy. WHAT do you want, sir ? What would you please to have ? I want a good fine cloth to make me a suit of clothes. Be pleased to walk in, sir, you'll see the finest in London. Show me the best you have. There's a very fine one, and what's worn at pre- sent. 'Tis a good cloth, but I do not like the colour. Per comprdre. CHE brdma, signore, che cerca ? Cosa comanda, signore ? Vorrei un pdnno hello e buono da farmi un ve- stito. V. S. entri, vedra qui ipiib hex pdnni di Londra. Mostrdtemi 'I migliore che avete. E'econe uno bellissimo, e come si usa adesso. E buono, ma 'I color non mi pidce. There's DIALOGUES. 351 There's another lighter piece. I like that colour well, but the cloth is not strong, 'tis too thin. Look at this piece, sir, you'll not find the like any where else. What do you ask for it an ell? Without exacting 'tis worth thirty shillings. Sir, I am not used to stand haggling ; pray tell me your lowest price. I have told you, sir, 'tis worth that. 'Tis too dear, I'll give you twenty-five. I can't bate a farthing. You shall not have what you ask. You ask'd me the lowest price, and I have told you. Come, come, cut off two ells of it. I protest, on the word of an honest man, I don't get a crown by you. There are four guineas, give me the change. Be pleas'd, sir, to let me have another, this is too light, it wants weight. Here's another. Sir, your servant. E'ccone un tiltra pezzapixi chidra. II colore mi pidce, mal pdnno non £ forte ab- bastdnza, £ troppo sot- tile. Veda V. S. questa pezza> non ne troverd cost bella altrove. Qudnto lo vendete il br&c- do 9 Senza dire a V. S. un soldo di troppo, vdle trenta scellini. Signore io non sono avvez* zoaprezzoldre, ditemi di grazia V ultimo prezzo. GlieV ho detto; questo b il prezzo ristretto. _E X troppo cdro, vene darb venti cinque. Non ve un soldo da levdre. Non avrete quanto avete domanddto. V. S. mha domanddto V ul- timo prezzo, glieV ho detto. Via via, taglidtene due brdccia. Le giuro da galantuomo che non guaddgno una sciido con lei. E'cco qudttro ghinee, ddte- mi 7 res to. Di grdzia V. S. mi dia urC dltra ghinea, questa £ leggiera, non e di peso. E'ccone un* dltra. Sono servitor di V, S. DIA- 352 DIALOGUES. DIALOGUE XIV. To play. LET us play a game at picquet. What will you play for ? Let us play for half a-crown to pass away the time. Give us cards. Let us see who shall deal. You are to deal ; I am to deal. Shuffle the cards, all the court cards are together. They are shuffled enough. Cut, sir. Have you all your cards ? I belive I have. How many do you take ? I take all. I leave one. I have a bad game. Deal again. Not this time. Have you laid out ? No, sir, my game puzzles me. You must have good cards. for I have nothing. Tell your point Fifty, sixty. It is not good ; it is good. A quint major, a quint to a king, a small quint, four by queens, a tierce to a knave. I have as much. Fourteen by kings, three aces, three queens. Play. DIALOGO XIV. Per giuocdre. GIUOCHIA'MO una partita a picchetto. Qudnto volete giuocdre ? Giuockidmo mezza. corona •per passatempo. Dated delle carte. Vedidmo a chi toccherd a fdre. Tocca a vbi, tocca a me. Mescoldte le cdrte, tutte le figure sono insieme. Sono mescoldte abbastdnza. Alzdte, signore. Avete le vostre cdrte? Credo di si. Qudnte ne pig lid te ? Piglio tutto, or le piglio tutte. Ne Idscio una. Ho un cattivo giuoco. A monte. Signor?ib, per questavolta. Avtte scartdto f Signor no, il mio giuoco, wl imbarrdzza. Dovete aver bel giuoco, poichk io non ho niente. Contdte 7 vostro punto. Cinqudnta, sessdnta. Non vale ; e bu6no. Quintamaggi6re,quintaal re, quinta bdssa, qudrta dlladdma, terzaalfdnte. Ne ho altrettdnto, Quattordici di re, tre dssi, tre ddme. Giuocdte. Hearts, Hearts, spades, clubs, dia- monds. The ace, the king, the queen, the knave, the ten, the nine, the eight, the seven. I have lost, you made a picque^ a re-picque. You have won. You owe me half a crown. You owed it me, pardon me. We are quits, or even, then. DIALOGUE XV. For a Journey. HOW many miles is it from this place to N? It is eight miles. We shall not be able to get thither to-day, it is too late. It is not more than twelve o'clock, you have time enough yet. Is the road good ? So, so; there are woods and rivers to pass. Is there any danger upon that road ? There is no talk of it ; it is a highway, where you meet people every mo- ment. Do they not say there are robbers in the woods ? There is nothing to be feared, either by day or night. Which way must one take ? DIALOGUES. 353 Cuori, picche,Ji6ri, quddri. L'dsso, il re, la ddma, il fdnte, il died, il nove, lotto, il sette. Ho perduto, avetefdtto un picco, repicco. Avete quadagndto. Mi dovete mezza corona. Scusdtemi, mela dovevdte. Sidmo pace, or pari. DIALOGO XV. Per un Vidggio. QUANTE miglia vi sono. da qui a Nf Vi sono otto miglia. Non vi potremo arrivdr oggi, e troppo tdrdi. Non £ piil di mezzo giorno 9 vi arriverete ' ancdr di buon' ora. JET bella la strdda ? Non troppo, vi sono boschi, ejiumi da passdre. V'h pericolo per quella strada ? Non sene pdrla ; e una strdda maestra dove si trova genie ad ogni mo- mento. Non si dice che vi siano Iddri nei boschi ? Non ve nulla da temere, nh di giorno, ne di nbtte. Chestrddabisognapiglidre? When 354 DIALOGUES. When you come near the hill, you must turn to the right. Is it not necessary to as- cend a hill then ? No, sir, there is only a little hill in the wood ? Is the way difficult through the wood ? You cannot lose your way. As soon as you are out of the wood, remember to keep to the left hand. I thank you, sir, and am much obliged to you. Come, come, gentlemen, let us take horse. Where's the marquis ? He's gone before. He will wait for you just out of town. What do we stay for now ? come, come, let's be- gone, let's have done. Farewell, gentlemen, fare- well. I wish you a good journey. DIALOGUE XVI. For Supper and Lodg- ing. SO ; we are arrived at the inn. Let us alight, gentlemen. Take these gentlemen's horses, and take care of them. Now let's see what you will give us for supper. A capon, a half dozen of Qudndo sarete vicini alia montdgna, piglierete a man dritta. Non bisognerd dunquesalir la montdgna ? Signor no, non v'£ che un picciol colle nel bosco. ff difficile la strdda nel bosco ? Non potete smarrirla. Qudndo sarete fuori del bosco, ricorddtevi di pi- glidr a mano mdnca. Vi ringrdzio, signore, e vi resto molto obbligdto. Via via, signori ; montidmo a cavdllo. Dov' el signor marchese ? & anddto inndnzi. V aspetterd fuori delta cittd. Che aspettidmo ? partidmo, andidmo, via,finidmola> Addio, signori, addio. V augur o unfelicevidggio. DIALOGO XVI. Delia Cena e delV Alloggi- amento. E f CCOCI giunti alV oste- ria. Smontidmo, signori. Piglidte i cavdlli di questi ed abbidtene Or su vedidmo che ci darete da cena. Un cappone.unamezsa doz- pigeons, DIALOGUES. 355 pigeons, a salad, six quails, and a dozen of larks. Will you have nothing else ? That's enough, give us some good wine and some fruit. Let me alone, I'll please you 1 warrant ye. Light the gentlemen. Let us have our supper as soon as possible. Before you have pulled your boots off, supper shall be upon the table. Let our portmanteaus and pistols be carried up stairs. Pull off my boots, and then go and see whe- ther they have given the horses any hay. You shall conduct them to the river, and take care they give them some oats. I'll take care of every thing, do not trouble yourself. Gentlemen, supper is rea- dy ; it is upon the ta- ble. We'll come presently. Let us go to supper, gen- tlemen, that we may go to bed in good time. Give us water for our hands. Letus sitdown, gentlemen, let us sit down at table. Give us some drink. zina di piccioni, uix! in- saldta, sei qudglie, ed una dozzina di lodole. Non vogliono dltro loro, signori ? Questo bdsta, ddteci del buon vino e delle frutta. Ldscino far a me, sardnno contenti. Fdte lame a questi signori, Fdtecicenar qudnto prima. Prima che si siano cavdti gli stivdli, la etna sard in ordine. Si portino sopra le nostra valigie, e le no stre pistole, Cavdtemi gli stivali, ed an- drete dopo a veder se hdnno ddlo del Jieno at cavdlli. Li condurrete al fiiime ed avrete cura che sia loro data la bidda. Avrb cura di tiitto : V. S. non si piglifastidio. Signori, la cena e in ordine, e in tdvola. Adesso, adesso, veniamo. Andidmoa cendre, signori; acciocche possidmo an" ddr a letto di buon ora, Ddteci dequa alle mdni, Sedidmo, signori, andidmo a tdvola, Ddteci da bere. Health 356 DIALOGUES. Health to you, gentle- men. Is the wine good ? It is not bad. The capon is not done enough. Give us some oranges, with a little pepper. Why don't you eat of these pigeons ? I have eaten one pigeon and three larks. Go call for a chafing dish. Tell the landlord we wish to speak with him. DIALOGUE XVII. Alia loro salute signori. jE" bubno 'I vino ? Non e cattivo. II cappone non e cotto ah- bastdnza. Dated dei meldngoli con un poco di pepe. Per che non mangidte di questi piccioncini ? Ho mangidto un piccione, e tre lodole. Anddte a domanddr uno scaldavivdnde. Dite all* oste che venga a parldrci. DIALOGO XVII. To settlewith the Landlord. Per far i conti colV Oste. A GOOD evening, gen- tlemen, are you satisfied with your supper ? We are, and we will sa- tisfy you too. What's the charge ? The charge is not great. See what you must have for us, our men, and our horses. Reckon yourselves, and you will find it comes to seven crowns. Methinks you ask too muchr On the contrary, I am very reasonable. How much do you make us pay for the wine ? Five shillings a bottle. Bring us another, and to- BUONA sera, signori, sono contend delta cena ? Siamo contend, e vogliamo che lo siate voi pure. Qudnto importa il conto ? La spesa non h grdnde. Vedete qudnto vi viene, per not, per i nostriservitori, e per i nostri cavdllL Facciano il conto loro stessi } e vedrdnno che sono sette scudi. Mi pdre che dornandidte troppo. Anzi lo fo a buonissimo mercdto. Qudnto ci fdte pagdr per il vino ? Cinque scellini la bottiglia. Portdtene un dltra, e D I ALO G-U'ES. 357 morrow morning we will pay you seven crowns, with breakfast included. Methinks the gentleman is not well. I am very well, but weary and fatigued. You must take courage. It would be better for me to be in bed than at table. Get your bed warmed, and go to bed. Bid my man come and un- dress me. He waits for you in your chamber. Good night, gentlemen, I wish you merry. Do you want any thing ? Nothing at all but rest. Order them to give us clean sheets. The sheets you shall have are whitened, and well aired. Let us be called to-morrow very early. I will not fail. Farewell, gentlemen ; good night. DIALOGUE XVIII. vi darhno domattina sette scudi, facendo perb colezione. Pare che 7 signbre non istia bene. Stb bene, ma sono affaticdto e stdnco. Bisogna fdrsi dnimo. Certo che sarei meglio in letto che a tdvola. Fdccia scalddre 7 suo letto, e vdda a dormire. JQite al mio servitbre che venga a spoglidrmi. L'aspetta nella sua cdmera. Buonanotte, signori,stiano allegramente, Avete bisogno di qudlche cosa? Di niente affdtto, che di riposdre. Date or dine che ci diano lenzuola pulite. he lenzuola che avrdnno sono pulite, e ben seccate. Fdteci sveglidre domdni a bubn bra. Sardnno serviti. Addio, signori, buona sera. DIALOGO XVIII. To mount on Horseback. Per montdr a Cavdllo. THIS horse I think looks very bad. Give me another horse, I will not have that. He cannot go. QUESTO cavdllo mi pare cattivo. Ddtemene un dltro, non voglio questo. Non pub cammindre. He 358 DIALOGUES. He is broken winded ; be is foundered. Are you not asbamed to give me sucb a hack as this? He has no shoes, he's pricktin his foot. You must lead him to the farrier's. He is lame, he is maimed, he is blind. This saddle will gall me. The stirrups are too long 1 , too snort. Let them out, then, shorten them. The girths are rotten. "What a wretched bridle is here I Give me my whip. Tie on my portmanteau, my cloak. Are your pistols loaded ? I forgot to buy powder and ball. Let us put on, let us get on faster. I never saw a viler beast. He will neither go forward nor backward. Let go the bridle a little. Hold the reins shorter. Spur him stoutly, make him go on. I may spur, but it is of no use. Alight, I will make him go. Take care he don't kick you. E s bolso f e rappreso. Non avete vergogna di ddr- mi una rozza di quella sbrte ? JET sferrdto, b inchioddto, Bisogna condiirlo dal ma- niscdlco. » Zoppica, £ stroppidto £ cieco. Quest a sella mi far a male, Le stdffe sono Iroppo lunghe, troppo corte. Allungdte le stdffe, tirdte su le stdffe. Le cinghie sono mdrcie. Che cattiva briglia ! Ddtemi la mia frusta. Attaccdte la, valigia, il mantello. Sono caricdte le sue pistole ? Mi sono dimenticdto di comprdr delta pblvere, e delle pdlle. Spronidmo, andidmo pill presto. Non ho mdi veduto unapiil cattiva bestia. Non vuol andar nk inndn- zi, ne indie tro. Rammolldtegli la briglia. Tenete le redini piil corte. Sprondte con vigore,fdtelo anddr inndnzi. Posso bene sprondre, non ne posso venir a cdpo. Scendete, che lo faro ben anddre. Badate che non vi tiri un cdlcio. He DIALOGUES. 