Chapter 133

reader with the rules and modes of play adopted in this excellent game. Bézique is said to be of Swedish origin, and to have been introduced to English players through the medium of some Indian officers who had learned it of a Scandinavian comrade. Variations in the play occur in different companies. These, however, having been indicated above, need not be more particularly noted.

130. Napoleon.

This popular game is played by four, five, or six persons with a full pack of cards, which take the same value as in Whist. The object of the game is to make tricks, which are paid to or received from the dealer at a fixed rate, a penny or more a trick, as previously arranged. The deal being decided in the usual way, the pack is cut and five cards are dealt one at a time to each player, beginning at the left. After every round the deal passes. Each player looks at his cards, the one to the left of the dealer being the first to declare. When he thinks he can make two or three tricks he says, "I go two," or "I go three." The next may perhaps think he can make four tricks; and if the fourth believes he can do better he declares Napoleon, and undertakes to win the whole five tricks. The players declare or pass in the order in which they sit; and a declaration once made cannot be recalled. The game then, proceeds. The first card played is the trump suit; and to win the trick, a higher card than that led in each suit must be played. The winner of the first trick leads for the second, and so on till each of the five tricks are played out. Each player must follow suit, but he is not bound to head the trick or to trump. Each card as played remains face upwards on the table. Supposing the stake to be a penny a trick, the declarer, if he win all the tricks he declared, receives from each of his adversaries a penny for each of the declared tricks; but if he fail to win the required number, he pays to each of them a penny a trick. For Napoleon he receives double stakes from each player; but failing to win the five tricks, he pays them single stakes. The game, though simple, requires good judgment and memory to play it well. In some companies it is varied by the introduction of a Wellington, which is a superior call after the Napoleon, and takes triple stakes; or a Sedan, in which the player undertakes to lose all his tricks. This declaration takes precedence of all the others. Each player may Pass, or decline to make a declaration; and when all the players pass, the deal is void. Occasionally a pool or kitty is made by each dealer paying a half stake; or the players may purchase new cards from the pack. In either case, the pool is taken by the winner of the first Napoleon, or divided according to arrangement at the close of the play. The best play in Napoleon is not to win tricks, but to co-operate in defeating the declaring hand.

131. Picquet.

A game for two players, once very fashionable in France and of some repute in England; but now quite obsolete. Like Quadrille, it is encumbered with a vast number of rules and maxims, technical terms and calculations; all too long and tiresome for modern card-players.

132. Poker, or Draw Poker,

a gambling game common in the United States. An elaboration of the old English game of Brag, which, like Blind Hookey and Baccarat, is purely one of chance, generally played by two or three sharpers opposed to three or four greenhorns. And, for these reasons, is unworthy a place in this volume.

133. Lansquenet.

This is a game for a large company, much played in France, where it is the custom to mix three, four, or more packs of cards together. In England it is played with one pack, after the following plan:--The dealer, who has rather an advantage, begins by shuffling the cards, and having them cut by any of the party. He then deals two cards on his left hand, turning them up; then one for himself, and a fourth, which he places in the middle of the table for the company, called the _rejouissance_. Upon this card any or all of the company, except the dealer, may stake their counter or money, either a limited or unlimited sum, as may be agreed on, which the dealer is obliged to answer, by staking a sum equal to the whole put upon it by different players. He continues dealing, and turning the cards upwards, one by one, till two of a sort appear: for instance, two aces, two deuces, &c., which, in order to separate, and that no person may mistake for single cards, he places on each side of his own card; and as often as two, three, or the fourth card of a sort comes up, he always places them, as before, on each side of his own. Any single card the company have a right to take and put their money upon, unless the dealer's own card happens to be double, which often occurs by this card being the same as one of the two cards which the dealer first of all dealt out on his left-hand. Thus he continues dealing till he brings either their cards, or his own. As long as his own card remains undrawn he wins; and whichever card comes up first, loses. If he draw or deal out the two cards on his left, which are called the hand-cards, before his own, he is entitled to deal again; the advantage of which is no other than being exempted from losing when he draws a similar card to his own, immediately after he has turned up one for himself. This game is often played more simply without the _rejouissance_ card, giving every person round the table a card to put his money on. Sometimes it is played by dealing only two cards, one for the dealer, and another for the company.--Generally Lansquenet is played with counters instead of money. With counters at (say) a penny a dozen, it is a lively and amusing game.

[A LADY IN AMERICA MADE A QUILT IN 55,555 PIECES.]

134. Quinze or Fifteen

is played by two persons. The cards are shuffled by both players, and when they have cut for deal (which falls to the lot of him who cuts the lowest), the dealer has the liberty to shuffle them again. When this is done, the adversary cuts them; after which, the dealer gives one card to his opponent, and one to himself. Should the dealer's adversary not approve of his card, he is entitled to have as many cards given to him, one after the other, as will make fifteen, or come nearest to that number; which are usually given from the top of the, pack: for example--if he should have a deuce, and draw a five, which amounts to seven, he must continue going on, in expectation of coming nearer to fifteen. If he draw an eight, which will make just fifteen, he, as being eldest hand, is sure of winning the game. But if he overdraw himself, and make more than fifteen, he loses, unless the dealer should happen to do the same; which circumstance constitutes a drawn game; and the stakes are consequently doubled. In this manner they persevere, until one of them has won the game, by standing and being nearest to fifteen. At the end of each game the cards are packed and shuffled, and the players again cut for deal. The advantage is invariably or the side of the elder hand.

135. Solitaire

This is a game for one person, played on a board pierced with thirty-seven holes, in each one of which is placed a marble or peg. The art or motive of the game is to remove one marble and then to shift the rest about, so as to bring the last marble to the hole whence the first was removed. One marble or man takes any other over which it can leap into a vacant hole beyond; or any number of men in succession, so long as there is a hole into which it can go. An example of a game played will better explain the method, than any amount of verbal instruction.

Remove the marble from the centre hole; then bring the marble from 1 in the upper limb of the diagram, to the centre, jumping over and taking the piece between. By following the direction of the figures, it will be found that the last place arrived at will be the centre from which you started. With practice and patience the Solitaire player will be able to start from and return to any hole on the board.

5 O-----O-----O 35 | | | | 1 | | 14 O-----O-----O 4 | | | 17 16 18 17 |15 16|18 3|5 18 2 15 O-----O-----O-----O-----O-----O-----O 9 | | | |2 | | | | | 14|21 19|20 4 |6 22 | | O-----O-----O-----O-----O-----O-----O | | |12 1 |22 |21 19| | | 10|18 11|13 18|8 7 |9 8 |18 7 | 17 O-----O-----O-----O-----O-----O-----O 9 | 10|18 | | 20| 6 | 12 O-----O-----O | | | |13 |13 | 11 O-----O-----O THE CENTRE-HOLE GAME.