359 He kicks, then, I fincL Tira cdlci dunque a quel che sento. See if I have not tamed Vedete se Vho saputo do- him. mdre. DIALOGUE XIX. DIALOGO XIX. To visit a Sick Person. Per visitdr un Ammaldto. HOW have you passed the night ? Very badly, I have net slept at all. I have had a fever all night. I have pains all over my body. Yon must be let blood. I have been bled twice. Where does your apothe- cary live ? What physician attends you. Go bid the surgeon come and dress me. I cannot imagine why the doctor does not come. We do not know what health is, till we are ill. You must have a good heart; it will be no- thing. My wound pains me ex- tremely. How much physic have you taken? I am tired of physic. I am fearful of being deli- rious. Drink some toast and water. CO' ME avete passdta la nbtte f Malamente, non ho dormU to niente. Ho avuto lafebbre tutta la notte. Sento dolori per tutta la vita. Bisognafdrvicavdrsdngue. M'e stdto cavdto sdngue due volte. Dove sta cli edsa il vostro spezidle ? Che medico viene a visi- tarvi ? Anddte a dir al cerusico che venga a medicdrrni. Non so per che 7 medico non viene. Non si sa cosa sia salute che qudndo si sta male. Bisogna fdrsi dnimo, non sard niente. Sento un gran dolore nella mia pidga. Qudnte medicine avete prese ? Sono stufo di medicine. Temo di dar in delirio. Bevete dequa cbtta. Take 360 DIALOGUES. Take nothing but broth. The doctor has ordered me some whey. I am not able to move. Give me a pillow. Put my bolster right. Draw the curtains. They want to bleed me in the foot. Every thing I take seems bitter to me. How my mouth's out of taste ! It is a long sickness. How tired I am of lying- in bed ! How happy are you in the enjoyment of health ! DIALOGUE XX. On Civility. I AM happy, sir, to meet you here, I intended to wait upon you. You do me too much honor, far beyond any thing I can possibly merit. But what is your pleasure, sir ? lay your commands on me. All [ wanted, sir, was to assure you of my most humble respects. And at the same time to beg a favour of you Nonpiglidte dltroche brodi. II medico m'ha ordindto 'I siero. Non mi posso muovere. Ddtemi un guancidle. Accommoddtemi il capez- zdle. Tirdte le cor tine. Mi vogliono cavar sdngue dalpiede. Tutto cib die prendo mi par amdro. qudnto sono svoglidto ! Questa e una malattia lunga. Qudnto sono stufo di star in letto I Bedto voi che stdte bene ! , DIAIOGO XX. Delia Civiltd. GO' DO, signore, di tro- vdrla qui per accidente, perchb contava di venire in questo momento da lei. V. S. mi fa troppa grdzia, ed un onore che non me- riio. Ma che comdnda, signore ? in che posso obbedirla ? Altro non voleva, padrbn mio, se non assicurdrla ' de' miei umilissimi ri- spetti. E net medesimo tempo fdrle una preghiera ; cioe which DIALOGUES. 361 which was, to recom- mend me to your mo- ther's protection. You may rest assured that my mother and myself are entirely at your ser- vice. I may therefore expect your mother and you will, on this occasion, favour me with your in- terest? Make not the least doubt of that ; and believe me, that both my mo- ther and myself will re- ceive a particular plea- sure in serving you. By these noble expressions I am enabled to form a judgment of your gene- rosity. And from your cordial pro- fessions of friendship, 1 perceive, that you are the worthy offspring of so worthy a mother. No more compliments, sir, I beg ; the events will afford you a sufficient proof of the sincerity of our friendship. I will be silent now, but when I have obtained the favour, I shall wait upon you with my thanks. Do me the favour to pay my respects to your mother. di raccommanddrmi alia protezione della sua si- gnora madre. Ella pub viver sicura che tdnto mia mddre, qudnf to vividmo dipendenti da* suoi cenni. Dunque posso sperare che ella e la sua signora md- dre mi favorirdnno in quest 1 occasione della loro efficacissima inter- posizione ? Non ne dubiti punto , signor mio, e creda pure che mia mddre edio, ci fare- mo un sensibilissimo pia- cere di servirla. Conosco in vero dalle nobih sue espressioni, quanta generosa sia : E ben m'accorgo, da suoi cordidli sentimenti, esser V. S. degno fig Ho della degnissima sua geni- trice. Non piu complimenti, si- gnbre ; gli effetti le da- rdnno prove sicure delta nostra servitil. Tacerb adesso ; ma, otte- nuto che avrb la grdzia, verrb da lei per ringra- ziarla. . Mi favorlsca di riverire distintissimamente per parte mia la sua signora mddre. DIALOGUE 362. DIALOGUES. DIALOGUE XXI. Of the Seasons, Weather, &c. SPRING is of all seasons the most agreeable. Then every thing in nature smiles. The country looks like a vast garden. The meadows resemble a large green carpet. The weather is mild and serene. The air is temperate. Tke trees are full of leaves. The melody of the birds enraptures me. The weather is neither too hot, nor too cold. It is very healthy. Jill living creatures are then cheerful. Mature seems to revive. We have no Spring this year. The Spring is backward. It is like Winter. I am fond of the country in Summer-time, and of the town in Winter. We have a very hot Sum- mer. The heat makes me both dull and idle. The harvest will be very plentiful. It would be still more fer- tile, if we had a little a-ain.. DIALOGO XXL Delle Stagioni, del Tempo, «& LA primavera £ la piil grata di tutte le stagibni. Tutto ride allora nella ria- tura. La camp&gna e come un gran giardino. I prdti somigliano ad un gran tappeto verde. II tempo e molto dolce e molto sereno. Vdria e temper a ta. Gli dlberi sono coperti di fog lie, II canto degli uccelli m'in- namora. II tempo non e ne troppo cdldo, ne troppo freddo. E" molto sdno. Tiitti gli animdli allora sono pieni di vivacitd. La natiira par eke rindsca. Quest' anno non abbidmo punto primavera. La primavera e tardiva. E K un piccoV inverno. A r mo la campdgna nelV estate, e la citta nelV in- verno. Abbidmo una state hen cdlda. II calbre mi rende pesdnte e pigro. La raccolta sard m<o ab- bonddnte. Lo sarebbe ancbr piit, se avessimo un pbco di piog- gia. There DIALOGUES. 363 There is a great plenty of fruit. We want a little rain. Rain would be very bene- ficial. They begin to cut down the corn. Summer is gone. Summer did not last long. Autumn has taken its place. Autumn is the season of fruits. Wine will be good this year. We shall drink good wine. The vines are very fine. They are loaded with large grapes. The days are very much shortened. We shall soon use candle at five o'clock. The mornings are cold. We shall soon be obliged to make a fire. Winter comes on. Winter draws near. The mornings are short. The evenings are long. The trees are divested of their leaves. Nature appears benumbed. Winter does not please me. It pleases nobody. Nevertheless it is pleasing to walk in the sun. It is soon night. The days are very short. V'eunagrandeabbonddnza difrutta. Abbidmo bisogno oVun po f di pioggia. La pioggia cifarebbe molto bene. Si comincia a taglidr il grdno. V Estate e passdta. U Estate non ha durdto molto. VAutknno ha preso il suo luogo. V Autxinno e la stacf'one deifriitti. II vino sard buono quest? anno. Beveremo buon vino. Le vigne sono belVissime. Sono cariche di grosse uve. I giorni sono molto accor- cidti. Accenderemo qudnto prima la candela a cinque ore, Le mattindte sono fredde. Saremo ben tosto costretti d' avere delfuoco. L'Inverno vitne. Ulnvirno s'approssima. Le mattindte sono corte. Le serdte sono lunghe. Gli dlberi sono spoglidti delle lorofoglie. La natura sembra intor- mentita. L'Inverno non mi pidce. Pidce a nessuno. Nulladimeno passeggidre al sole fa piacere. E" presto notte. 1 giorni sono molto corti. 2 We 364 DIALOGUES. We have scarcely eight hours day -light. Twilight does not make its appearance before seven o'clock in the morning. They light candles at five in the afternoon. It is not day-light the next day before eight o'clock. The days are somewhat lengthened. Thn.t foretells the return of Spring. Its return will exhilarate Nature. DIALOGUE XXII. Short and Idiomatic. WHENCE do you come? I come from the city, where I met your bro- ther. Whither are you going? Whither do you run so fast? Which way do you go? Which way do you take? Can I go with you ? Stay a little, I will go with you. Will you wait for me ten minutes? I shall be ready in less than ten minutes. Tell me where you are going. I am going into the coun- try. Come up in mv room, I Abbidmo appena otto ore di giorno. II crepusculo non comincia mdi ad apparire avdnti le sette ore delta mat- tina. A cinque ore pomerididne s'accendono le candele. II giorno non ritorna a comparire avdnti le otto ore del giorno dopo. I giorni sono alqudnto al- lungdti. Questo ci annunzia il ri- torno delta Primavera. II suo r it or no rallegrerd, la Natura. DIALOGO XXIL Corto ed Idiomatico, D'ONDEvieneUla? Vengo ddlla cittd, ove in- contrdi suo fratello. Dove va? Ove corre cosi infretta? Da che pdrte va ? Che via prende 1 Posso io anddr con lei? Aspctti, che V accompa~ gnerb. Vorrebbe aspettdrmi died minuli? Sarb pronto in meno di died minuti. Mi dica ove va. Vddo alia campdgna. Monti nilla mia camera, ho have DIALOGUES. 365 liave something to tell you. Come in, and sit down. Do not you stir from thence. Stay there. Now, you may go out. Come down with me. Adieu, I wish you a happy journey. But, stop, come hither. Wait a little. Stop, that I may speak to you. Do not go so fast. You go too fast. What do you stop me for? Do not touch me. You make me lose my time. My time is too precious for me to mis-spend it. Leave that alone. Don t touch that. Touch nothing. Why do you recommend me that, Sir, or Madam ? Because I recommend it to every body. I am well here. I find myself very well here. The door is shut. Who has shut the door ? I can't open it. I can't turn the key. The lock is not good. Open the door. It is open. Shut the door. It is shut. qualche cosa da dirle. E'ntri, e si segga. Non si muova di Id. Stia Id. Pub usdre adesso. Scenda meco. Addio, le auguro un buon vidggio. Ma, aspetti, venga qui. Aspetti un pbco. Sifermi, ch'io le pdrli. Non vdda cost presto. V. S. va troppo di buon passo. Perchk miferma ella ? Non mi tocchi. Mi fa perder il mio tempo. II mio tempo e troppo pre' zioso per perderlo cosl. Ldsci quello. Non tocchi quello. Non tocchi niente. Perche mi r accomenda ella questo % Perche lo raccomdndo a tutti. Sto bene qui. Mi trovo molto bene qui. La porta e chiusa. Chi ha chiuso la porta ? Non posso aprirla. Non posso voltdr la chidve. La serratura non e buona. A'pra la porta. E x aperta. Chiiida la p orta. E s chiusa. Open 366 DIALOGUES. Open the window. Shut the window. What do you look for? What have you lost? If you have lost any thing, I have not found it. I never find any thing-. Speak loud. Speak distinctly. Open your mouth. You speak too low. Why do you speak so low? Do not be bashful. To whom do you speak? Do you speak to me? Say, is it to me that you are speaking? Speak to me, then. Speak to him, speak to her. Speak to us. Speak to them. Do you speak French? I speak it a little. What do you say ? Do you say any thing? I say nothing. What have you said? I have said nothing. I don't believe it. What does he say ? He says nothing. Does he not speak? I thought he had spoken. What has he told you? Has he told you nothing ? What does she say? She does not speak. What has she told you? She said nothing to me. Don't tell her that. I will tell it her. I won't tell it her. A' pro, lafinestra. Serri lafinestra. Che circa ella ? Che ha perdu to? Se ha per ditto qualche eosa io non Vho trovdta. Non trovo mai niente. Pdrli forte. Pdrli distintamente. A'pra la bocca. V. S. parla troppo pidno. Perchepdrla ellacosipidno Non sia timido. A chi parla ella ? Parla a me? Dica, e a me ch'ella pdrla ? Mi pdrli dunque. Gli pdrli, le parli. Ci pdrli. Pdrli loro. Pdrla ella Francese? Lo pdrlo un poco. Che dice? Dice ella qualche cosa? Non dico nulla. Che ha ella detto ? Non ho detto niente. Non lo credo. Che dice egli? Non dice nulla. Non pdrla egli? Credeva che avesse parldto. Che le ha detto 1 Non le ha detto niente ? Che dice essa? Non pdrla. Che le ha essa detto ? Essa non m'ha detto niente. Non le dica questo. Glielo dirb. Non glielo dirb. Don't DIALOGUES. 3m Don't tell it to them. Have you said that? No, I have not told it. If I had said it, I would not deny it. What are you doing ? I am doing nothing. What have you done ? I have done nothing. Have you done your work? No; I have been idle. Shall you soon have done? Yes, in half an hour. Have you not done ? I thought you had done. You go very slow. You are very long. What does he do ? Is he doing nothing? Has he nothing to do ? Has he no business ? How does he spend his time? What is she doing? What is her amusement? Is she fond of music ? Does she write ? does she read? Does she go to the play? What do you ask ? Do you ask for any thing ? Say what you ask. If you want any thing, speak. Answer me. Why do you not answer me? Are you afraid, or do you scorn to answer me? If you do not answer me, I'll speak to you no more. Non lo dica loro. Ha ditto quello? No, non Vho detto. Se V avessi detto, nan %* negherei. Che fa ella? Nonfo nulla. Che ha fat to? Non ho fdtto niente. Ha ella fdtto il suo lavorm No, sono stdto pigro. Avrd ella fnito presto f Si, in una mezz' bra, Non ha ellafmito? Credeva che avesse finite Va motto adagio, E s molto Unto. Che fa egli? Non fa egli niente t Non ha egli niente da faref Non ha egli alcuna occupa*- zidne ? Come pdssa egli H suo tem- po? Che fa essa? In che si diver te ? A'ma essa la musica f Scrive essa ? Legg' essarl Va essa al tedtro 1 Che dimdnda ella ? Dimdnda ella qudlche cos^f Dica cib che dimdnda. Se ha bisogno di qudleks cosa, pdrli. Mi risponda* ~Perchl non mi rispondef Teme, o sdegna ella di r*» spondermi ? Se non mi risponde, non le parlerb piu. DIALOGUE 368 DIALOGUES. DIALOGUE XXIII. DIALOGO XXIII. On Italy. Courage, Miss, we now are at the top of the highest of these hills. I assure you I can go no farther: my breath fails me : this ascent is too steep. Now that we are arrived, we may rest ourselves. Yes, let us rest, for I need it much. What do you think ? Did I not tell you that we should enjoy a beautiful sight ? O yes; I admire it much. What a fine landscape all around ! You, who have travelled in Italy, I suppose, must have found some charm- ing prospects in that country. — How long is it since you came from thence ? It is almost three years. Have you been always in the same place ? No : I have travelled con- tinually, from town to town. What do you think of that climate ? Charming! The country is so well cultivated, that it seems a collec- tion of gardens. SulF Itdlia. Coraggio, signora. sidmo gid alia cima delta piil alia di queste colline. Le assicuro che non ne posso piil ; mi manca il jftdto ; questa salita e un po' troppo erta. Ora che sidmo arrivate, possidmo riposarci. Si, riposidmoci pure, chk ne ho gran bisogno. CSsa le pare ? non le ho detto che si sarebbe go- duta una bella veduta. Oh, si; V ammiro molto. Che bel paese tutt* in- torno ! Ella, che ha viaggidto in Itdlia, avra, mi figiiro, veduto de bei colpi oV bc- chio in quel paese. — Quanto tempo e ch' ella Son quasi tre anni adesso. £ x stata sempre nello stesso luogo ? No: ho viaggidto continua- mente, ora in una cittd ed ora in un y altra. Che le pare di quel clima ? Stupendo ! Le campagne son cosi ben coltivdte che pdjon tanti giardini. I am DIALOGUES. 