Many variations of the game will suggest themselves as you proceed; but the above will suffice to show the plan and system of Solitaire.

136. Backgammon.

A game of mingled chance and skill, played on a board marked with points, and generally to be found inside the box draughtboard. The board has twenty-four points, coloured alternately red and blue; the implements of play are fifteen draught-men on each side, and the movements of the men are determined by the throw of two dice; each player being provided with a dice box and dies. It is an elaborate game to explain on paper, and would occupy too much space to be given in detail in this work. Those, however, who desire to be fully informed as to its various intricacies, may consult "Bohn's Handbook of Games," or the cheaper and more concise treatise by Captain Crawley.

137. Dominoes.

This game is played by two or four persons, with twenty-eight pieces of oblong ivory, plain at the back, but on the face divided by a black line in the middle, and indented with spots, from one to a double-six, which pieces are a double-blank, ace-black, double-ace, deuce-blank, deuce-ace, double-deuce, trois-blank, trois-ace, trois-deuce, double-trois, four-blank, four-ace, four-deuce, four-trois, double-four, five-blank, five-ace, five-deuce, five-trois, five-four, double-five, six-blank, six-ace, six-deuce, six-trois, six-four, six-five, and double-six. Sometimes a double set is played with, of which double-nine is the highest.

138. Method of Play.

At the commencement of the game the dominoes are well mixed together, with their faces upon the table. Each player draws one, and if four play, those who choose the two highest are partners against these who take the two lowest. Drawing the latter also serves to determine who is to lay down the first piece--a great advantage. Afterwards each player takes seven pieces at random. The eldest hand having laid down one, the next must pair him at either end of the piece he may choose, according to the number of pips, or the blank in the compartment of the piece; but whenever any one cannot match the part, either of the domino last put down, or of that unpaired at the other end of the row, then he says, "_Go_;" and the next is at liberty to play. Thus they play alternately, either until one party has played all his pieces, and thereby won the game, or till the game be _blocked_; that is, when neither party can play, by matching the pieces where unpaired at either end; then that player wins who has the smallest number of pips on the pieces remaining in his hand. It is to the advantage of every player to dispossess himself as early as possible of the heavy pieces, such as a double-six, five, four, &c. Sometimes, when two persons play, they take each only three or five pieces, and agree to _play_ or _draw_, i.e., when one cannot come in, or pair the pieces upon the board at the end unmatched, he draws from the pieces in stock till he finds one to suit. There are various other ways of playing dominoes, but they are all dependent on the matching of the pips.

139. Quadrilles.

The First Set.

_First Figure, Le Pantalon_.--Right and left. Balancez to partners; turn partners. Ladies' chain. Half promenade; half right and left. (Four times.)

_Second Figure, L'Été_.--Leading lady and opposite gentleman advance and retire; chassez to right and left; cross over to each other's places; chassez to right and left. Balancez and turn partners. (Four times.)

_Or Double L'Été_.--Both couples advance and retire at the same time; cross over; advance and retire again; cross to places. Balancez and turn partners. (Four times.)

_Third Figure, La Poule_.--Leading lady and opposite gentleman cross over, giving right hands; recross, giving left hands, and fall in a line. Set four in a line; half promenade. Advance two, and retire (twice). Advance four, and retire; half right and left. (Four times.)

_Fourth Figure, Trenise_.--The first couple advance and retire twice, the lady remaining on the opposite side; the two ladies go round the first gentleman, who advances up the centre; balancez and turn hands. (Four times.)

_Fifth Figure, La Pastorale_.--The leading couple advance twice, leaving the lady opposite the second time. The three advance and retire twice. The leading gentleman advance and set. Hands four half round; half right and left. [1] (Four times)

_Sixth Figure, Galop Finale_.--Top and bottom couples galopade quite round each other. Advance and retire; four advance again, and change the gentlemen. Ladies' chain. Advance and retire four, and regain your partners in your places. The fourth time all galopade for an unlimited period. (Four times.)

_Or_, All galopade or promenade, eight bars. Advance four _en galopade oblique_, and retire, then half promenade, eight bars. Advance four, retire, and return to places with the half promenade, eight bars. Ladies' chain, eight bars. Repeated by the side couples, then by the top and bottom, and lastly by the side couples, finishing with grand promenade.

In different companies the Quadrille varies slightly. For instance, in the last figure, sometimes called Flirtation, the four couples set in a circle, the gentlemen turn their partners, the ladies advance to the centre and retire, the gentlemen advance and retire; the gentlemen turn the ladies to the left and promenade: the whole figure being repeated four times.

[Footnote 1: This or the Trenise must be omitted.]

140.--Lancers.

i. _LaRose_.--First gentleman and opposite lady advance and set--turn with both hands, retiring to places--return, leading outside--set and turn at corners.

ii. _La Lodoiska_.--First couple advance twice, leaving the lady in the centre--set in the centre--turn to places--all advance in two lines--all turn partners.

iii. _La Dorset_.--First lady advance and stop, then the opposite gentleman--both retire, turning round--ladies' hands across half round, and turn the opposite gentlemen with left hands--repeat back to places, and turn partners with left hands.

iv. _L'Étoile_.--First couple set to couple at right--set to couple at left--change places with partners, and set, and pirouette to places--right and left with opposite couple,

v. _Les Lanciers_.--The grand chain. The first couple advance and turn facing the top; then the couple at right advance behind the top couple; then the couple at left and the opposite couple do the same, forming two lines. All change places with partners and back again. The ladies turn in a line on the right, the gentlemen in a line on the left. Each couple meet up the centre. Set in two lines, the ladies in one line, the gentlemen in the other. Turn partners to places. Finish with the grand chain.

141. The Caledonians.

_First Figure_.--The first and opposite couples hands across round the centre and back to places--set and turn partners. Ladies' chain. Half promenade--half right and left. Repeated by the side couples.

_Second Figure_.--The first gentleman advance and retire twice. All set at corners, each lady passing into the next lady's place on the right. Promenade by all. Repeated by the other couples.

_Third Figure_.--The first lady and opposite gentleman advance and retire, bending to each other. First lady and opposite gentleman pass round each other to places. First couple cross over, having hold of hands, while the opposite couple cross on the outside of them--the same reversed. All set at corners, turn, and resume partners. All advance and retire twice, in a circle with hands joined--turn partners.

_Fourth Figure_.--The first lady and opposite gentleman advance and stop; then their partners advance; turn partners to places. The four ladies move to right, each taking the next lady's place, and stop--the four gentlemen move to left, each taking the next gentleman's place, and stop--the ladies repeat the same to the right--then the gentlemen to the left. All join hands and promenade round to places, and turn partners. Repeated by the other couples.

_Fifth Figure_.--The first couple promenade or waltz round inside the figure. The four ladies advance, join hands round, and retire--then the gentlemen perform the same--all set and turn partners. Chain figure of eight half round, and set. All promenade to places and turn partners. All change sides, join right hands at corners, and set--back again to places. Finish with grand promenade.

These three are the most admired of the quadrilles: the First Set invariably takes precedence of every other dance.

[COFFEE WAS FIRST BROUGHT TO ENGLAND IN 1641.]

142. Spanish Dance.

Danced in a circle or a line by sixteen or twenty couples. The couples stand as for a Country Dance, except that the first gentleman must stand on the ladies' side, and the first lady on the gentlemen's side. First gentleman and second lady balancez to each other, while first lady and second gentleman do the same, and change places. First gentleman and partner balancez, while second gentleman and partner do the same, and change places. First gentleman and second lady balancez, while first lady and second gentleman do the same, and change places. First gentleman and second lady balancez to partners, and change places with them. All four join hands in the centre, and then change places, in the same order as the foregoing figure, four times. All four poussette, leaving the second lady and gentleman at the top, the same as in a Country Dance. The first lady and gentleman then go through the same figure with the third lady and gentleman, and so proceed to the end of the dance. This figure is sometimes danced in eight bars time, which not only hurries and inconveniences the dancers, but also ill accords with the music.

143. Waltz Cotillon.

Places the same as quadrille. First couple waltz round inside; first and second ladies advance twice and cross over, turning twice; first and second gentlemen do the same; third and fourth couples the same; first and second couples waltz to places, third and fourth do the same; all waltz to partners, and turn half round with both hands, meeting the next lady; perform this figure until in four places; form two side lines, all advance twice and cross over, turning twice; the same, returning; all waltz round; the whole repeated four times.

144. La Galopade

is an extremely graceful and spirited dance, in a continual chassez. An unlimited number may join; it is danced in couples, as waltzing.

145. The Galopade Quadrilles.

1st. Galopade. 2nd, Right and left, sides the same. 3rd, Set and turn, hands all eight. 4th, Galopade. 5th, Ladies' chain, sides the same. 6th, Set and turn partners all eight. 7th, Galopade. 8th, Tirois, sides the same. 9th, Set and turn partners all eight. 10th, Galopade. 11th, Top lady and bottom gentleman advance and retire, the other six do the same. 12th, Set and turn partners all eight. 13th, Galopade. 14th, Four ladies advance and retire, gentlemen the same. 15th, Double ladies' chain. 16th, Set and turn partners all eight. 17th, Galopade. 18th, Poussette, sides the same. 19th, Set and turn. 20th, Galopade waltz.

146. The Mazurka.

This dance is of Polish origin--first introduced into England by the Duke of Devonshire, on his return from Russia. It consists of twelve movements; and the first eight bars are played (as in quadrilles) before the first movement commences.

147. The Redowa Waltz

is composed of: three parts, distinct from each other. 1st, The Pursuit. 2nd, The waltz called Redowa. 3rd, The waltz a Deux Temps, executed to a peculiar measure, and which, by a change of the rhythm, assumes a new character. The middle of the floor must he reserved for the dancers who execute the promenade, called the pursuit, while those who dance the waltz turn in a circle about the room. The position of the gentleman is the same as for the waltz. The gentleman sets out with the left foot, and the lady with the right. In the pursuit the position is different, the gentleman and his partner face, and take each other by the hand. They advance or fall back at pleasure, and balance in advance and backwards. To advance, the step of the pursuit is made by a glissade forward, without springing, _coupé_ with the hind foot, and _jeté_ on it. You recommence with the other foot, and so on throughout. The retiring step is made by a sliding step of the foot backwards, without spring, _jeté_ with the front foot, and _coupé_ with the one behind. It is necessary to advance well upon the sliding step, and to spring lightly in the two others, _sur place_, balancing equally in the _pas de poursuite_, which is executed alternately by the left in advance, and the right backwards. The lady should follow all the movements of her partner, falling back when he advances, and advancing when he falls back. Bring the shoulders a little forward at each sliding step, for they should always follow the movement of the leg as it advances or retreats; but this should not be too marked. When the gentleman is about to waltz, he should take the lady's waist, as in the ordinary waltz. The step of the Redowa, in turning, may be thus described. For the gentleman--_jete_ of the left foot, passing before the lady. _Glissade_ of the right foot behind to the fourth position aside--the left foot is brought to the third position behind--then the _pas de basque_ is executed by the right foot, bringing it forward, and you recommence with the left. The _pas de basque_ should be made in three very equal beats, as in the Mazurka. The lady performs the same steps as the gentleman, beginning by the _pas de basque_ with the right foot. To waltz à deux temps to the measure of the Redowa, we should make each step upon each beat of the bar, and find ourselves at every two bars, the gentleman with his left foot forwards, and the lady with her right, that is to say, we should make one whole and one half step to every bar. The music is rather slower than for the ordinary waltz.

[PHOSPHORUS WAS DISCOVERED IN 1677.]

148. Valse Cellarius.

The gentleman takes the lady's left hand with his right, moving one bar to the left by _glissade_, and two hops on his left foot, while the lady does the same to the right, on her right foot; at the second bar they repeat the same with the other foot--this is repeated for sixteen bars; they then waltz sixteen bars, _glissade_ and two hops, taking care to occupy the time of two bars to get quite round. The gentleman now takes both hands of the lady, and makes the grand square--moving three bars to his left--at the fourth bar making two beats while turning the angle; his right foot is now moved forward to the other angle three bars--at the fourth, beat again while turning the angle; the same repeated for sixteen bars--the lady having her right foot forward when the gentleman has his left toot forward; the waltz is again repeated; after which several other steps are introduced, but which must needs be seen to be understood.

149. Circular Waltz.

The dancers form a circle, then promenade during the introduction--all waltz sixteen bars--set, holding partner's right hand, and turn--waltz thirty-two bars--rest, and turn partners slowly--face partner and chassez to the right and left--pirouette lady twice with the right hand, all waltz sixteen bars--set and turn--all form a circle, still retaining the lady by the right hand, and move round to the left, sixteen bars--waltz for finale.

150. Polka Waltzes.

The couples take hold of hands as in the usual waltz.