369 I am told, however, that there are many lands which lie uncultivated. Very true. The Italians have attended more to the embellishment of their cities, than to the cultivation of the coun- try. Without doubt there are very beautiful works of architecture ? Yes, all master-pieces : but uncultivated fields on all sides reproach the inhabitants with their indolence. By which road did you entei* Italy? By the road of Venice, a city which is exactly like an immense fleet, resting quietly on the midst of the waters, and to which there is no ap- proaching but by boats or ships. — In this re- spect, Venice is a unique city. In that town are there neither horses nor car- Mi si dice per altro che vi siano molti terreni incolti. Verissimo. Hanno gV Ita- Hani atteso piu alV ab~ bellimento delle cittd, che alia coltura delle cam- ■ pagne. Vi sardnno bellissime opere d' architettura, mimmd- gino ? $i, tutti capi d'opera : ma le inculte campagne rim- proverano agli abitanti la loro injingarddggine. Da qual parte e ella entrd- ta in Italia? Dalla parte di Venezia, citta la quale e appunto come una vasta Jlotta, che si riposa tranquilla- mente sulle acque, ed a cui non si approda che per mezzo di barche, o navi. — Su questo punto, Venezia e unica. In questa cittd non vi sa- rdnno dunque ne cavdlli ne carrozze? Niente affatto. Le car- rozze dei Veneziani soil le gondole, e i gondolieri son uomini per lo piu, molto eloquently e i loro concetti son pieni di sali full * The Gondola is a flat and very long boat, which. goes only by oars. The boatmen are generally called Gondolieri ; but at Venice Barcarioli. n 5 riages ( None at all. The car- riages for the Venetians are the Gondolas,* and the Gondoleers are ge- nerally very eloquent, and their repartees are 370 DIALOGUES. full of the most pleasing attic salt. Did you stay much at Ve- nice. Only five months, which is the time the carnival lasts, during which one goes always masked, with the greatest liberty, to all sorts of diver- sions. "Which is the principal place in Venice ? St. Mark's Place ; on the east side of which stands St. Mark's Church. Have you been at Bologna? Yes, madam, but first I passed through Ferrara, which in its walls will show you a fine and extensive solitude, al- most as much so, as the monument of Ariosto, who rests there. I have heard that at Bo- logna there is a greater abundance of provisions than in any other place in Italy. It is true, and for that reason it is named the Fat, There the sciences are familiar also to the fair sex ; and the conver- sation of the inhabitants is very entertaining. What road did you take on quitting Bologna? That of Rimini, along the sea-coast of the Adria- tic, as far as Ancona, argutissimi. E s stette molto tempo in Venezia ? Cinque mesi solamente ; quanto ivi dura il car- novate, in cui siva sempre in mdschera con la may- gior liberta ad ogni * sorta di divertimenti. Qual e la principal piazza di Venezia? La piazza di San Marco ; dalV lato orientale vi e la Chiesa di San Marco. E K stata mai a Bologna ? St, signora, ma son pas- scita prima per la cittd di Ferrara, che nel suo recinto le fara vedere una bella e vasta solitu- dine, silenziosa quasi quanto la tomba delV Ariosto, che ivi riposa. Ho sentito dire che in Bo- logna vi h piil abbon- danza di viveri che in qualunque altra parte d' Italia. F s vero, e per questo vien cognomindta la Grassa. Quivi le scienze sonfami- lidri anche al Ml sesso ; e la conversazione degli abitanti rallegra moltis- simo. Che strada ha ella preso partendo di Bologna? Quella di Rimini, lungo la riva del mare Adridtico, fino ad Ancona, e quindi and DIALOGUES. v 371 and from thence to Lo- retto, a pilgrimage, once famous for the concourse of strangers, and the superb treasures with which its church was enriched. I should be very glad to hear something of Rome too. On returning from Lo- retto, crossing the Ap- penines, and a great number of small towns, we atlast arrive at Rome, formerly the queen and capital of the world. To see all the curiosities of that famous city, I have heard that it was necessary to employ a Cicerone : what does that mean ? It signifies, perhaps, speaker; because such persons accompany strangers every where, informing and explain- ing to them all that is to be seen. What was Rome, when the French took from it all that was most precious ? Exactly what it was before. The churches, the pa- laces,the public squares, the pyramids, the obe- lisks, the columns, the galleries, the fronts, the theatres, the fountains, the prospects-*, the gar- dens, all will show you a Loretto, pellegrindggm famoso una volta pel concorso del forestiiri, epei grandiosi tesori y de* quali era arriccMto ii sno tempio. Sarebbemi molto carosenitr anche qualche cosa di Roma. Parte.ndo da Loretto op- punto, attraversando gli Appennini e una molti- tiidine di piccole citta y si arriva finalmente a Ro- ma, anticamente regma e capitdle del mondo* Pe,r vedere tutte le rariti di questa famosa citify hosentito dire che bisogna far uso di un Cicerone : Cosa vuol egli dire ? Cicerone, vorrd dir parla- t6re, perche questi tali accompdgnano i Jhre- stieri da per tutto, infor- mctndoli,espiegando tor® quanto v e da vedere* Cosa e Roma, se i Fran- ce si le tolsero quanto ■< vera di piu prezioso f Intieramente quel cli era* prima. Le chiese? i palazzi, le piazz& pub- bliche, le pirdmidi y gli obelischi, le colonne 9 ie gallerie, le f accidie^ £ tedtri, le fontdne y le ve- dute t i giardini, tutm le indicherfc la grandezzm the 372 DIALOGUES. the grandeur of a city, which always was, and always will be, above others, universally ad- mired. Are the modern Romans as warlike as the an- cient ? Certainly not: but in the quarter of the town called Trastevere, we observe even now coun- tenances resembling the ancient busts. I have heard much about the famous Appian way ; does it still exist ? Yes, madam, but not in the same state it was at the time of the ancient Romans. Do you remember at what time that famous road was made 1 It was in the year of Rome four hundred and forty- one, by order ,of Appius Claudius, the Censor, and it was one of the finest works of Roman magnificence. It leads from Rome to Brundu- sium at the farthest end of Italy towards the east. Doubtless you have tra- velled as far as Na- ples, one of the finest cities of Italy, as they tell me ? Yes, madam. And ex- actly by that famous (Tuna citta eke e stata simpre e sard, con pre- ferenza universale am- mirdta. So?io i nuovi Romdni gente bellicosa quanto gli an- tichi ? No sicuramente : ma nel quartiere detto Traste- vere osservansi anche oggijisonomie similiagli antichi busti. Ho sentito tanto parldre dellafamosa via Appia ; sussiste ancora ? Si, signora, ma non gid nel medesimo stato, in cui era al tempo de' Romdni. Si ricorda ella a qual tempo fu costruita questa fa~ mosa strada ? Fu neW anno di Roma quattrocento quarantu- no, per ordine del Cen- sore Appio Cldudio, efu uno de* piii bei lavori delta Romdna magnifi- cenza. Conduceva essa da Romajino a Brindisi all' estremitd delV Itdlia verso levdnte. Mi figuro cK ella dbbia viaggiato jino a Ndpo- li, cittd delle piil belle d' ltd Ha, a quel che mi d'icono ? Si, signora. Ed appunto per questa famosa via Appian DIALOGUES. 373 Appian road we arrive at that Parthenope, where rest the ashes of Virgil; upon which is seen a laurel growing, which cannot be better placed. Have you not been afraid of living in a city where they often feel earth- quakes, and where fire descends from the moun- tains? No, my dear ; it is not so terrible as it is said; nay, Mount Vesuvius on one side, and the Elysian fields, on the other, offer prospects which are very delightful. Did you ever see any eruption of this Vesu- vius ? Yes, I have seen it once in a great rage, and then I .saw it throw outtorrents of fire, which majestically spread over the country. They say, that the Neapo- litans are lively and witty, but too much in- clined to pleasure and idleness, to be what they might be. Very true, and certainly Naples might be an in- comparable city, if one did not meet a crowd of plebeians, otherwise called Lazaroni, who look like wretches and Appia si arriva a quella Partenope, ove riposano le ceneri di Virgilio, sulle quali vedesi germo- glidre un Iduro, che non pub esser meglio col- locdto. Non ha avuto paura di restdre in una cittd dove sisentonospesso tremuoti, e dove scende giu fuoco dalle montagne ? No, cara ; non e tanto orribile quanta si dice; anzi il Monte Vesuvio da un lato, e i Campi Elisj dalV altro, presen- tano dei punti di vista singolarissimi. Ha ella mai veduto nes- siina eruzione di questo Vesuvio ? Si, V ho veduto una volta in gran furore, e vidi al- lora rigurgitare dal suo seno torrenii di fuoco die maestosamente si span- devan per le campagne. Si dice che i Napoletdni son vivdcie spiritosi,?na tr6p~ po inclindti at piacere ed alV infinga.rddggine per esser quel che potreb- ton essere. Verissimo, e al ctrto sarebbe Ndpoli una impareggid- bile cittd, se non vi s' in-. contrasse una folia di plebei, altrimenti detti Lazzaroni, che hanno aria di ribdldi e di ma- thieves 374 DIALOGUES. thieves, and often are neither. But whilst we are speaking of Naples, we have left behind us Florence and the other cities of Tus- cany which are so cele- brated. We may easily go back and travel three hundred miles (for that is the distancebetween Naples and Florence), with the same facility that we have made the others. Tell me then something of Florence, which is acknowledged as the mother of the fine arts, and then I will not trouble you any more. On the contrary, you give me pleasure. Florence is not very large, but it is noble and beautifully adorned : every where are seen traces of the grandeur and the good taste of the Medicis. Let us depart, as I fear it will soon rain. landrini, senza esser so- vente ne Vunone V altro. Ma, mentre parlidmo di Ndpoli abbiamo lasciato indietro Firenze e le altre citta delta Toscanatanto rinomdte. Possiamofacilmente torndr indietro, e far anche trecento miglia (che tante ve ne sono da Nd- poli a Firenze) con la medesima Jacilitd che abbiamo fatto le altre. Mi dica dunque qualche cosa di Firenze, che vien riguardata come madre delle belle arti, e poi non le darb piii incomodo. Anzi mi del piacere. Fi- renzenonemolto grande ,, ma e gentile e vagamente adorna : quivi scorgonsi dappertutto le trace delta splendidezza e del buon gusto dei Medici. Partiamo adesso, per che temo che voglia piovere. A COL- ( 375 ) A COLLECTION OF ITALIAN IDIOMS Which constitute the peculiar Delicacy of that Language. THE following Collection, which contains the true Idioms, or modes of speaking, with the turns of the Italian Phrases, divided according to their respective subjects, will be found useful. Examples. To Pray or Exhort. DEAR sir, do me that CA'RO signore, mifaccia favour, questo favore. Pray ! I conjure you, deh ! vi scongiuro. I pray you, deh ! vi prego. I beseech you, in cortesia. Do me the favour. V. S. mifavorisca. To express Civility. Your servant, sir, Servitor sao, signore. I am entirely your's, sono tutto suo. I thank you, la ringrdzio. You may depend upon me, fdccia capitdle della mia persona. See if it is in my power to veda signore se son capdce serve you. di servirla. Command 376 IDIOMS. Command me, Do what you please with your servant, I wait for your commands, Since you will have it so, You are the master, At your service, I am obliged to you, I am infinitely obliged to you, I will not be guilty of that fault, Away with these titles and ceremonies, It is my business to serve you, You are very obliging, I know not how to make a proper return for so many favours. mi comdndi. disponga del suo servitore, aspetto i suoi comdndi. poich? ella comdnda cost. V. S. £ padrone. al suo comdndo. resto con obbligo appresso a V. S., son obbligdto a V. S.,or lesono obbligdto, le resto infinitamente obbli- gdto. non faro questo manca- mento. lascidmo questititoli, queste cerimdnie. tocca a me di servirla. V. S. e molto cor tese. non saprei come contrac- cambidre tdnte bonta. To Complain, Hope, or Despair. How unfortunate am I, if Gudi a me, se questo e > that be ! Poor miserable creatures poverettinoi! that we are ! How unfortunate I am ! Ah cruel fortune ! To what are we reduced ! We are undone ; we are ruined ! There only wanted that ! We are at last come to it, That was the cause of my grief, Qsventurdto, sciagurdto, < infelice. { disgrazidto me ! ahi sorte avversa ! a che sidm giknti ; ridotti, condotti ! sidmo morti ; spediti; rovi- ndtiJ questo ci mancdva ! ci sidm pur giknti. ecco cib che causava il mio dolor e. There IDIOMS. 377 There is what completes our ruin, That is the misfortune, It is really a pity, G the poor child ! or fellow ! 1 am the most unfortunate of men ! What is to be done ? what shall I do ? what shall we do ? We must have patience, We must conform our- selvesto thewill of God, Nothing farther can be done, I hope that God, I hope that heaven, We must swallow that, We must die, sooner or later, ecco V ultima nostra rovina. questo t'l mdle. £ peccdto veramente. o povero figliuolo ! w son pur il re dei disgra- zidtu die s'hadafdre ? chefarb f chefaremo? bisogna aver pazienza. bisogna conformdrsi, biso- gna rimettersi alia vo- lontd di Dio. non si pub fdr dltro. spero in Dio, spero nel Ciilo. forza h die cela bevidmo. ad ogni modo bisogna mo- To express Affirmation, Consent, Belief, or Refusal. However it is true, It is but too true, To tell you the truth, Indeed it is so, There's no doubt of it, I believe it is, I believe not, I bet it is, I bet it is not, I think so, I think not, Not to tell an untruth, Nobody would say so ridi- culous a thing, Say likewise that the snow is not white, I can tell you it is a very fine one, E s pur vero. e pur troppo vero. a dirvi 7 vero. infdtti e cost, cosl k. non v e dubbio. credo di si, credo di no. scommetto di si. scommitto di no. penso di si, penso di no. sdlvo 7 vero. nihno direbbe una strava- gdnza simile, dite dnche die la neve non e bidnca. vi so dire eh 1 ella e bellis- sima. I would 378 IDIOMS. I would lay a wager, you jest, sir, 1 speak in earnest, You have guessed rightly, I believe you, one may believe you, Let it be then, let it be so, You shall be satisfied, Softly, not so fast, Nor that neither, I would not give you a %, Yes, truly, They are trifles, Do not make me giddy or deaf, Get thee to bed. scommetterti qudlche eesa. oh burla, signore. pdrlo da senno. V avete indovindta. le credo, le si pub credere. sia dunque, cost sia. V. S. resterd soddisfatta. addgio, addgio, a belV dgio. ne mdnco questo. non ti darei unfico. veramente si, senza dubhio* sono inezie. non mi star ad introndre le orecchie. va a dormire. To Deny, I say not, It is not true, It is not so, it is so, Positively I will not, I jested, I did it only by way of jest. Dico di no, non £ vero. questo no, questo si. non voglio in cbnto alcuno* in nissun mbdo, in nissuna ' maniera, io burldva. lofaceva per ischerzo* To Consult, What is to be done ? Whatcourse shall we take? Let's do so and so, Let's do one thing, It will be better that, Stay a little, It would be better that, Let me do, I had rather, Were I in your place. Che c'edafdre? che partito piglieremo f faccidmo cost, faccidmo una cosa, sard rneglio che. sdldo unpoco. sarebbe meglio che. lascidtefar a me, vorrei piuttbsto. sefossi in lubgo vostro. To IDIOMS. 379 To wish well to a Person. Heavens preserve you, I wish you every thing that's good. God assist you, God forgive you, God be with you, May you be happy, I wish you true content, God grant you all the pros- perity you desire, Till I see you again, I am your most humble servant, You are welcome, Well met, Much good may it do you. II Cielo vi gudrdi. vi auguro ogni vero bene. Iddio v' ajuti. Iddio vi perdoni. anddte con Dio. siate felice. vi duguro ogni maggior contentezza. prego Dio die vi conceda ogni prosperitd piU desi- derdbile. a rivederci, la riverisco. ben venuto. ben trovdto. buon pro vifdccia. To assert solemnly. Upon my faith, In my conscience, Upon my life, Upon my honour, Upon my word, Upon my credit, I swear, as I am a gentle- man, As I am an honest man, As I am a man of honour, By Jupiter ! Allafe, per miafe. in coscienza mia. per la vita mia. sulV onor mio. sulla mia parola. in fide mia. vi giuro da cavaliere. da uomo dabbene, dagalan- tuomo. da uomo onordto. per Bdcco. To Threaten or Insult. I will give you a Rowland for your Oliver, Ti rendero pan per focdc- cia. Let 380 IDIOMS. Let me alone, I will see whether You shall pay it me, I vow you shall repent it, I will give it you, go, You will laugh at me, but.... If you put me in a pas- sion, If I put myself in a pas- sion, Do not stun me, Do not wake a sleeping lion, Softly, softly, Woe be to thee, Thou shalt not escape me, Hold your tongue, don't speak, 'Tis enough, 'tis sufficient, Thou art undone, In spite of thee, lascia far a me, ch* io tu mela pagherdi. giuro al mondo che tene faro pentire. te la darb, va. tu vuoi burldr meco, ma . . . se tu mi fdi anddr in col- lera. se mi cominciaafumdre. nonmi stuzzicdr le orecchie. non destdre 7 can che dorme. plan, pid.no. gudi a te. tu non mi seapperdi. non piu parole, tdci. hdsta, tanto bdsti. sei morto, va ! a tuo mdrcio dispetto. To Admire. O God ! Good God ! Heavens ! Jesus Maria ! Is it possible ? Who ever saw the like ! Who would have thought, believed, said ! See now a little ! 1 was wondering, strange ! 1 don't wonder, Dio mio ! Dio buono 1 Oh Cielo ! Gesil Maria f possibile ! chi vide mdi cose simili ! chi V avrebbe pensdto, ere- duto, detto I guarddte un poco ! Io mi maraviglidvo. che maraviglia ! non mi maraviglio. How IDIOMS. 3&I How can that be ? So goes the world. come pub essere ? com* £ possibile ? cost vdnno le cose del mbndo,, cosi val mbndo. To express Joy, What a pleasure ! What glory ! What joy ! How pleased I am ! O how happy am I ! O happy day ! What happiness ! how happy are you ! 1 am sorry for it, That touches my very soul, It pierces me to the heart, or Displeasure. che gusto ! o che gloria ! o che allegrezza ! che contento I 'I mio ! o me felice ! o gibrno felice! o che for tuna ! bedto vbi! bedta lei ! mi dispidce, mi rincresce. mi dispidce fin alV dnima+ mi trafigge H cubre. To Reproach. Is this the way to deal with gentlemen ? Ought not you to be ashamed ? To aftront me thus I To such a man as I am. To me, is it not ? Do you deal thus ? Ah, is it so ? So, is it not? What a fine way of pro- ceeding ! O, that is fine ! You ought not to treat me thus, Do you think that is well ? We shall see immediately, What the deuce has he done ? What, obstinate still 1 Cost si trdtta cq' galdnt- uomini ? non ti dovrestivergogndre? far a me questo affronto ! ad un pari mio. a me, eh ? a questo modo si trdtta ? a questo modo, eh ? cost, eh ? che bel modo di procedere ! bel modo certo ! non dovresti usdr simili ter- mini meco. pdrti che stia bene ? adesso si vedrd. che diamine hafdtto? ancor ostindto ? To 382 IDIOMS. To Call. Hark, Listen, Where are you ? Hark ye, Hear you, Hark ye a little, A word, I will speak but two words to you, Stay, Stay you, Ascolta, ascoltate. udite. dove sei ? dove siete ? sentite una parola. sentite, udite. sentite un poco. una parola. due parole solamente. ferrnati. fermdtevi. To express Uneasiness, Trouble, or Sorrow. I am sorry, Leave me alone, Prithee get thee gone, Do not stun me, Away, away, I beg of thee, Get you out of my sight, Get you gone from hence, Go, mind your own busi- ness, Do not stun me, Do not split my ears, How tiresome you are, You have told it me a hun- dred times already, Mi displace, mi rincresce. Idsciami in pdce or lascid- temi. va via, ti prego. non mi rompere 7 capo, via via, ti prego. levdtevimi oV inndnzi. levdtevi di quel, anddte afar ifdtti vostri. non mi stordire* nonm! introndr le orecchia. o che sei noioso ! me V hdi gid, detto cento volte. Cheer up, sirs, Come on, gentlemen, come on, Com,e, let's set to work, Let's give over, To s excite Courage. A'nimo, signori. su su, signori. or su, a noi, alle mdni. jinidmola. To IDIOMS. To Ask. 383 What news 1 What's that ? Where are you going ? Whence come you ? What means ? To what purpose ? What do you think ? To what end ? Why do you make such a stir ? Tell me, may one know ? Tell me, may one ask you? Who has been so bold ? Che si dice di nuovo ? che'c' e f dove si va; dove anddte ? donde si viene ? che vuol dire ? a che serve $ che vi pare f a che proposito? a che fine ? a che ttinte storie y perchh tante smbrjie f ditemi se si pub sapere ? ditemi s' e lecito di doman- d&rvi ? chi ha avuto cota nto ardire ? To Forbid. Let that alone, Do not touch, Say not a word, Do not stir from hence, In the name of Heaven, do not do it, Have a care, Take care, I forbid it. Lasciate stare. non toccdte. non dir niente. non ti partir di quci, non lo fdre, in nome del Cielo. guarddtevi bene, avvertite. lo proibisco. IDIOMS, 8cC. OF DIFFICULT TRANSLATION, even with the help of a Dictionary. TO make an appointment DAR convegno, or dar with a person. posta ad uno. To have somebody in one's Averlo inpugno. power. He liked the proposal. La cosa gli entrb. He came to live with me Si allogb meco per servi- as a servant. tore. He 384 IDIOMS. He is a busy-body. We do not know what he means. He does not go there with a good grace. To propose deliberating upon an affair. To look tenderly. To play the fop. To play the prude. To new-cast a work. To owe some one a spite. At all hazards. To look big. His table was like a king's. With a firm look. At the worst. Make no ceremony. Without ceremony. Toleavesomebodypleased. Made with exactness. In spite of wind and tide. Keeping always on the left. It was unlucky for us. He has lost his reputation. To impose upon somebody. He asked him what was become of his friend. She is not handsome, but she is engaging. To drive some one mad. To rack one's brains. To make idle schemes. To cry bitterly. E" un commetti male,- or un teco meco. Non si sa dove ei voglia uscire. Non ci va di buone gambe. Intavoldre un affdre, or metterlo in cdmpo, or in trattdto. Far V occhiolino. it zerbino. la mononesta. Hifdre un libro di pianta. Star grosso con uno. A qualunque costo. Stare in sul grande, or grandeggidre. La sua tdvola era messa alia redle. Con viso fermo. Alia piii trista. Non fate complimenti. Cost alia domestica. Lascidre a bocca dolce. Fatto a sesta. Adispettodimareedivento. Tenendosi sempre verso la sinistra. Piglioccene male. Ha perduto la sua ripuia- zione. Get tar della polvere negli oceki. Domandollo che fosse dive- nuto V amico suo. Non ebella, ma ha un certo ' g Motto. Fare uscire uno dei gdn- gheri, Lambiccdrsi, or stilldrsi U cervello. Far dei lunar j. Pidngere amaramente. I think IDIOMS, 38£ I think you will suit him. Dinner is served up. We diverted ourselves very well. My honour is at stake. He drew his sword. Secretly. We must come to blows. He is near fifty. Let us see how he sets about it. To clear the house. I am out of the scrape. He is a sad fellow. Make a fair copy. It will be the worst that can happen to me. At the worst, I risk no- thing. I will hold out. Go and clean my room. To find it difficult to live. To play the devil. He (or it) is good for no- thing. He run away as fast as he could. He suspects my intention. He looks like an honest man. It did not stop there. We (or) they spoke of you. I shall be much obliged to you. She has no pretensions to learning. He never gives over speak- ing. This gown fits you well. Credo che f accidie per luu II pranzo e in tdvola. Ci sidmo ben ben diver titu Si tratta del mio onore. Snudb la spada. Di soppidtto. Bisogna venire alle mam. Manca poco ai cinquanta. Vedidmo come ci si accinge. Piglidr la grandta, or manddr via tutti di casa~ Sono fuori d' impdccio. E y un cattivo soggettq. Mettetelo in pulito. Gli e ilpeggio che mi possa toccdre. Al peggio anddre non ar- rischio nulla. Mi terrb fermo. Anddte a r asset tar la mia stanza. Stent dre a vivere. Fare il didvolo. Non val niente affdtto. Si salvo a tuite gambe. D libit a del mio disegno. Ha ciera di galantuomo. La cbsa non fini cos). Si parlb di voi. Ve ne sono molto tenuto, or ven saprb grado. Ella non ha pretensione alle scienze. Non la Jinisce mai. Cotesta veste vi sta bene. S She 386 IDIOMS. She is a woman of quality. A gentleman. It was very near. What do you asE for this ? Let it be as it will. Face to face. His head is giddy. It is a pun. He is going to meet him. I guessed his meaning. He began to write. He whispered to me. This is one of your tricks. To drink a good draught. In a moment. At once. "Without doubt. When the time is over. Once more. To get out of the scrape. He delivered me from prison. He draws no profit from it. To draw a bill of exchange. He fired a shot. He pointed at me. There is a villain, He pumped him (or) her. He was born lucky. He looks with an ill eye upon me. He spoke at random. Without coming to vio- lence. It (or) he is just what I want. E s una dama,OY una signora di rango. Un ubmo di garbo. C e mancdto poco. Cosa pretendete di questo ? Comunque siasi. A quattr occhi. Gli gira il capo. E s un bisticcio. Va ad incontrdrlo. Penetrdi le sue idee. Si mise a scrivere. Mi disse alV orecchio. Questo e una de' vostri tratti. Fare una gran bevuta* In un istante. Ad un tratto. Senzafallo. Dopo ilfatto. Ancora una volta. Cavarsi d' impdccio, or uscir d' intrigo. Mi ha liberato daprigione. Non ne ricdva utile. Far tratta. Sparb un archibugidta. Mi accennb. Ecco un avanzo diforca. Gli cavb di bocca il se- greto. E K nato vestito. Mi g%iarda bieco. Egli par lava sconsiderata- mente. Senza ventre afatti. Gli I appunto quel che mi ci vuole. It IDIOMS. 387 It was in vain for me to tell him. He lives by his wits. To-morrow is a fast-day. They are slight of hand tricks. He writes a good hand. He put his hands upon him. To treat with severity. He has a great wish to do something. 1 made a mistake. He has spent all his pro- perty. It is a good league off. Do you think it good 1 Make him come up. He becomes always more idle. He is equal to him in rank. I think it is true. To conduct one's self well. He will not yield to him. She is perfectly well made. He put the garrison to the sword. On the way. Do not take it ill. He took that seriously. You take my words ill. He has been made a doctor. He knows how to take things as they come. Mind it well. Take care of yourself. Take care of him. Ebbi be I dirgli, E s uno scroccone, or bin- dolo. Domdni e giorno di di- giuno. Son qiuochi di mdno. Ha un buon caratfere. Gli pose le mdni adosso. Trattdr sever amente. Gli pizzicano le mdni. Ho preso sbdglio, ho preso un equivoco. Ha consumdto tutto il suo. E K una buona lega lontdno di qui. Vi sembra biwno ? Fatelo venir su. Diventa sempre piic pol- trone. Va del pari con lui. Lo credo vero. Regoldrsi bene. Non gliela cederd. E s fatta apennello. Mise la guarnigione a fil di spa da. Strada facendo. Non lo prendete a male. La prese sul serio. Interpretdte male le mie parole. Ha preso la laurea dotto- rdle. Sa pig liar il mondo com' e' viene. Baddteci bene. Baddte a voi. Guarddtevi ben da lui. i 2 He 388 IDIOMS. He was lucky in having been warned. He took leave. He dismissed him. He is much interested in it. Come, decide. The business is settled. He flatters him shame- fully. As rich as they are. Come friend, give me your hand. I whispered to him. . . . Gently, if you please. No, I won't give it up. It is ready money. He is rather tipsy. They ran after him. This sets him (or) it off a little. My late father. Persons of quality. He is a military man. His hair is well dressed. He has three rooms on a floor. Is the cloth laid ? He is clever in every thing. The business goes on well. You are well disposed to Let him say what he will, I do not believe it. They think only of mis- chief. Buon per lux d'essere stato avvertito. Prese commidto. Lo licenzib. Vi s'interessa motto. Via, decidete. L' affdre e fin'ito. Lo adida sfacciatamente. Ricchi come sono. Animo, amico, ddtemi la tndno. Gli dissi sotto voce. Adagio, in grdzia. No, non vo' darla vinta. Ella e bro lampante. E K un po' brillo. Gli si messero dietro. Questo lo rimette un pbco. II defunto mio padre. La nobilta, or le persone di rango. E K un militdre. E s benpettindto. Ha tre stanze per piano. jET apparecchidto ? E x dbile in tutto. V affdre e ben incammi- ndto. Siete in buona disposizio?ie di parldre. Dica pur quel che vuole, non ne credo niente. Non pensano che a far del male. A COL- PROVERBS. 