_First Waltz_. The gentleman hops the left foot well forward, then hack; and _glissades_ half round. He then hops the right foot forward and back, and _glissades_ the other half round. The lady performs the same steps, beginning with the right foot.

_Second._ The gentleman, hopping, strikes the left heel three times against the right heel, and then jumps half round on the left foot; he then strikes the right heel three times against the left, and jumps on the right foot, completing the circle. The lady does the same steps with reverse feet.

_Third._ The gentleman raises up the left foot, steps it lightly on the ground forward, then strikes the right heel smartly twice, and _glissades_ half round. The same is then done with the other foot. The lady begins with the right foot.

151. Valse a Deux Temps.

This waltz contains, like the common waltz, three times, but differently divided. The first time consists of a gliding step; the second a chassez, including two times in one. A chassez is performed by bringing one leg near the other, then moving it forward, backward, right, left, and round. The gentleman begins by sliding to the left with his left foot, then performing a chassez towards the left with his right foot without turning at all during the first two times. He then slides backwards with his right leg, turning half round; after which he puts his left leg behind, to perform a chassez forward, turning then half round for the second time. The lady waltzes in the same manner, except that the first time she slides to the right with the right foot, and also performs the chassez on the right, and continues the same as the gentleman, except that she slides backwards with her right foot when the gentleman slides with his left foot to the left; and when the gentleman slides with his right foot backwards, she slides with the left foot to the left. To perform this waltz gracefully, care must be taken to avoid jumping, but merely to slide, and keep the knees slightly bent.

[AVERAGE WEIGHT OF MAN'S BRAIN, 3-1/2LBS, WOMAN'S 2LBS. 11OZ.]

152. Circassian Circle.

The company is arranged in couples round the room--the ladies being placed on the right of the gentlemen,--after which, the first and second couples lead off the dance.

_Figure._ Eight and left, set and turn partners--ladies' chain, waltz.

At the conclusion, the first couple with fourth, and the second with the third couple, recommence the figure,--and so on until they go completely round the circle, when the dance is concluded.

153. Polka.

In the polka there an but two principal steps, all others belong to fancy dances, and much mischief and inconvenience is likely to arise from their improper introduction into the ball-room.

_First step._ The gentleman raises the left foot slightly behind the right, the right foot is then hopped with, and the left brought forward with a glissade. The lady commences with the right, jumps on the left, and glissades with the right. The gentleman during his step has hold of the lady's left hand with his right.

_Second step._ The gentleman lightly hops the left foot forward on the heel, then hops on the toe, bringing the left foot slightly behind the right. He then glissades with the left foot forward; the same is then done, commencing with the right foot. The lady dances the same step, only beginning with the right foot.

There are a variety of other steps of a fancy character, but they can only be understood with the aid of a master, and even when well studied, must be introduced with care. The polka should be danced with grace and elegance, eschewing all _outré_ and ungainly steps and gestures, taking care that the leg is not lifted too high, and that the dance is not commenced in too abrupt a manner. Any number of couples may stand up, and it is the privilege of the gentleman to form what figure he pleases, and vary it as often as his fancy and taste may dictate.

_First Figure._ Four or eight bars are devoted to setting forwards and backwards, turning from and towards your partner, making a slight hop at the commencement of each set, and holding your partner's left hand; you then perform the same step (forwards) all round the room.

_Second Figure._ The gentleman faces his partner, and does the same step backwards all round the room, the lady following with the opposite foot, and doing the step forwards.

_Third Figure._ The same as the second figure, only reversed, the lady stepping backwards, and the gentleman forwards, always going the same way round the room.

_Fourth Figure._ The same step as figures two and three, but turning as in a waltz.

[MAN'S HEART BEATS 92,160 TIMES IN A DAY.]

154. The Gorlitza

is similar to the polka, the figures being waltzed through.

155. The Schottische.

The gentleman holds the lady precisely as in the polka. Beginning with the left foot, he slides it forward, then brings up the right foot to the place of the left, slides the left foot forward, and springs or hops on this foot. This movement is repeated to the right. He begins with the right foot, slides it forward, brings up the left foot to the place of the right foot, slides the right foot forward again, and hops upon it. The gentleman springs twice on the left foot, turning half round; twice on the right foot; twice _encore_ on the left foot, turning half round; and again twice on the right foot, turning half round. Beginning again, he proceeds as before. The lady begins with the right foot, and her step is the same in principle as the gentleman's. Vary, by a _reverse turn_; or by going in a straight line round the room. Double, if you like, each part, by giving four bars to the first part, and four bars to the second part. The _time_ may be stated as precisely the same as in the polka; but let it not be forgotten that _La Schottische_ ought to be danced _much slower_.

156. Country Dances. _Sir Roger de Coverley_.

First lady and bottom gentleman advance to centre, salute, and retire; first gentleman and bottom lady, same. First lady and bottom gentleman advance to centre, turn, and retire; first gentleman and bottom lady the same. Ladies promenade, turning off to the right down the room, and back to places, while gentlemen do the same, turning to the left; top couple remain at bottom; repeat to the end of dance.

157. La Polka Country Dances.

All form two lines, ladies on the right, gentlemen on the left.

_Figure_. Top lady and second gentleman heel and toe (polka step) across to each other's place--second lady and top gentleman the same. Top lady and second gentleman retire back to places--second lady and top gentleman the same. Two couples polka step down the middle and back again--two first couples polka waltz. First couple repeat with the third couple, then with fourth, and so on to the end of dance.

158. The Highland Reel.

This dance is performed by the company arranged in parties of three, along the room in the following manner: a lady between two gentlemen, in double rows. All advance and retire--each lady then performs the reel with the gentleman on her right hand, and retires with the opposite gentleman to places--hands three round and back again--all six advance and retire--then lead through to the next trio, and continue the figure to the end of the room. Adopt the Highland step, and music of three-four time.

159. Terms used to Describe the Movements of Dances.

_Balancez_.--Set to partners.

_Chaine Anglaise_.--The top and bottom couples right and left.

_Chaine Anglaise double_.--The right and left double.

_Chaine des Dames_.--The ladies' chain.

_Chaine des Dames double_.--The ladies' chain double, which is performed by all the ladies commencing at the same time.

_Chassez_.--Move to the right and left.

_Chassez croisez_.--Gentlemen change places with partners, and back again.

_Demie Chaine Anglaise_.--The four opposite persons half right and left.

_Demie Promenade_.--All eight half promenade.

_Dos-à-dos_.--The two opposite persons pass round each other.

_Demie Moulinet_.--The ladies all advance to the centre, giving hands, and return to places.

_La Grande Chaine_.--All eight chassez quite round, giving alternately right and left hands to partners, beginning with the right.

_Le Grand Rond_.--All join hands and advance and retire twice.

_Pas d'Allemande_.--The gentlemen turn the partners under their arms.

_Traversez_.--The two opposite persons change places.

_Vis-à-vis_.--The opposite partner.

[THE HUMAN BODY HAS 240 BONES.]

160. Scandal--Live it down.

Should envious tongues some malice frame, To soil and tarnish your good name, Live it down!

Grow not disheartened; 'tis the lot Of all men, whether good or not: Live it down!

*Him not in answer, but be calm; For silence yields a rapid balm: Live it down!

Go not among your friends and say, Evil hath fallen on my way: Live it down!

Far better thus yourself alone To suffer, than with friends bemoan The trouble that is all your own: Live it down!

What though men _evil_ call your _good!_ So CHRIST Himself, misunderstood, Was nailed unto a cross of wood! And now shall you for lesser pain, Your inmost soul for ever stain, By rendering evil back again? Live it down!

161. Errors in Speaking.

There are several kinds of errors in speaking. The most objectionable of them are those in which words are employed that are unsuitable to convey the meaning intended. Thus, a person wishing to express his intention of going to a given place, says, "I _propose_ going," when, in fact, he _purposes_ going. The following affords an amusing illustration of this class of error:--A venerable matron was speaking of her son, who, she said, was quite stage-struck. "In fact," remarked the old lady, "he is going to a _premature_ performance this evening!" Considering that most _amateur_ performances are _premature_, it cannot be said that this word was altogether misapplied; though, evidently, the maternal intention was to convey quite another meaning.

162. Other Errors

arise from the substitution of sounds similar to the words which should be employed; that is, spurious words instead of genuine ones. Thus, some people say "renumerative," when they mean "remunerative." A nurse, recommending her mistress to have a _perambulator_ for her child, advised her to purchase a _preamputator_!

163. Other Errors (2)

are occasioned by imperfect knowledge of the English grammar: thus, many people say, "Between you and I," instead of "Between you and _me_." And there are numerous other departures from the rules of grammar, which will be pointed out hereafter.

164. By the Misuse of the Adjective:

"What _beautiful_ butter!" "What a _nice_ landscape!" They should say, "What a _beautiful_ landscape!" "What _nice_ butter!" Again, errors are frequently occasioned by the following causes:

165. By the Mispronunciation of Words.

Many persons say _pro_noun_ciation_ instead of _pronunciation_; others say pro-nun'-she-a-shun, instead of pro-nun-ce-a-shun.

166. By the Misdivision of Words and syllables.

This defect makes the words _an ambassador_ sound like _a nam-bassador_, or _an adder_ like _a nadder_.

167. By Imperfect Enunciation,

as when a person says _hebben_ for _heaven_, _ebber_ for _ever_, _jocholate_ for _chocolate_, &c.

168. By the Use of Provincialisms,

or words retained from various dialects, of which we give the following examples:

169. Cambridgeshire, Cheshire, Suffolk, &c.

Foyne, twoyne, for _fine_, _twine_; ineet for _night_; a-mon for _man_; poo for _pull_.

170. Cumberland, Scotland, &c.

Cuil, bluid, for _cool_, _blood_; spwort, seworn, whoam, for _sport_, _scorn_, _home_; a-theere for _there_; e-reed, seeven, for _red_, _seven_; bleedin' for _bleeding_; hawf for _half_; saumon for _salmon_.

171. Devonshire, Cornwall, &c.

F-vind for _find_; fet for _fetch_; wid for _with_; zee for _see_; tudder for _the other_; drash, droo, for _thrash_, and _through_; gewse for _goose_, &c.

172. Essex, London, &c.

V-wiew for _view;_ vent for _went;_ vite for _white;_ ven for _when;_ vot for _what_. Londoners are also prone to say Toosday for _Tuesday;_ noomerous for _numerous_; noospaper for _newspaper_, &c.

[THE MUSICAL SCALE WAS INVENTED IN 1022.]

173. Hereford, &c.:

Clom for _climb;_ hove for _heave;_ puck for _pick;_ rep for _reap;_ sled for _sledge_.

174. Leicestershire, Lincolnshire, Lancashire, &c.

Housen for _houses;_ a-ioyne for _lane;_ mon for _man;_ thik for _this;_ brig for _bridge;_ thack, pick, for _thatch, pitch_.

175. Yorkshire, &c.

Foyt for _foot;_ foight for _fight;_ o-noite, foil, coil, hoil, for _note, foal, coal, hole;_ loyne for _lane;_ o-nooin, gooise, fooil, tooil, for _noon, goose, fool, tool;_ spwort, scworn, whoam, for _sport, scorn, home;_ g-yet for _gate_.

176. Examples of Provincial Dialects.

The following will be found very amusing:

177. The Cornish Schoolboy.

An ould man found, one day, a young gentleman's portmantle, as he were a going to es dennar; he took'd et en and gived et to es wife, and said, "Mally, here's a roul of lither, look, see, I suppoase some poor ould shoemaker or other have los'en; tak'en, and put'en a top of the teaster of tha bed; he'll be glad to hab'en agin sum day, I dear say." The ould man, Jan, that was es neame, went to es work as before. Mally then opened the portmantle, and found en et three hunderd pounds. Soon after thes, the ould man not being very well, Mally said, "Jan, I'ave saaved away a little money, by the bye, and as thee caan't read or write, thee shu'st go to scool" (he were then nigh threescore and ten). He went but a very short time, and comed hoam one day and said, "Mally, I waint go to scool no more, 'caase the childer do be laffen at me: they can tell their letters, and I caan't tell my A, B, C, and I wud rayther go to work agen." "Do as thee wool," ses Mally. Jan had not been out many days, afore Vhe young gentleman came by that lost the portmantle, and said, "Well, my ould man, did'ee see or hear tell o' sich a thing as a portmantle?" "Port-mantle, sar, was't that un, sumthing like thickey?" (pointing to one behind es saddle). "I vound one the t'other day zackly like that." "Where es, et?" "Come along, I carr'd'en and gov'en to my ould 'ooman, Mally; thee sha't av'en, nevr vear.--Mally, where es that roul of lither I broft en tould thee to put en a top o' the teaster of the bed, _afore I go'd to scool?_" "Drat thee emperance," said the young gentleman; "thee art bewattled; _that were afore I were born._" So he druv'd off, and left all the three hunderd pounds with Jan and Mally.

178. Yorkshire.

Men an' women is like so monny cards, played wi' be two oppoanents, Time an' Eternity: Time gets a gam' noo an' then, and hez t' pleasure o' keepin' his cards for a bit, bud Eternity's be far t'better hand, an' proves, day be day, an' hoor be hoor, 'at he's winnin incalcalably fast.--"Hoo sweet, hoo varry sweet is life!" as t' fiee said when he wur stuck i' treacle!