389 COLLECTION RACCO'LTJ ITALIAN PROVERBS. PROVERBJ ITALIA'NL TO expect, and not to come ; to lie in bed, and not to sleep ; to serve, and not to please, are three things enough to kill one. A house built, and a vine planted, are never sold for what they cost. There is no one happy in this world, but he that dies in his cradle. To travel post requires the purse of a prince, and the strength of a porter. It is better going alone, than in bad company. Misfortunes and pleasures never come single. Fine to fine is not good to make a lining. Love and greatness will not associate. A good stomach needs no sauce. We think no more of vows, when the danger is past. Old sin, new penance. The beast once dead, the venom dies also. ASPETTA'RE e non ve- nire; star in letto e non dor mire ; ben servire, e non gradire, son tre cose da morire. Cdsa fdtta, vigna pbsta, non sipaga qudnto costa. Nel mondo non e felice, se non quel che mubre in fa see. La pbsta e una spesa da principe, ed un mestiere da facchino. JE X meglio anddr solo, che mal accompagndto. Le sciagure, c le allegrezze non vengono mai sole. D'uro con duro, non fa buon muro. Amor, e signoria non vo- glion compagnia. Appetito non vuol salsa. Passdto 'IpericolOj gabbdto 7 sdnto. Ficcdto vecchio, penitenza nuova. Morta la bestia, morto 7 veleno. Fair 390 PROVERBS. Fair words are very power- ful, and cost nothing. A hundred pounds of sor- row will not pay an ounce of debt. He who goes to bed with- out his supper, will toss and tumble all night. Ravens never pluck out each other's eyes. Tell me your company, and I shall know what you do. He has fallen out of the frying-pan into the fire. Every bird likes his own nest. A barking dog never bites. Do not wake a sleeping lion. He who is fonder of you than usual, either has cheated you, or designs it. To ask better bread than is made of corn. To ask a landlord if his wine is good. Good wine needs no bush. It is better one's foot slip than one's tongue. Wine brings out the truth. He who buys land, buys trouble. He who cheats is often cheated. Fair words and foul play cheat both the young and the old. Un bel parldre, di bocca assdi vale, poco costa. Cenf ore di malinconia nonpagdnoun quattrtno di debit o. Chi vd a letto senza cena, tutta la notte si dimena. Corvi con corvi non si c&- vclk nidi gli bcchi. Dimmi con chi vai, saprb quel chefai. E" caduto ddlla padella sulla brace. Ad ogni uccello suo nido par bello. Can che abbdja non mbrde. Non destdre il can che dorme. Chi ti fa carezze piii che suole, o t'ha inganndto, o inganndr ti vuole. Cercdr miglior pane che di fromento. Domandar alV oste se ha buon vine. Al buon vino non bisogna frdsca. E s meglio sdruccioldr coi' piedi che colla lingua. II vino e una mezza cor da. Chi compra terra, compra guerra. Chi cerca d'inganndr, resta inganndto. Belle 'parole, e cattivifdtti ingdnnano savj, e mdtti. There PROVERBS. 391 There are no roses with- out thorns. With artifice and deceit they live half the year ; With deceit and artifice they live the other half. He who serves the public, obliges nobody. A good friend is worth a hundred relations. Fevers in autumn are long or mortal. To sell bladders for lan- terns. Every country has its fashions. To mind two things at once. To be on both sides. To have tw*o strings to one's bow. To cheat two at once. We must love the dog for the sake of its master. We must hide nothing from our physician and our lawyer. Short reckonings make long friends. Eggs of an hour, bread of a day, wine of a year, and a friend of thirty. Bread that sees, wine that sparkles, cheese that- weeps. A salad ought to be well salted, to have a little vinegar, and plenty of oil. Non si pub aver la rosa. senza le spine. Con arte e con ingdnno, si vive mezzo V anno ; Con ingdnno e con Arte, si vive V dltra parte. Chi serve al comune, non serve a nissuno. JET meglio un buon amico eke cento par enti. Febbre autunndle, e lunga, o mortdle. Vender lucciole per lan- terne. Tal paese, tale usdnza. Aver un occhio alia pen- tola, e 7 dltro alia gdtta. Dar un colpo alia butte, ed un dltro al cerchio. Tener il piede in piu stdffe. Pig liar due colombi ad una Java. Bisogna portdr rispetto al cane per amor del pa- drone. Al medico ed all' avvocdto non tener e' I ver celdto. Pdtto chidro, amico cdro. Vbvo d' un! ora, pane d' un di, vino d* un anno, amico di trenta. Pan che veda, vin die salti, formdggio che pidnga. Insaldta ben saldta, poco aceto, bene oglidta. It 392 PROVERBS. It is better to be a bird in a field, than in a cage. A bird in the hand is worth two in the bush. It is better to be friends at adistance, than enemies near at home. When it is fair weather, take thy cloak ; when it rains, wear it if you please. If you would be revenged of your enemy, govern well yourself. He is a fool, who gives a quail ^nto a sparrow- hawk in keeping. A solitary man is either a brute or an angel. Men meet, when moun- tains cannot. Do not judge by laws or writ, before thou hearest the one and the other party. JE X meglio esser uccello di campdgna, che digdbbia. E s meglio unuovo oggi, che una gallina domdni. E K meglio esser amici da lontdno, che nemicid'ap- presso. Ne di stdte, n£ d' interna, non anddr senza ?~naji- tello. Vuoi far vendetta del tuo nemico, governati bene. Stolto e chi da la qudglia in gudrdia alio spara- viero. L 1 uomo solitdrio e o bestia dngelo. Gli uomini s' incontrano e le monldgne nb. Non giudicdr per leggi ne per carte, se non ascolti 1 'una e V altra parte. A COt.- ( 393 ) A COLLECTION DIVERTING STORIES, &c. Parini* ammaldto. ESSE'NDO Parini ammalato, vennero due medici a visitarlo; diceva 1'uno e duopo dar tuono alia fibra; I* altro conviene scemarle tuono ; ed egli costoro ad ogni raodo mi vo^-liono far morire in musica. Lo stesso Parini nel Municipio di Milano. Esse'ndo Parini membro del Municipio di Milano, acremente un giorno perseguitava coll' indagiue certi quali, cheaveano rubato a nome dello stesso Municipio, e trovandovisi, chi con ismoderato garrito cercava di travolgere la verita, l'arguto Pietro Verridisse a Parini," II ladro alia fine siete vol che qui rubate il soggetto d'una bella sutira. Di Papa Giulio Secondo. Un nobile Romano, amico intrinseco di Papa Giulio Secondo, gli disse che si lagnavano molto che sua santita. attendesse con troppo calore alia guerra contro i Francesi : giacehe Iddio gli aveva data le chiavi della * One of the most celebrated and modern Italian Poets. s 5 394 ORE DI RECREAZIONE. della sua chiesa, per serrare le porte della discordia, ed aprire quelle della reconciliazione. II Papa rispose al nobile: Quei tali che dicono simili cose, non sanno forse che san Pietro e san Paolo sono stati compagni, & ambidue principi della chiesa. I predecessori raiei si sono serviti della chiave di san Pietro, adesso io voglio adoperare la spada di san Paolo. II nobile replico : Vostra santita sa pero che Cristo disse a Pietro : rimetti la tua spada nel fodero. E vero, sog- giunse '1 Papa, ma ricordatevi che Cristo non lo disse prima, ma dopo che Pietro ebbe ferito. Menecrdte Medico. Vene'ndo fatto al Medico Menecrate di guarire certe infermita disperate ed essendo per cio appellato Giove, con gran fasto faceva uso egli stesso di questo nome, e osato avendo di scrivere ad Agesilao in questa- maniera : Menecrate Giove al re Agesilao salute. Age- silao gli rescrisse in. quest' altra : 11 re Agesilao a Menecrate sanita. Socrate. Socrate percosso nella pubblica piazza d' un calcio d' un mascalzone, e stimolato a dimandarne eastigo, rispose di non poterlo fare, perche i calci dell' asino non erano stati mai chiamati in giudizio. Marc' Antonio e Botton da Cesena. Ave'ndo maestro Marc' Antonio composto una molto lunga commedia, e di varii atti, Botton da Cesena gli disse, A far la vostra commedia bisogneranno per lo apparato quanti legni sono in lschiavonia. Rispose Maestro Marc' Antonio : E per l'apparato della tua tragedia basteran tre solamente. II ORE DI RECREAZIONE. 395 II Predicatore di poca Memoria. Un Predicatore dovendo fare il panegirico di S. Luca, subito che fu in pulpito, perde talmente la me- moria, che non pote dir altro che il testo del suo discorso, Lucas medicus salutat vos, Luca medico vi saluta. Ripete tarite volte queste parole, senza potersi ricordar d'aitra cosa, che gli uditori stanchi s' alzarono tutti e nelP andarsene, tino di loro disse al Predicatore : Padre, salutatelo altresi da nostra parte. II Missiondrio. Un giorno predicava in una parrocchia di Madrid un celebre Missionario ; tutti gli uditori piangevano, meno uno ; della qual cosa meravigliatosi il predicatore, a quello si rivolse dicendogli, e perche nonpiangitu? Fadre rispose: Io non devo piangere; questa non e la mia parrocchia. I)' uno Scultore. Disegna'ndo i consoli di Firenze di far una statua, chiamarono Donatello, famoso ed eccellente Scultore, il quale inteso *1 disegno, domando per la fattura cin- quanta scudi. I consoli senza proferirgli nulla, la diedero a far ad un aitro Scultore mediocre. Costui fatta che F ebbe, il meglio che seppe, ne domando ottanta scudi. Maravigliatisi i consoli, gli dissero che questo era un burlarsi di loro, giacche Donatello, nomo tanto illiistre, non aveva domandato per farla piu di cinquanta. In somma non potendosi accordare, rimisero la causa ad esso Donatello, il quale sentenzio che i consoli dovessero pagare settanta scudi. Del che alteratisi, ricordandogli ch'egli medesimo di cinquanta s'eravolutocontentare; Donatello graziosamente disse; e vero, mi potevo contentare, perche avrei fatto la statua in meno d' un mese : ma questo povero uomo che a pena potrebbe esser mio scolare, vi ha lavorato piu di sei mesi. Cos! Donatello si vendico argutamente dell' ingiuria ricevuta dai consoli. Amor 396 ORE DI RECREAZIONE. Amor Materno. Nell* anno 1259 fu al comune del popolo di Firenze presentato un bellissimo e feroce leone, il quale era ^inchiuso nella piazza di S. Giovanni. Avvenne, che per malaguardia di colui che il custodiva, usci il leone dalla sua stia, correndo per la terra, onde la terra fu cornmossa a paura. Accade che arrivo in orto S. Michele, e quivi prese un fanciullo, e tenealo fra le branche. Udendo cio la madre del fanciullo, che non avea pin che lui, si mosse come disperata con gran pianto, scompigliata, e ando incontro al leone, e prese il fanciullo dentro le branche del leone, e menolsene di che il leone ne alia madre, ne al fanciullo non fece nulla novita, se non che la riguardo, e stettesi fermo nel luogo suo. II fanciullo vivendo fi\ poi chiamato Orlanduccio del Leone. Una Parola mat intesa. Gli O'ddi fuorusciti di Perugia, e capi della parte avversa a Baglioni, entrarono una notte colle genti loro furtivamente in Perugia, e con tanto spavento de' Baglioni, che gia perduta la speranza del difendersi, cominciavano a mettersi in fuga ; e non dimeno perderono per uno inopinato e minimo caso quella vittoria, che noo poteva torre piu loro la possanza degli inimici, perche essendo gia pervenuti senza ostacolo a una delle bocche della piazza principale, e volendo uno di loro, che a questo efietto avea portato una scure, spezzare una catena, la quale secondo 1' uso delle citta faziose, attraversava la strada, impedito a distendere le braccia da' suoi medesimi, che calcati gli erano intorno grido con alta voce Addietro, accioche allargandosi gli dessero facolta di adoperarsi, la qual voce replieata di mano in mano, da chi lo seguitava, e intesa dagli altricomeineitamento afuggire,messe senza altro impedimento in fuga tutta la gente; non sapendo alcuno da chi cacciati, o per qual ragione si fuggissero, dal ORE DI RECREAZIONE. 397 dal qual disordine preso animo, e rimessisi insieme gli avversari, fecero di loro grandissima carneficina. Astuzia d'un Sacerdote egizidno. I Caldei si elessero per Tcklio il fuoco, e dicevario tutti gli altri Dei essere di nessun valore appresso di lui, ed i Sacerdoti portando quelloper i paesi circonvi- cini, voleano che gli altri Dei gli dessero tributo, o venissero seco in prova, laonde tutti perdevano ; perciocche essendo i simulacri d'oro, d'argento, di bronzo, di legno, o d'altro, venivano dal fuoco consu- mati e guasti; talche lo Dio clei Caldei era il piu ricco per le molte ofierte, che gli erano fatte, ed il piu potente per le moite vittorie avute, che altro Dio che fosse in quei tempi. Ultimamente portando il loro Dio, se ne andarono i Caldei in Egitto per far la guerra agli Dei del paese. La qual cosa considerando un Sacerdote del Tempio di Canopo, e che egli era in pericolo di perdere, 1'ofTerte le ricchezze e la riputa- zione, s'immagino una bella astuzia per difendersi dal fuoco dei Caldei. Egli prese un grande iimaffiatojo di terra, di quelli che son pieni di piccioli pertugi, con cui s'innafnano i giardini, ed empitolo d'acqua, colla cera rituro i pertugi, e di sopra 1' adorno e dipinse di pii\ colori, accomodandovi la testa d' un vecchio simu- lacro di Menelao. Venendo poi i Caldei, ed accostando il loro Dio a quello di Canopo liquefacendo il fuoco la cera, usci fuori Y acqua in gran copia, talmente che spense tutto il fuoco, e cosi rimase vittorioso il sacerdote di Canopo, e d'allora innanzi quel loro Iddio, il quale avea spento il fuoco e superato lo Iddio de Caldei, onorarono. A SHORT ( 398 ) A SHORT INTRODUCTION TO ITALIAN POETRY. THE Origin of the Italian Language and Poetry, together with a Treatise on the different Species of Italian Verses and their Combinations. HAVING row to speak of the different measures adopted in Italian Poetry, it may not be displeasing to the reader to find here some idea of the origin of the Italian Language and Poetry. It is, according to the most general opinion, derived from the alteration and total corruption of the Latin idiom, and the immediate co-operatiou of the dialects of the barbarians, who successively inundated Italy. There have also been many words obtained from the Celtic languages of Italy, the ancient Teutonic, the French, the Spanish, and some few from the Arabic, and the Greek. Various documents prove, that at the commencement of the eleventh century, the writers of Italy began to make use of the new language in poetry. It was then called Romance, to indicate that it was spoken in the country of the ancient Roman empire. The Tuscan people were the first who began to use the new language of Italy, and the first works composed in it were poetic. It was indeed poetry itself which freed the nation from barbarism, and at the same time the Italian Language from obscurity. The commerce of the thirteenth century had raised . Italy to the apex of greatness. Its riches were immense, and the beneficence of princes toward literary men and artists were suitable to their power. At this fortunate period, Dante, Boccaccio, and Petrarch, ITALIAN POETRY. 