179. Effect of Provincialisms

Persons bred in these localities, and in Ireland and Scotland, retain more or less of their provincialisms; and, therefore, when they move into other districts, they become conspicuous for their peculiarities of speech. Often they appear vulgar and uneducated, when they are not so. It is, therefore, desirable for all persons to approach the recognised standard of correctness as nearly as possible.

180. Correction of Errors in Speaking.

To correct these errors by a systematic course of study would involve a closer application than most persons could afford, and require more space than we can devote to the subject. We will therefore give numerous Rules and Hints, in a concise and simple form, which will be of great assistance to inquirers. These Rules and Hints will be founded upon the authority of scholars, the usages of the bar, the pulpit, and the senate, and the authority of societies formed for the purpose of collecting and diffusing knowledge pertaining to the language of this country.

[A SALMON NAS BEEN KNOWN TO PRODUCE 10,000,000 EGGS.]

181. Rules and Hints for Correct Speaking.

1. _Who_ and _whom_ are used in relation to persons, and _which_ in relation to things. But it was once common to say, "the man _which._" This should now be avoided. It is now usual to say, "Our Father _who_ art in heaven," instead of "_which_ art in heaven."

2. _Whose_ is, however, sometimes applied to things as well as to persons. We may therefore say, "The country _whose_ inhabitants are free." Grammarians differ in opinion upon this subject, but general usage justifies the rule.

3. _Thou_ is employed in solemn discourse, and you in common language. _Ye_ (plural) is also used in serious addresses, and you in familiar language.

4. The uses of the word _It_ are various, and very perplexing to the uneducated. It is not only used to imply persons, but things, and even, ideas, and therefore, in speaking or writing, its assistance is constantly required. The perplexity respecting this word arises from the fact that in using it in the construction of a long sentence, sufficient care is not taken to ensure that when _it_ is employed it really points out or refers to the object intended. For instance, "It was raining when John set out in his cart to go to the market, and he was delayed so long that it was over before he arrived." Now what is to be understood by this sentence? Was the rain over? or the market? Either or both might be inferred from the construction of the sentence, which, therefore, should be written thus:--"It was raining when John set out in his cart to go to the market, and he was delayed so long that the market was over before he arrived."

5. _Rule_.--After writing a sentence always look through it, and see that wherever the word It is employed, it refers to or carries the mind back to the object which it is intended to point out.

6. The general distinction between _This_ and _That_ may be thus defined: _this_ denotes an object present or near, in time or place, _that_ something which is absent.

7. _These_ refers, in the same manner, to present objects, while _those_ refers to things that are remote.

8. _Who_ changes, under certain conditions, into _whose_ and _whom_. But _that_ and _which_ always remain the same.

9. _That_ may be applied to nouns or subjects of all sorts; as, the _girl that_ went to school, the _dog that_ bit me, the _ship that_ went to London, the _opinion that_ he entertains.

10. The misuse of these pronouns gives rise to more errors in speaking and writing than any other cause.

11. When you wish to distinguish between two or more persons, say, "_Which_ is the happy man?"--not _who_--"_Which_ of those ladies do you admire?"

12. Instead of "_Who_ do you think him to be?"--say, "_Whom_ do you think him to be?"

13. _Whom_ should I see?

14. To _whom_ do you speak?

15. _Who_ said so?

16. _Who_ gave it to you?

17. Of _whom_ did you procure them?

18. _Who_ was _he_?

19. _Who_ do men say that _I_ am?

20. _Whom_ do they represent _me_ to be? [1]

21. In many instances in which _who_ is used as an interrogative, it does not become _whom_; as "_Who_ do you speak to?" "_Who_ do you expect?" "_Who_ is she married to?" "_Who_ is this reserved for?" "_Who_ was it made by?" Such sentences are found in the writings of our best authors, and it would be presumptuous to consider them as ungrammatical. If the word _whom_ should be preferred, then it would be best to say, "For _whom_ is this reserved?" &c.

22. Instead of "After _which_ hour," say "After _that_ hour."

23. _Self_ should never be added to _his, their, mine, or thine._

24. _Each_ is used to denote every individual of a number.

25. _Every_ denotes all the individuals of a number.

26. _Either_ and _or_ denote an alternative: "I will take _either_ road, at your pleasure;" "I will take this _or_ that."

27. _Neither_ means _not either_; and _nor_ means _not the other_.

28. _Either_ is sometimes used for _each_--"Two thieves were crucified, on _either_ side one."

29. "Let _each_ esteem others as good as themselves," should be, "Let _each_ esteem others as good as _himself_."

30. "There are bodies _each_ of which _are_ so small," should be, "each of which _is_ so small."

31. Do not use double superlatives, such as _most straightest_, _most highest_, _most finest_.

32. The term _worser_ has gone out of use; but _lesser_ is still retained.

33. The use of such words as _chiefest_, _extremest_, &c., has become obsolete, because they do not give any superior force to the meanings of the primary words, _chief_, _extreme_, &c.

34. Such expressions as _more impossible_, _more indispensable_, _more universal_, _more uncontrollable_, _more unlimited_, &c., are objectionable, as they really enfeeble the meaning which it is the object of the speaker or writer to strengthen. For instance, _impossible_ gains no strength by rendering it _more_ impossible. This class of error is common with persons who say, "A _great large_ house," "A _great big_ animal," "A _little small_ foot," "A _tiny little_ hand."

35. _Here_, _there_, and _where_, originally denoting place, may now, by common consent, he used to denote other meanings; such as, "_There_ I agree with you," "_Where_ we differ," "We find pain _where_ we expected pleasure," "_Here_ you mistake me."

36. _Hence_, _whence_, and _thence_, denoting departure, &c., may be used without the word _from_. The idea of _from_ is included in the word _whence_--therefore it is unnecessary to say "_From whence_."

37. _Hither_, _thither_, and _whither_, denoting to a place, have generally been superseded by _here_, _there_, and _where_. But there is no good reason why they should not be employed. If, however, they are used, it is unnecessary to add the word _to_, because that is implied--"_Whither_ are you going?" "_Where_ are you going?" Each of these sentences is complete. To say, "Where are you going _to_?" is redundant.

38. Two _negatives_ destroy each other, and produce an affirmative. "_Nor_ did he _not_ observe them," conveys the idea that he _did_ observe them.

39. But negative assertions are allowable. "His manners are not unpolite," which implies that his manners are, in some degree, marked by politeness.

40. Instead of "I _had_ rather walk," say "I _would_ rather walk."

41. Instead of "I _had better_ go," say "It were better that I should go."

42. Instead of "I doubt not _but_ I shall be able to go," say "I doubt not that I shall be able to go."

43. Instead of "Let you and _I_," say "Let you and me."

44. Instead of "I am not so tall as _him_," say "I am not so tall as he."

45. When asked "Who is there?" do not answer "Me," but "I."

46. Instead of "For you and _I_," say "For you and me."

47. Instead of "_Says_ I," say "I said."

48. Instead of "You are taller than _me_," say "You are taller than I."

49. Instead of "I _ain't_," or "I _arn't_," say "I am not."

50. Instead of "Whether I be present or _no_," say "Whether I be present or not."

51. For "Not that I know _on_," say "Not that I know."

52. Instead of "_Was_ I to do so," say "_Were_ I to do so."

53. Instead of "I would do the same if I _was him_," say "I would do the same if I were he."

54. Instead of "I _had_ as lief go myself," say "I would as soon go myself," or "I would rather."

55. It is better to say "Bred and born," than "Born and bred."

56. It is better to say "Six weeks ago," than "Six weeks back."

57. It is better to say "Since which time," than "Since when."

58. It is better to say "I repeated it," than "I said so over again."

59. It is better to say "A physician," or "A surgeon," than "A medical man."

60. Instead of "He was too young to _have_ suffered much," say "He was too young to suffer much."

61. Instead of "_Less_ friends," say "Fewer friends." Less refers to quantity.

62. Instead of "A _quantity_ of people," say "A number of people."

63. Instead of "_He and they_ we know," say "Him and them."

64. Instead of "_As_ far as I can see," say "So far as I can see."

65. Instead of "If I am _not mistaken_," say "If I mistake not."

66. Instead of "You _are mistaken_," say "You mistake."

67. Instead of "What _beautiful_ tea!" say "What good tea!"

68. Instead of "What a _nice_ prospect!" say "What a _beautiful_ prospect!"

69. Instead of "A _new pair_ of gloves," say "A pair of new gloves."

70. Instead of saying "_He_ belongs to the _house_," say "The house belongs to him."

71. Instead of saying "_Not no_ such thing," say "Not any such thing."

72. Instead of "I hope you'll think nothing _on_ it," say "I hope you'll think nothing of it."

73. Instead of "Restore it _back_ to me," say "Restore it to me."

74. Instead of "I suspect the _veracity_ of his story," say "I doubt the truth of his story."

75. Instead of "I seldom _or ever_ see him," say "I seldom see him."

76. Instead of "_Rather warmish_" or "A _little_ warmish," say "Rather warm."

77. Instead of "I expected _to have_ found him," say "I expected to find him."

78. Instead of "_Shay_," say "Chaise."

79. Instead of "He is a very _rising_ person," say "He is rising rapidly."

80. Instead of "Who _learns_ you music?" say "Who teaches you music?"

81. Instead of "I _never_ sing _whenever_ I can help it," say "I never sing when I can help it."

82. Instead of "Before I do that I must _first_ ask leave," say "Before I do that I must ask leave."

83. Instead of "To _get over_ the difficulty," say "To overcome the difficulty."

84. The phrase "_get over_" is in many cases misapplied, as, to "get over a person," to "get over a week," to "get over an opposition."

85. Instead of saying "The _observation_ of the rule," say "The observance of the rule."

86. Instead of "A man _of_ eighty years of age," say "A man eighty years old."

87. Instead of "Here _lays_ his honoured head," say "Here lies his honoured head."

88. Instead of "He died from _negligence_," say "He died through neglect," or "in consequence of neglect."

89. Instead of "Apples are plenty," say "Apples are plentiful."

90. Instead of "The _latter end_ of the year," say "The end, or the close of the year."

91. Instead of "The _then_ government," say "The government of that age, or century, or year, or time."

92. Instead of "For _ought_ I know," say "For aught I know."

93. Instead of "A _couple_ of chairs," say "Two chairs."

94. Instead of "_Two couples_," say "Four persons."

95. But you may say "A married couple," or, "A married pair," or, "A couple of fowls," &c., in any case where one of each sex is to be understood.

96. Instead of "They are _united together_ in the bonds of matrimony," say "They are united in matrimony," or, "They are married."

97. Instead of "We travel _slow_," say "We travel slowly."

98. Instead of "He plunged _down_ into the river," say "He plunged into the river."

99. Instead of "He jumped _from off of_ the scaffolding," say "He jumped off from the scaffolding."

100. Instead of "He came the last _of all_," say "He came the last."

101. Instead of "_universal_," with reference to things that have any limit, say "general;" "generally approved," instead of "universally approved;" "generally beloved," instead of "universally beloved."

102. Instead of "They ruined _one another_," say "They ruined each other."

103. Instead of "If _in case_ I succeed," say "If I succeed."

104. Instead of "A _large enough_ room," say "A room large enough."

105. Instead of "This villa _to let_," say "This villa to be let."

106. Instead of "I am slight in comparison _to_ you," say "I am slight in comparison with you."

107. Instead of "I went _for_ to see him," say "I went to see him."

108. Instead of "The cake is all _eat up_," say "The cake is all eaten."

109. Instead of "It is bad _at the best_," say "It is very bad."

110. Instead of "Handsome is _as_ handsome does," say "Handsome is who handsome does."

111. Instead of "As I _take_ it," say "As I see," or, "As I under stand it."

112. Instead of "The book fell _on_ the floor," say "The book fell to the floor."

113. Instead of "His opinions are _approved of_ by all," say "His opinions are approved by all."

114. Instead of "I will add _one more_ argument," say "I will add one argument more," or "another argument."

115. Instead of "Captain Reilly was killed _by_ a bullet," say "Captain Reilly was killed with a bullet."

116. Instead of "A sad curse is war," say "War is a sad curse."

117. Instead of "He stands _six foot_ high," say "He measures six feet," or "His height is six feet."

118. Instead of "I go _every now and then_," say "I go often, or frequently."

119. Instead of "Who finds him in clothes," say "Who provides him with clothes."

120. Say "The first two," and "the last two," instead of "the _two first_," "the two last;" leave out all expletives, such as "of all," "first of all," "last of all," "best of all," &c., &c.