399 Petrarch, with their divine talents, and their learning 1 , raised the Italian Language, Poetry, and Literature, to the highest pitch of perfection. The Commedia of Dante, which is a treatise of profound philosophy, has long preserved the highest rank in the most enlightened Universities. The Decameron of Boccaccio became the model of the Italian language from its elegance of style, and purity of diction. At last the Canzoniere of Petrarch revived the Muses of Pindar, of Anacreon, of Catullus, and of Ovid. These few remarks may suffice, with respect to the origin of the Italian language and poetry ; as a longer examination would exceed the necessary limits in treating an object entirely devoted to literature. I. Of Italian Versification. Italian verse consists of a certain number of syllables and rhyme. But they have also their blank verse. There are eleven syllables in the heroic verse, which is used in Epic poems, theatrical pieces, sonnets, &c. Varcar ti converra Vondafunesta. Beside the heroic, there are lesser verses, consisting •of ten syllables, as Sazierete la fame de corvi Mercenarie falangi di schiavi. Or of nine, as Ben mi rivolgo al dolce loco. Or of eight, as I pensier mandiamo in bando. Or of seven, as Innamorato spirto. Or of six, as Lefede giiirdta. Or of five, as Chi pub mirarvi. Or of four, as In due modi. The Italian verse, of whatever number of syllables it consists, has always the accent on the penultima, ex- cept it be what they call versi sdruccioli, or slippery verses 400 A SHORT INTRODUCTION verses, which are accented on the an tepen ultima ; but then they have a syllable more than the ordinary sort of verse. Thus if the ordinary sort of verse has eleven syllables, the sdrucciola belonging to it has twelve ; as, V arco ripiglia ilfanciullin di Venere. If the ordinary verse has eight syllables, the sdrucciola will have nine, and so on. The verso tronco is of ten syllables ; as, Monte Pulciano d' ogni vino e il Re. The heroic verse, or that of eleven syllables, is divided into two parts ; the place where this division is made, is called the cesura. The cesura is not always equal, that is, the first hemistich or half verse does not always contain the same number of syllables; for this depends gu the predominating accent, as the cesura is always at the end of the word on which you find this accent. Now this accent may be either on the fourth, or on the sixth syllable of the verse; which occasions several sorts of cesuras ; the best are those on the fifth or seventh syllable. On the fifth. Giunger gia pdrmi, e dirle, o fida Clori. On the seventh. Qudlche nuovo sospiro, imparerdi. Whenever a word ends with a vowel, and the next word begins also with a vowel, this admits an elision, as Presso e il di, che cangidto H destin rio. Sometimes a concurrence of syllables forms but one syllable, whether in the same, or in different words, as Disse, e ai venti spiegb vele, ed andonne. Diphthongs form but one syllable in the middle of a verse, and two in the end, as Ed io del mio dolor ministro fui, where io and mio form each but one syllable, and fui, two. Whereas in the following verse, Favola fui gran tempo, onde sovente, fui, on account of its being in the middle of the verse, makes but one syllable ; so in the following verse, Odo 7 risponder dolce : Tirsi mio : mio, as being at the end of a verse, makes two syllables. This is to be particularly observed. Verses to ITALIAN POETRY. 401 Verses consisting of ten syllables are accented on the third and sixth syllables, as Almo sole die in Citlo risplendi Col settemplice rdggio fecondo. Verses of nine syllables have the accent on the third and sixth, as Col nemico sul mo.r s'affr6?ita. Or on the second and fifth, as Non vi vede ognora ascoso. Or on the fourth and sixth, as Hen mi rivolgo al do Ice loco. Verses of eight syllables are accented on the third, as Qudndo accende un nobil -petto JE' innocente un puro affetto. Verses of seven syllables, besides the accent on the penultima, have not other regular accents ; but if the accent is on the fourth, the verse will be harmonious, as Ninfa di corferoce. Verses of six syllables are accented on the second, as Delle Api ingegnose II Hondo licor. Verses of five syllables have the accent on the first, sometimes on the second, or on the third, as Sei fra i perfetti Bei bamboletti. Verses of four, three, and two syllables, are accented on the penultima. II. Of the Rhyme. The Italian rhyme begins from the vowel of the penultima : hence amdnii does not rhyme to dirti, but to sernbidnti, and so on. The Italians do not rhyme, as we clo, in couplets, but make several combinations of their rhymes : and these form their different compositions in verse. III. Of the different Compositions in Verse. The Italians compose their heroic poems of stanzas of eight verses, which they call octaves. In these the first verse rhymes to the third and fifth, the second 402 A SHORT INTRODUCTION second to the fourth and sixth, and the seventh to the eighth; as, Cinta di vivofonte, onde discende Onda mormoratrice in suo vidggio, S' erge foresta, che del sol contende Nell' dnno ardente ivi V entrdta al rdggio ; Doppio sentier che s'interseca fende In qudttro pdrti il bell* orror selvdggio E di belV deque cristalline e chidre Ha ciascuna nel grembo un picciol mdre. Chiabre'ra. There are other sorts of stanzas, called sestine, con- sisting of six verses, the first of which rhymes to the third, the second to the fourth, and the two last to each other; as, Dive che 'I sdcro ed onordto fonte Dove gloria si beve in gudrdia avete, Dal vostro ombroso e solitdrio monte Un tempio meco afabbricdr scendete, Un tempio ov y immortal poscia s' adori Questa donna de* Gdtti, e dea de cori. Mari'no. The Italians have a third manner of disposing their heroic verse, which they call terza rima, or terzetti. They put three verses in every stanza, the first and third rhyme to each other ; the second rhymes to the first and third of the second stanza ; and the second of the second stanza, to the first and third of the third stanza. But at the end of the canto or poem there must be a stanza of four verses, in order that every verse may have its rhyme, as Gli dnni son al voldr si lievi e presti, Ck 7 alfine dltro non e ck' un volver oV occhi Questo che poi vi lascia offiitti e mesti. Perb pria che V offesa in noi trabbechi, Armdte 7 petto incontro dlla fortuna, Che vdno h V aspettdr che H colpo scocchi. Cosi to ITALIAN POETRY. . 403 Cost dicendo, al raggio de la luna, Che gli Scchi miferia, rivolse il viso, Poi salutb le stelle ad una ad una; E lieto se n andb nel paradiso. Sannazar. There are also terza rima in verse, called sdruc- violo, or slippery ; as, Quantunque Opico mio sii vecchio, e c&rico] Di senno e di pensier, cKin te si covano, Deh pidngi or 7neco, e prendi il mio rammdrico : Nel mbndo oggi amid non si trovano, &c. A fourth manner of arranging heroic verse in Ita- lian, is what they call qudrta rima, when the first rhymes to the fourth, and the second to the third. Example. Contra gli assdlti di Nettun spumdnti, Qudndo Austro a sdegno ed Aquilone il move ; E contra i lampi e 'Ifulmindr di Giove Ha V ingegno 7iiortdle, onde si vdnti : Ma contra i cblpi dellafdlce oscura. Che drma di mbrte V implacdbil mdno, Invdno ingegno s' affatica, invdno Stdme di vita contrastdr procura. Chiabre'ra. But the Sonnet is the favourite composition of the Italians : it is divided into two quaderndrj, consisting each of four verses ; and two terzetti, each of three verses. The two quaderndrj are ranged two different ways: the first and most usual is, when the first rhymes to the fourth, fifth, and eighth, and the second to the third, sixth, and seventh. The other, less usual, when the first rhymes to the third, sixth, and eighth ; the second to the fourth, fifth, and seventh. There are also two different sorts of arrangement, in regard to the two terzetti, or the six last verses ; one is, to make the three verses of the first terzetto, of three different 404 A SHORT INTRODUCTION different rhymes; and the last terzetto answering to those three rhymes in whatever order you choose ; as Solo e pensoso i piic deserti cdmpi Vo misurdndo a pdssi tdrdi e lenti, E gli occhi porto per fuggire inienti, Dove vestigio umdn V arena stdmpi. A'ltro schermo non trovo, die mi scdmpi Dal manifesto accorger de le genti : Perche ne gli dtti d' allegrezza spenii, Difuor si legge, com' io dentro avvdmpi. Si ch'io credo omdi, die monti e pidgge, EJiumi e selve sdppian di che thnpre Sia la mm vita, ch? e celdta altrui. Ma pur si dspre vie, ne st selvdgge Cercdr non so, che amor non venga sempre. Ragiondndo con meco, ed io con lui. Petrarca. The other arrangements of the two terzetti are, to make the first verse rhyme to the third and fifth, and the second to the fourth and sixth ; as, Qudndo il grdn Scipio dalV ingrata terra Che gli fit pdtria e 7 cener suo non ebhe Esule egregio si pariia, qual debbe Uom che in suo cor m.dschio valor rinserra; Quei che seco pugndndo andar 'sotterra, Ombre famose onde si Italia crebbe, Arser di sdegno, e il duro esempio increbbe Ai Genj delta pace e delta guerra. E seguirle fur viste in atto altero SulV indegna fremendo ojfesa atroce Le virtu antiche del Latino Impero. E allor di Stige sulla nigra f bee, Di lui che V Alpi superb primiero Rise V invendiedta ombra feroce. Frugoni. In the two preceding sonnets the two quademdrj are arranged alike, that is, the first verse rhymes to thefourth, fifth, and eighth. We shall give here an instance of the to ITALIAN POETRY. 405 the other sort of quaderndrj, where the first verse rhymes to the third, sixth, and eighth ; the second to the fourth, fifth, and seventh. Example. Gittb Vinfame prezzo e disperato - U albero ascese il venditor di Crista, Strinse il laccio, e col corpo abbandonato DdlV irto ramo penzolar fu visto. Cigolava lo spirto serrato Dentro la strozza in suon rabbioso e tristo t E Gesii bestemmiava e il suo peccato, Cti empia Vaverno di cotanto acquisto. Sboccb dal varco alfin con un ruggito, Allor giustizia Vafferrb, e sul monte Nel sangue di Gesil tingendo il dito. Scrisse con quello al maledetto infronte Sentenza di mortal piunto hifinito E lo piombb sdegnosa in Acheronte. Monti. There are likewise other compositions, consisting of an intermixture of larger and smaller verses, which maybe infinitely varied ; some stanzas consisting of twelve or thirteen, some of seven, eight, or eleven verses. The most common are of twelve, which fre- quently consist of two sorts of verse, •viz. those of eleven or seven syllables. Sul punto di mia morte, O'cchi, d'un gudrdo non mi sidte avdri, E sia di quei che sono a voi men cdri. Con solltcito studio amor non terga I rdi di sua beltdte, E col riso, e col gioco, e col diletto, Ne di quella dolcezza egli V asperga, Ne di quella pietdte, Che alirki ragiona ifreddi cor nel petto ; Solo un giro negtttto, Ne flan morendo i miei sospir amdri. Chiabr. There 406 A SHORT INTRODUCTION There is also a singular beauty in stanzas of seven, eight, or eleven verses ; examples of which may be seen in the Lyric Poets. Chiabre'ra particularly abounds with a great variety in his canzonette. Examples. O'cchi armdti di splendore, O'nde ambre Per bedre drde le genti, Se la gioia del mirdrvi Giusto pdrvi Che costdr debba tormenti. Or, Poiche amor fra V erbe e ifibri Tra dolcezze, e lieti cdnti, Per temprdr del cor gli ardori, Scorti avca gli accesi amdnti ; Ne' sembidnti Lieto dncJi ei, con lor sasside SulV erbetta, e, scherza e ride. Or, Core diselcealpestra, Fervido ad innasprir gli altrui tormenti, Con nuova crudeltdte ! Omdi stdnca e mia destra In sulla lira ad iterdr gli accenti U'si a sveglidr pietdte ; Ne femminil beltdte Spera, pregio sembidnte in Elicona, Se di quei vdghijior tesse corona Per tuo gentil valore. Or, TO ITALIAN POETRY. 407 Or, Vdni desiri Co* rei martiri Non piil ci stieno intorno ; Che pompa, ed ostro ? II viver nostro Puossi chiamdr un giorno. Cingiti Clori di bel mirto adorno, JE di rubini Cospergi i crini, Via piu die lucid' oro, a mirdr cdri. Or, Qadndo V A'lba in oriente, L' dlmo sol s'appresta a scorgere, Su dal mdr la veggidm sorgere, Cinta in gonna rilucente, O'nde lam-pi si diffondono, Che le stelle in cielo ascondono. The Italians are celebrated for their madrigals and epigrams, which are composed of all sorts of verse, long and short, according to the fancy of the poets ; as, Di se stessa invaghita, e del suo hello Si specchidva la rosa In un limpido e rdpido ruscello Quando oV ogni suafoglia Un aura impetuosa La bella rosa spbglia. Cddder nel rio le spoglie ; il riofuggendo, Se la porta correndo, E cost la beltd, Rapidissimamente — oh ! Dio sen va. Lemene. Fdbio, 408 A SHORT INTRODUCTION Fdbio, se qudndo in pubblico ragioni Una spietdta tosse ti molesta, Non ti prenda timor de J tuoi polmoni, Che la sede del male t nella testa, Bertola. They have also their verso sciolto, or blank verse, of eleven syllables, where the measure is observed, with- out rhyme, as the following : Ahi, die al solo pensdrlo entro le vene Difoco un fiiime mi trabocca, e tuiti Tremano ipolsi comhaituti e Vossa ! Monti. This verse is used in tragedy, and often in Epic poems. IV. Of the Poetical Licences. The Italians use very great liberties in their versifi- cation ; not only their poets adopt several words which are not allowed in prose, but they likewise make fre-' quent use of elisions ; these elisions are introduced for the sake of variety, but are never permitted at the end of a verse. They not only drop the final vowel before words beginning with a vowel, but even before those that commence with a consonant, as jier draconi, for fieri ; and sometimes they drop the consonant that precedes this final vowel animdi for animdli. They likewise lengthen a great many words that have a grave accent on the final, by adding an e or an o, as jft/e for fu,feo fovfe', poteo for poih. It is custo- mary with them also to have recourse to contractions and syncopes, as porre for po?iere, ponno for possono, vo' for vogliono, u for 6ve, and others, which may be learnt by 1 reading the Poets. They write some words in a particular manner, as sui for suoi nut for noi, ferute for ferite, faro for faro, spene for speme, &c In short, there is hardly a language, not even except- ing the Greek, that uses more figures or changes of words in their poetry, than the Italian. A COLLECTION ( 409 ) A COLLECTION OF BEAUTIFUL PASSAGES FROM THE MOST CELEBRATED ITALIAN POETS. CE'RBERO - Descritto dal Dante. Ce'rbero, fiera crudel, e diversa, Con tre gole, caninamente latra Sovra la gente che quivi e so'ramersa. Gli occhi ha vermigli, e la barba unta ed atra, E'l ventre largo, ed unghiate le mani : Grafria gli' spirti, gli scuoja, ed isquarta. Bellezza di Laura. Petrarca. In qual parte del Ciel, in quale idea, Era T esempio, onde natura toise, Quel bel viso leggiadro, in che ella volse, Mostrar quaggiu, quanto lassu potea ? Qual nirifa in fonti, in selve mai qual Dea, Chiome d'oro si fino all' aura sciolse? Quando un cor tante in se virttrti accolse? Benche la somma e di mia morte rea. Per divina bellezza indarno mira, Chi gli occhi di costei giammai non vide Come soavemente ella gli gira. Non sa come amor sana e come ancide, Chi non sa come dolce e]la sospira, E come dolce parla, e dolce ride. T La 410 CONCETTI POETICI. La Vergine Ariosto. La verginella e simile alia rosa, Che 'n bel giardin, sulla nativa spina, Mentre sola e sicura si riposa, Ne gregge ne pastor se le avvicina ; L' aura soave e 1' alba rugiadosa,_ L' acqua, la terra al suo favor s'inchina Giovani vaghi e donne innamorate, A'mano avere e seni e tempia ornate. Ma non si tosto: dal materno stelo Rimossa viene, e dal suo eeppo verde, Che quanto avea dagli uornini, e dal cielo Favor, grazia, e beliezza tutto perde, La vergine che '1 tior, di che piu zelo Che de' begli occhi e della vita aver de, Lascia altrui corre, ii pregio che avea innanti, Perde nel cor di tutti gli altri amanti. Soliloquio d' Amarilli, nel Pastor Fido di Guari'ni. O Mirti'llo, Mirtillo, anima mia, Se vedesti qui dentro, Come sta il cor di questa Che chiami crudelissima Amarilli; So ben, che tu di lei Quella pieta che da lei chiedi, avresti. O anima in amor troppo infelice ! Che giova a te, cor mio, l'esser amato ? Che giova a me l'aver si caro amante ? -Perche crudo destino, Ne disunisci tu, s'amor ne stringe ? E tu perche ne stringi, Se ne parte il destin, perfido amore ? O fortunate voi fere selvagge, A cui 1'alma natura Non die legge in amar se non d'amore. Legge umana inumana, Che dai per pena dell' amar la morte! CONCETTI POE'TICI. 411 " Se'l peccar e si dolce, " E'l non peccar si necessario, o troppo " Imperfecta natura, ** Che repugni alia legge ! il O troppo dura legge, " Che la natura offendi !" Ma che? poco ama altrui, chi'l morir teme ; Piaeesse pur al ciel, Mirtillo mio, Che sol pena al peccar fosse la morte! Santissima onesta, che sola sei D'alma ben nata inviolabil Nume, Quest' amorosa vo^lia, Che svenata ho col f'erro Del tuo santo rigor, qua! innocente Vittima a te consacro. E tu, Mirtillo, anima raia, perdona A chi t'& cruda sol dove pietosa L'esser non puo : perdona a questa sola Ne' detti, e nel sembiante Rigid a tua nemica ; ma nel core Pietosissima amante. E se pur hai desio di vendicarti, Deh ! qnal vendetta aver puoi tu maggiore Del tuo proprio dolore ; Che se tu se' '1 cor mio, Come sei pur malgrado Del cielo, e della terra, Qualor piangi, e sospiri, Quelle lagrime tue sono il mio sangue, Que' sospiri, il mio spirto, e quelle pene, E quel dolor che senti, Son miei, non tuoi tormenti. II Mattino. Pari'ni. Sorge il mattino in compagnia dell' alba, Innanzi al Sol che di poi grande appare, Su l'estremo orizzonte a render liete Gli animali e le piante e i campi e i'onde. Allora il buon villan sorge dal caro Letto, cui la fedel sposa e i minori, t 2 Suoi 412 CONCETTI POETIC1. Suoi figlioletti intiepidir la notte ; Poi sul collo recando i sacri arnesi, Che prima ritrovar Cerere e Pale, Va col bue lento innanzi al campo e scuote, Lungo il picciol sentier da' curvi rami II rugiadoso umor, che, quasi gemma, I nascenti del Sol raggi rifrange. Allora sorge il fabbro, e la sonante Officina riapre, e all' opre torn a 1/ altro di non perfette. ... A Dante* Alfie'ri. O GRAif padre Alighier, se dal ciel miri, Me tuo discepol rion indegno starmi, Dal cor traendo profondi sospiri, Prostrato inanzi a' tuoi funerei marmi. Piacciati deh! propizio ai be' desiri D'un raggio di tua luce illuminarmi ; Uom che a primiera eterna gloria aspiri, Contro invidia e vilta de' stringer Y armi ? Figlio i le strinsi, e assai men duol, ch' io diedi 7 Nome in tal guisa a gente tunto bassa Da non pur calpestarsi co' miei piedi ! Se in me fidi, il tuo sguardo a che s' abbassa? Va, tuona, vinci : e se fra' pie' ti vedi Costor, senza mirar sovr' essi passa. Descrizione cC un Crisio legato alia Colonna. Madrigale. Di marmo e la Colonna, Di marmo son gli empj ministri, e rei ! E tu pure, Signor di marmo sei ! Marmo ella e pur natura, Marmo quei per durezza, Tii marmo, per constanza e per fortezza ; Ed io, che di pietade, e di cordogiio Spettator ne rimango, Marmo son, se non piango. Begli CONCETTI POE'TICI. 413 Begli Occki. Guari'ni ne suoi Madrigdlu O'cchi, stelle mortali, Ministri cle' miei mali ; Che'n sogno anco mostrate, Che'i mio morir bramate ; Se cbiusi m' uccidete, Aperti che farete ? Amore. Lui'gi Alama'nni. Chi vuol dar legge all' amoroso nodo Non sa ben qual sia la sua natura : L'un d'tina cosa, ed io dell' altra godo, Chi am a lo spirto, e chi sol la %ura, Chi diletta la vista, chi F udire, Chi sf6s:a 6°;ni desir solo in servire. Amdnte Perfido. Ariosto. L'am ante per aver quel che desia, Senza guardar che Dio tutt'ode, e vede, Avviluppa promesse, giuramenti ; Che tutti spargon poi per l'aria i venti. Amdnte Timido. Ta'ssoS Ei che modesto e si, com' essa e bella, Brama assai, poco spera, e nulla chiede, Ne sa scoprirsi o non ardisce : ed ella O lo sprezza o no 'i vede, o non s'avvede, Cos! sin' ora il misero ha servito, O non visto, o mal noto, o mal gradito. La 414 CONCETTI POETICI. La Lusinga. Bondi. Da gran tempo i mali miei, Col morir tinito avrei ; Ma la credula speranza Mi tien vivo, e sempre dice, Che men triste ed infelice, Sara forse il nuovo di. Ma il dj nuovo, che succede Infelice ancor mi vede, E la speme che mi avanza Non mi lascia nel patire, Ne il coraggio di morire Ne* di vivere cosi. Donna Timida. Ariosto. Con cor tremante, e con tremante piede Fugge la tapinella, e non sa dove : In cio ch'intorno ascolta, in cio che vede, Vede di nuovo orror sembianze nove ; Lieve arboscel, cui debil aura fiede, Lieve foglia che cade, o che si scote, Di terror doppio, il dubbio cor percote. Guari'ni nel Pastor Fido. Atto I> scena 4. La misera tacendo Per soverchio desio lutta si strugge ; Cosi perde belta, se'l foco dura, E perdendo stagion, perde ventura. II Simulacro d' 'Amove Scolpito da Canova. GlIERARDO DE ROSSI. Fu bugiardo, o Canova il tuo scalpello, Effigiando Am ore Se avesse il volto si gentile e bello, Avria si crudo il core ? GiuSco CONCETTI POETICI. 415 Giuoco di Parole. Nel mio primiero ci si vede cbiaro, Gurva il secondo e piu nol troverai ; L* intero e sacrossanto a tutti caro, Ne parlan sempre e non si vede mai. Amore assomiglidto all' A'pe. Ta'sso nelt Aminta, Pi'cciola e 1' A'pe, e fa col picciol morso Pur gravi, e pur moleste le ferite ; Ma qual cosa e piu picciola d'amore Se in ogni breve spazio entra, e s'asconde In ogni breve spazio? or sotto all' ombra Delle palpebre, or tra minuti rivi D'un biondo crine, or dentro le pozzette, Che forma un dolce riso in bella guancia; E pur fa tanto grandi, e si mortali, O cosi immedicabili le piaghe. Guarini nel Pastor Fido. Atto 4, scena 2. Se le parole mie Fosser anime tutte, E tutte al vostro onore Oggi le consecrassi, alle dovute Grazie, non basterian di tanto dono. Donna Picciola. Ta'sso. Picciojle'tta "Isabella, Picciola o grande nominar degg' io La tua belta en' innamma il mio desio? Che picciola la fronte, il crin, le ciglia, Piccioletta hai la man, la bocca, il piede ? I passi, le fattezze, i bei sembianti Gli abiti, il velo, i guanti, La 416 CONCETTI POETICI. La cameretta, il letticeiuol, la sede ; Ma pur gran maraviglia! Fra tante cose picciole si vede Che quel che rimirando io sento al core, Non e picciolo ardore. Descrizione d'un Cespuglio. Ariosto. . E / cco non lungi un bel Cespuglio vede, Di spin fioriti, e di vermiglie rose, Che de le liquid' onde a specchio siede, Chiuso dal sol fra 1'alte querce ombrose : Cos! voto nel mezzo, che concede Fresca stanza fra l'ombre piu nascose, E la foglia coi rami in modo e mista. Che'l sol non v'entra, non che minor vista. Bentro letto vi fan tenere erbette, Ch'invitano a posar chi s'appresenta. A Diana. Fan ton i. Ve'rgin dall' arco nella caccia forte Face del Cielo, quando Febo dorme, Speme di spose, che rapisci a morte, Diva triforme. A te consacro questo pin, che inalza Fra 1'ardue nubi la chiomata fronte, E i negri lecci della curva balza Figlia del monte. Strage del gregge, e dei pastor spavento, Schiera s'annida d'afFamati lupi, Che van predando cento capre e cento Per queste rupi. Le mai di vita il braccio tuo le priva Se nelP insidie tu a cader gli adeschi, Appender voglio alia magion votiva, Gli orridi teschi. II CONCE'TTI POETICI. 417 II Sogno. VlTTORELLI. Ascolta, o infida, un sogno, Delia trascorsa notte Parevami le grotte D' Alfesibeo mirar : D' Alfesibeo che quando, Alza la verga brtina Fa pallida la luna, Fa tempestoso il mar. Padre, io gridai, nel fianco Ho una puntura acerba. Con qualche magic' erba, Sanarai per pieta. Rise il buon vecchio e disse; Fuggi colei che adori ; E r rbe per te migliori Alfesibeo non ha. / Castelli in Aria. Bertola. Una sera al focolare, Si sedean Dorillo e Nina : Ei dicea : veder regina, Ti vorrei di terra e mar : Di superbe vesti adorna, E di gemme preziose. . . . Ma perche, Nina rispose, L' impossibile bramar ? Se formar desiri godi, Brama il prato ognor piu erboso, Brama il gregge numeroso ; Lello al fin che aver si puo. A che pro V altro rispose, Se provai fmor bramando Che il piacer vien meno quando L' alma ottien quel che bramo. t Belle 418 CONCETTI POETICI. Belle Gudncie. Chiabrera. Be'lla guancia che disdori GH aimi onori, Che sul viso ha P alma Aurora; Onde il pregio ad ogni volto Ella ha tolto, Che sul Cielo oggi s'onora. Te vo' dir guancia fiorita, Colorita Del pill bel ch' ebbe natura : Te vo* dir, che non hai fiore, Che nel core Sappla darrai una puntura. Che fai tu, se mi dai segno Di disdegno? Mi ti mostri piu verrniglia, Per tal modo sei cortese. Nelle ofifese D'una nobil meraviglia. Nevi candide cosparte, Con bell 1 arte Infra porpora si bella ; Ben vorrei lodarvi appieno, Ma vien meno La virtu della favella. Vostra gloria da' miei detti Non s'aspetti, Chi cio brama in van desira : Come no ? se per dolcezza, Di bellezza Divien muto chi vi mira. Le donne che non invecchiano. Gherardo de Rossi. Io so ben che le pudiche, Bonzellette a Cintia amiche Ad Amor tagliando P all, S' involarono a' suoi strali ; Di Ciprigna a#e le amate Vaghe ancelle innamorate, Per non crescer negli anni, Han tarpato al tempo i v&nni. JEpitajffb CONCETTI POE'TICI. 419 Epitaffio per un Parascito. G. de Rossi. Il cener freddo del cantor Melitto Questa, brev' urna in se racchiuder pud, Appena una Piramide d' Egitto, Racchiudere potria quanto mangio. ARIA Del METASTASIO. Speranza. Perche x gli son oompagna, L' estivo raggio ardente V agricoltor non sente, Sucla, ma non si lagna Dell' opra e del sudor ; Con me nel career nero Ragiona il prigioniero, Si scorda affanni e pene, E al suon di sue catene Cantando va talor. ODE TRIONFALE. Del METASTASIO. CORO. Lodi al gran Dio, che oppresse Gli empj nemici suoi, Che combatte per noi Che trionfo cosi. Giuditta. Venne Y Assiro, e intorno Con le falangi Perse Le valli ricoperse, I fiumi inaridl. Parve oscurato il giorno, Parve con quel crudele Al timido Israele Giunto 1' estremo di. Coro, &c. Giuditta 420 .CONCETTI POETICI. GlUDITTA. Fiamme, catene e morte Ne minaecio feroce ; Alia terribil voce Betulia impallidi ! Ma inaspettata sorte L' estinse in un momenta E come nebbia al vento, Tanto furor span. Coro, &c. GlUDITTA. Dispersi abbandonati I barbari fuggiro ; Si spavento Y Assiro, II Medo inorridi : Ne fur giganti usati Ad assalir le stelle ; Fu Donna sola, e imbelle, Quella ehe gli atterri. Coro, &c. EFFETI della PACE ARIA, Del METASTASIO. In prato, in foresta, Sia 1' alba, o la sera, Se dorrne talor, Non turba, non desta La tromba guerriera Dal sonno il pastor. Le CONCETTI POETICI. 421 Le madri sicure D' insidie, e perigli, Se i teneri figli Si stringono al petto, Impulso e d' affetto, Non piu di timor. ARIA Del METASTASIO. Nella face, che risplende, Crede accolto ogni diletto, Ed anela il fanciulletto A quel tremulo splendor ; Ma se poi la man vi stende, A ritrarla e pronto invano, Che fuggendo allor la mano, Porta seco il suo dolor. ARIA Del METASTASIO. Saro qual madre amante, Che la diletta prole Minaceia ad ogni istante, E mai non sa punir. Alza a ferir la mano, Ma il colpo gia non scende, Che amor la man sospende Nell' atto del ferir. ARIA 422 CONCETTI POETICI. ARIA Del METASTASIS Amor Timido. Placido zeffiretto, Se trovi il caro oggetto, Digli che sei sospiro, Ma non gli dir di chi. Limpido ruscelletto Se mai t'incontri in lei, Dille che pianto sei, Ma non le dir qual ciglio Crescer ti fe' cosi. Dello Stess-o. Leon piagato a morte Sente mancar la vita, Guarda la sua ferita, Ne s' avvilisce ancor. Cosi fra 1' ire estreme * Rugge, minaccia, e freme, Che fa tremar morendo Talvolta il cacciator. ARIA Del METASTASIO. Leon ch' errando vada Per la natia contrada, Se un agnellin rimira, Non si commove ad ira Nel generoso cor. Ma se venir si vede Orrida tigre in faccia, L' assale, e la minaccia, Perche sol quella crede Degna del suo furor. CANTATA CONCE'TTI POETICI. 423 CANTATA Del METASTASIO. Contro T Ingratittjdine. Benche' di senso privo Fin 1' arboscello e grato A quell' amico rivo, Da cui riceve urnor : Per lui di frondi ornato Bella merce gli rende Quando dal sol difende II suo benefattor. ODE sopea la VIRTIP Del METASTASIO. Se bramate esser felici, Alme belle, e in questa schiera L' innocente la sincera La fedel felicita. Quel piacer fra noi si gode, Che contenta, e non ofFende, Che resiste alle vicende Delia sorte, e dell' eta. Qui la sferza del rimorso, Qui Y insulto del timore, Qui P accusa del rossore, Come affligga, il cor non Sa. Del piacer, che i folli alletta, E x il sentier fiorito e verde ; Ma tradisce, e vi si perde Di tornar la liberta.— A Col- ( 42'4 ) A Collection of Superscriptions of T T Italian Letters. IT is not my design to instruct in the epistolary art, for in this every one follows his fancy, but to make the learner acquainted with the titles and honourable appellations given to persons with whom we preserve an epistolary correspondence ; and as they are written in abbreviation, I have here arranged them at length in alphabetical order, that they may be the more easily understood. Aff ™. Affezionatissimo. Affettuo™' Affettuosissimo. Affettuo te - Affettuosissimamen te. Aff»: Affezionato. A. Altezza. Amat mo - Amatissimo. V. A Ser ma - Vostra Altezza Serenissima. V. A. R. Vostra Altezza Reale. Beat™-' Beatitudine. V. B. Vostra Beatitudine. Beat™' Beatissimo. Beat™- P* Beat'issimo Padre. Car™- Carissimo. Car ma ~ CarUsima. Col™ : Colendissimo. Crist™- Cristianissimo. Crist ma - Cristianissima. Divot™' Divotissimo. Ecc te - Eccellente. Ecc™- Eccellentissimo. Ecc a ' Eccellenza. V. Ecc :a Of Titles and Distinctions, &c. 425 Vostra Eccellenza* Eminentissimo. Eminenza. Vostra Eminenza. Illustre. Illustrissima. . v Illustrissimo. Maesta. Sua Maesta, Maesta Britannica. Magnijico. Molto. Nostro. Obbligatissimo. Onordndo. Osservandissimo. Paternita. Vostra Paternith, Vostra Paternita Reverendissima. Particolarissimo. Padre. Padrone. Padrona. Reverendo Reverendissimo. Reverendissima. Riveritissimo. Santitct. Vostra Santitct. Santissimo. Santissimi. Serenissimo. Serenitd. Servitore. Signore, ra. sing. Signore, m. sing. Signora. Signori. Signore, f. plur. Vossignoria. Vossignoria Illustrissima. Venerdndo. Of 426 Of Titles and Distinctions, &c. Of TITLES and Honorable Appellations used in Italian Letters. Observe that the Italians put the date in the last line of the letter, and none but merchants and trades- men put it at the top. To the Pope, — Alia Santitd di nostro Signore Pio set- timo — In the beginning of a letter, and in the discourse, V. Santitd, or V. Beatitudine. — In the conclusion, e con ogni umiltci le bdcio i santissimi piedi. Di V. Std, Umilissimo, Divotissimo, ed Ossequiosissimo Servo.- Di Parigi, ilprimo di Genndjo, 1823. To a Cardinal. — AlV Eminentissimo, e Reverendissimo Signor Cardinal O'rsi. — Eminentissimo Sign6?-e, e Padrone Colendissimo. — In the middle of the letter, V. Eminenza. — E per fine a V. Eminenza bdcio la sdcra porpora, e da Dio le prego ogni mag- gior grandezza, e felicita ; or, per fine le bdcio umilissimamente le mdni. Di V. Eminenza, Umi- lissimo, Divotissimo, ed Obbligatissimo Servitore. Di Parigi, i 3 Mdrzo, 1826. - Observe, that when the Princes Cardinals are at Rome, they are called by the title of Eminence, and not Highness; pope Innocent X. having so ordered it. To a Patriarch, an Archbishop, a Bishop, a Nuncio, a Prelate. — AlV Illustrissimo e Reverendissimo Si- gnore Prone mio Colendissimo, Monsignore di Beaumont, Arcivescovo di Parigi. AW Illustrissimo e Reverendissimo Signor Prone mko Colendissimo Monsignbr di Choiseuil, vescovo di Chalons. Illustrissimo Rev. Signore, Prone mio Colendissimo. E con profondo rispetto, e sommessa riverenza le bdcio le sdcre vesii. Di V. S~ Ille e Rev. Umilissimo, Divotissimo, ed Obbligatissimo Servitore. Di Parigi, i 6 Mdggio, 1826. If it be a cardinal that is a bishop or archbishop, you are Of Titles and Distinctions, &c. 427 are to make use of titles belonging to such cardinals as are not princes. To a Regular Abbot. — Al Reverendissimo Pddre Prone mio Colendissimo il Pddre D. Anselmo N. Abate di N. — In the beginning, Reverendissimo Pddre, e Prone Colendissimo. — At the .end, Reverentemente bacidndo le mdni a V. P. R ma - la prego per sin- goldr grdzia volersi ricorddr di me ne* siioi colloquj con Dio. Di V. P. Rev., Umilissimo, ed Obbliga- tissimo Servitore. Di Parigi, i 7 Giiigno, 1826. To a Canon, a Curate, a Priest. — Al molto Illustre e molto Reverendo Signore, e Prone Colendissimo il Signore V. canonico, or arciprete di, fyc. If it be a person of distinction you must say, alV III™- e Rev™ 4 Sig re ' Padrone Colendissimo. To a Vicar General. — Al Reverendissimo Pddre mio Osservandissimo il Pddre N. iV. Generdle de* P. P. — In the beginning, Reverendissimo Pddre, e Prone Osservandissimo. — At the conclusion, Di V. P. Rev., Umilissimo ed Obbligatissimo Servitore. To a Prior, Rector, Guardian, or Superior. — Al molto Reverendo Pddre e Prone Osservandissimo il Padre N, Priore, Rettore, or Guardidno, &c. de y P. P. N.— In the beginning, Molto Reverendo e Prone Osservandissimo. — At the conclusion, E le bdcio umilissimamente le mdni. Di V. P. molto Rev., Umilissimo ed Obbligatissimo Servitore. Di Parigi, gli 8 Agbsto, 1826. To a Friar Priest. — Al molto Reverendo Pddre, or Al molto Rev do - Pddre e Prone Osservandissimo, il Pddre N. dell ' or dine di San N. — In the beginning, Molto Reverendo Pddre. — At the conclusion, E per fine a V. P. bdcio con ogni affetto le mdni, e mi raccomdndo alle sue orazioni. Di V. P. molto Rev., Umilissimo ed Obbligatissimo Servitore. To a Lay Brother. — Al molto onordndo Fratello in Cristo fra' Agostino N. or dine di N. or nel Con- vento de P. P. di, &c. — In the beginning, Molto Onordndo Fratello in Cristo. — At the conclusion, E per 428 Of Titles and Distinctions, &c. per fine vi bdcio affettuosissimamente le mam. Mblto Onordndo Fratk.Uo in Cristo. Divotissimo ed Affeituosissimo Servitore. Di Parigi, i 9 di Settembre, 1826. To the Emperor. — Alia Sacra Cesdrea ed Impcridle Maestd delV Imperatbre — Sdcra Cesdrea Maestd. — In the course of the letter, Vostra Maestd. — At the end, E per fine a V. M. bdcio umilissimamente le mdni, pregdndo Dio, che la colmi di tutte le maggibri e piii desiderdbili felicitd. Di V. Cesdrea Maestd Umilissimo, Divotissimo, ed Ossequiosissimo Servitore. Di Parigi, i 10 Luglio, 1826. To the King of France. — Alia Sdcra Real Maestd del lie Cristianissimo. Ox, Alia Cristianiss.ima Maestd del Re di Frdncia. Or, Alia Sdcra Maestd del Re di Frdncim. — In the discourse, Vostra Maestd, or Sire. — x4t the end, Colmi Dio N. Signore le felicitd presenti della Maestd Vostra, oVdltre nuove (a piil grdndi) nelV avvenire. Di Parigi, gli 1 1 Novembre, 1826. — Or, Conservi Iddio lungamente V. M. a quelle prosperitd, che sbtto ilfelicissimo, e gloriosissi?no suo governo, Ella fa godere a'-suoi popoli. D. V. M. Crist. ; Umilissimo, Divotissimo, ed Ossequiosissimo Servitore. To the King of Spain. — In the beginning, Alia Sdcra Cattolica Real Maestd del Re di Spdgna. — SIRE. — At the end, E per fine prego Iddio cli a V. M. conceda ogni grandezza, e felicitd maggiore Di V. M. Cattolica ; Umilissimo, Divotissimo, ed Osse- quiosissimo Servitore. Di Parigi, i 2 Dicembre, 1826. To other Kings. — Alia Sdcra Redl Maestd del Re d f Inghilterra,diPortogdllo, di Svezia,di Danimdrca, di Sardegna, di Prussia. — In the beginning, Sl'RE.— At the end, as above. To the Dauphin of France. — Al Serenissimo Principe Delfino di Francia. — At the beginning, Serenis- simo Or Titles and Distinctions, &c. 429 simo Principe. — In the middle, V. A. R. — At the end, Conservi Iddio per lunghissimo tempo quelbene alia Frdncia, eke le ha ddto in ddr la Serenissima di lei Persona, a cut con profonda riverenza m in- chino. Serenissimo Principe, or di V. A. R. ; Umilis- simo, Divotissimo, ed Obbligatissimo Servitore. ' Di Parigi, gli 8 Mdggio, 1826. To a Prince of the Blood. — AW Altezza Serenissima del Signor Duca d' Orleans. — AW Altezza Serenissima del Signor Principe di Conde. Or, Al Serenis- simo Principe SignSre, e Prone mio Colendissimo, il Principe di Conde. We may also write, AlV Altezza Serenissima, &c. as above. To Reigning Dukes. — AW Altezza Serenissima del Duca. di Parma. Di Modena. — In the beginning, Serenissimo Principe, or S. A — At the conclusion, E per fine a V. A. Serenissima bdcio rispettuosissi- mamente le mdni, pregdndole dal Cielo bgni vera contentezza. Di Parigi, &c. I shall give no more conclusions of letters; a number of them will be found at the end of this collection. To Secular Electors of the Empire. — AW Altezza Se- renissima Elettordle del Signor Duca di Baviera., Principe Elettordle del Sdcro Romdno Imperio. To Ecclesiastical Electors of the Empire. — AW Altezza Serenissima Elettordle del Signor Arcivescovo di Colonia, Principe Elettordle del Sdcro Romdno Imperio. To Dukes who are not Sovereigns. — AlV Illustrissimo ed Eccellentissimo Signor e e Prone Colendissimo il Signor Duca, fyc. To Embassadors. — A sua Eccellenza il signor N. Am- basciatore di sua Maestd Britannica. To an Earl, a Marquis, or Baron. — AW Illustrissimo Signor Prone mio Colendissimo il Signor e Cbnte N. Marchese N. Bar one N. To a Governor. — If he is an ecclesiastic, as those of Italy ,-^-Al Illustrissimo e Reverendissimo Signore Prone 430 Of Titles and Distinctions, &c. Prone Colendissimo Monsignbr N. Governatore di Roma. — If he is not an ecclesiastic, AlV Illustris-^ simo Signore e Prone mio Colendissimo il Signore N. Governatore di N. To a Privy Counsellor. — AlV Illustrissimo Signore e Prone mio Colendissimo il Signore N. del Consi- glio di Stdto di sua Maesta Cristianissima. — In the beginning, Illustrissimo Signore Prone mio Colen- dissimo. — At the end, Di V. S. Ill" 1 "- To a President. — AW Illustrissimo Signore e Prone Colendissimo il Signor N. Presidente nella Corte Sovrdna del Parlamento di Parigi. To an Ecclesiastical Counsellor in Parliament. — AlV Illustrissimo e Reverendissimo Signore, il Signor Abate N. Consigliere nella corte Sovrdna del Par- lamento di Parigi. To a Counsellor of Parliament. — AlV Illustrissimo Si' gnbre Padrone mio Colendissimo il Signor N. Con- sigliere nella corte Sovrdna del Parlamento di Parigi. To a Counsellor of the Court of Aids. — AlV Illustris- simo Signore Padrone mio Colendissimo, il Signor N. Consigliere nella camera de sussidj di Parigi, To a Doctor of Law or Physic. — Al molto Illustre ed 'Eccellentissimo Signore N. Dottbre di Legge ; or Dottor di Medicina in Parigi. • To a Professor, or Language Master. — Al molto Il- lustre, e molto Eccellente Signore il Signore N. — Lettbre di Teologia nel collegio di N. — If he is a Language Master, Maestro di lingua Italidna, virtuoso di liuto, di chitdrra, di scherma, maestro di hallo, Sfc. To an Advocate, an Attorney. — Al molto Illustre Si- gnore Padrone Colendissimo il >ignbre N. Avvocdto, or Procuratbre del I'arlamcnto di Parigi. They Of Titles and Distinctions, &c. 431 They write, all' Illustrissimo Signore, to a Gentle- man ; il Signor, to a Secretary. To a Tradesman. — Al Sig?i6r N. sartore,forndjo, ma- celldjo, &c. To a Servant, or any other Domestic. — A Francesco N. Ortol&no che Dio gudrdi.— At the,end, E sarb sempre dispostissimo a compiacervi. Different Form's of Concluding Letters. THE following are the Forms, which, in Epistolary collections, most frequently occur. E per fine a V { . S. or a V. S. Illustrissimo,, or a V. Ec~ cellenza, or V. A. or a V. Eminenza, or a V, Maesta bdcio umilissimamente le mdni. E qui per fine le bdcio con ogni piil riverente affetto le mdni. E le bdcio affettuosamente le mdni. E bacidndole affettuosissimamente le mdni, le prego ogni bene, e contento. E per fine le bdcio con ogni maggior riverenza le mdni. E per fine a V. S. bdcio con ogni affetto le mdni. E per fine a V. 5. bdcio le mdni e le desio ogni vero bene. E per fine le bdcio river entemente le mdni. E le bdcio umilissimamente le mdni. E per fine a V. S. bdcio le mdni. E per fine a V. S. bdcio mille volte le mdni. E le bdcio le mdni. E con questo a V. S. bdcio le mdni, ed al Signor Pietro suo zio. E con pari, e congiuntissimo affetto le bacidmo, ed a tutti di cdsa sua, le mdni. Mantengami V. S. il luogo nclla sua grdzia che io le bdcio le mdni di cuore. E le bdcio le mdni salutdndo la signora sua consorte. E per fine nella buona grdzia di V. S. mi raccomdndo, e le bdcio le mdni. E mi vi raccomdndo cordialmente. Eper 432 DIFFERENT FORMS, &c. E per fine a V. P. mi raccomdndo pregdndola aver memoria di me ne' suoi sdnti sacrifizj. E bacidndole le mdni, alle site orazioni mi raccomdndo. Ed a V. S. bdcio umilissimamente le mdni come ancora fo al Signor Antonio. E per fine saliito V. S. ed ella si compiacerd, a nome mio bacidre le mdni di Giovanni mio cugino, ed alia Signora Caterina sua consorte. E riverentemente a V. Eccellenza bdcio le mdni. Ed a V. Eccellenza fo umilissimo inchino. Ed a V. Eminenza riverentemente m inchino. Ed alle sue orazioni mi raccomdndo. E le bdcio con la doviita riverenza le mdni. E resto facendole umilissima riverenza. To a person in humble life, they write — E sono al ser- vizio .... affettuosissimo per servirvi vostro amorevole a vostri piaceri. The forms most used at present are, E rassegndndole la mia servitu, fo a V. S. umilissima riverenza. E con tutta la stima mi dico. E con tutto V ossequio mi do V onore d' assicurdrla del mio profondo rispetto. E pregdndola de' di lei stimatissimi comandi mi pregio accese il core. misera mia vita ! O'cchi, lumi immortdli, Deh qual per i miei mdli Posso sperdre dita? Se nubilosi ardete, Sereni che f arete? FINIS. T. C. Hansard, Printer, Faternoster-row-Press. 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A COMPE?> By RICHMAL M, corrected to the pre A SYSTEM entirely new Plan, carefully attended t< Plates. Price 6*. I A N EW TR sophical View of th THOMAS KEITHJ Aii INTRO] PLANE and SPH the SPHERE; incl Us. Bds. The 5th % The ELEM First Six Books of matics in the Univ are added, Book V. and Book VIII. co Intersections; and 2d Edit, in 8vo. P The COM P] ing several New an Tuition. ByTHO] ELEMENT! Translation of Lec Elementary Instruc Downing College, ( ANNALS of to the Period of His of Schools and Youi CONVERSE CONVERSE in which the leadij nected with each otn 12ino. Price 8s. Bd CONVERSE of that Science are f! a Conversation has b in 2 Vols. 12mo. wit CONVEKSA the Elements of thai of Young Pupils CONVERT the Elements of tha COWRRS. JL. G. 0. (E. B.),. jjar gipm •%,;• i w / Atdiisoii, lopeka £ and Santa Fe I * v-x Railroad. \ \ LIBRARY OF CONGRESS mi mil ii i inn inn mil n mi 003 121 033 1 O