121. Instead of "His health was _drank with enthusiasm_," say "His health was drunk enthusiastically."

122. Instead of "_Except_ I am prevented," say "Unless I am prevented."

123. Instead of "In its _primary sense_," say "In its primitive sense."

124. Instead of "It grieves me to _see_ you," say "I am grieved to see you."

125. Instead of "Give me _them_ papers," say "Give me those papers."

126. Instead of "_Those_ papers I hold in my hand," say "These papers I hold in my hand."

127. Instead of "I could scarcely imagine but _what_," say "I could scarcely imagine but that."

128. Instead of "He was a man _notorious_ for his benevolence," say "He was noted for his benevolence."

129. Instead of "She was a woman _celebrated_ for her crimes," say "She was notorious on account of her crimes."

130. Instead of "What may your name be?" say "What is your name?"

131. Instead of "Bills are requested not to be stuck here," say "Billstickers are requested not to stick bills here."

132. Instead of "By _smoking it often_ becomes habitual," say "By smoking often it becomes habitual."

133. Instead of "I lifted it _up_," say "I lifted it."

134. Instead of "It is _equally of the same_ value," say "It is of the same value," or "equal value."

135. Instead of "I knew it _previous_ to your telling me," say "I knew it previously to your telling me."

136. Instead of "You _was_ out when I called," say "You were out when I called."

137. Instead of "I thought I should _have won_ this game," say "I thought I should win this game."

138. Instead of "_This_ much is certain," say "Thus much is certain," or, "So much is certain."

139. Instead of "He went away _as it may be_ yesterday week," say "He went away yesterday week."

140. Instead of "He came _the Saturday as it may be before the Monday_," specify the Monday on which he came.

141. Instead of "Put your watch _in_ your pocket," say "Put your watch into your pocket."

142. Instead of "He has _got_ riches," say "He has riches."

143. Instead of "Will you _set_ down?" say "Will you sit down?"

144. Instead of "The hen is _setting_," say "The hen is sitting."

145. Instead of "It is raining very _hard_," say "It is raining very fast."

146. Instead of "No _thankee_," say "No thank you."

147. Instead of "I cannot do it without _farther_ means," say "I cannot do it without further means."

148. Instead of "No sooner _but_," or "No other _but_," say "than."

149. Instead of "_Nobody else_ but her," say "Nobody but her."

150. Instead of "He fell _down_ from the balloon," say "He fell from the balloon."

151. Instead of "He rose _up_ from the ground," say "He rose from the ground."

152. Instead of "_These_ kind of oranges _are_ not good," say "This kind of oranges is not good."

153. Instead of "Somehow or _another_," say "Somehow or other."

154. Instead of "_Undeniable_ references required," say "Unexceptionable references required."

155. Instead of "I cannot _rise_ sufficient funds," say "I cannot raise sufficient funds."

156. Instead of "I cannot _raise_ so early in the morning," say "I cannot rise so early in the morning."

157. Instead of "_Well_, I don't know," say "I don't know."

158. Instead of "_Will_ I give you some more tea?" say "Shall I give you some more tea?"

159. Instead of "Oh dear, what _will_ I do?" say "Oh dear, what shall I do?"

160. Instead of "I think _indifferent_ of it," say "I think indifferently of it."

161. Instead of "I will send it _conformable_ to your orders," say "I will send it conformably to your orders."

162. Instead of "Give me a _few_ broth," say "Give me some broth."

163. Instead of "_Her_ said it was hers," say "She said it was hers."

164. Instead of "To be _given away gratis_," say "To be given away."

165. Instead of "Will you enter in?" say "Will you enter?"

166. Instead of "_This_ three days or more," say "These three days or more."

167. Instead of "He is a bad _grammarian_," say "He is not a grammarian."

168. Instead of "We _accuse him for_," say "We accuse him of."

169. Instead of "We _acquit_ him _from_," say "We acquit him of."

170. Instead of "I am averse _from_ that," say "I am averse to that."

171. Instead of "I confide _on_ you," say "I confide in you."

172. Instead of "I differ _with_ you," say "I differ from you."

173. Instead of "As soon as _ever_," say "As soon as."

174. Instead of "The _very best_" or "The _very worst_," say "The best or the worst."

175. Instead of "A _winter's morning_," say "A winter morning," or "A wintry morning."

176. Instead of "Fine morning, _this_ morning," say "This is a fine morning."

177. Instead of "How _do_ you _do_?" say "How are you?"

178. Instead of "Not so well as I could wish," say "Not quite well."

179. Avoid such phrases as "No great shakes," "Nothing to boast of," "Down in my boots," "Suffering from the blues." All such sentences indicate vulgarity.

180. Instead of "No one _cannot_ prevail upon him," say "No one can prevail upon him."

181. Instead of "No one _hasn't_ called," say "No one has called."

182. Avoid such phrases as "If I was you," or even, "If I were you." Better say, "I advise you how to act."

183. Instead of "You have a _right_ to pay me," say "It is right that you should pay me."

184. Instead of "I am going _on_ a tour," say "I am about to take a tour," or "going."

185. Instead of "I am going _over_ the bridge," say "I am going _across_ the bridge."

186. Instead of "He is coming here," say "He is coming hither."

187. Instead of "He lives opposite the square," say "He lives opposite to the square."

188. Instead of "He _belongs_ to the Reform Club," say "He is a member of the Reform Club."

189. Avoid such phrases as "I am up to you," "I'll be down upon you," "Cut," or "Mizzle."

190. Instead of "I _should just_ think I could," say "I think I can."

191. Instead of "There has been a _good deal_," say "There has been much."

192. Instead of "_Following up_ a principle," say "Guided by a principle."

193. Instead of "Your _obedient, humble servant_," say "Your obedient," or, "Your humble servant."

194. Instead of saying "The effort you are making _for_ meeting the bill," say "The effort you are making to meet the bill."

195. Instead of saying "It _shall_ be submitted to investigation and inquiry," say "It shall be submitted to investigation," or "to inquiry."

196. Dispense with the phrase "_Conceal from themselves the fact_;" it suggests a gross anomaly.

197. Never say "_Pure and unadulterated_," because the phrase embodies a repetition.

198. Instead of saying "Adequate for," say "Adequate to."

199. Instead of saying "A _surplus over and above_," say "A surplus."

200. Instead of saying "A _lasting and permanent_ peace," say "A permanent peace."

201. Instead of saying "I left you _behind at_ London," say "I left you behind me at London."

202. Instead of saying "_Has been_ followed by immediate dismissal," say "Was followed by immediate dismissal."

203. Instead of saying "Charlotte was met _with_ Thomas," say "Charlotte was met by Thomas." But if Charlotte and Thomas were walking together, "Charlotte and Thomas were met by," &c.

204. Instead of "It is strange that no author should _never_ have written," say "It is strange that no author should ever have written."

205. Instead of "I won't never write," say "I will never write."

206. To say "Do _not_ give him _no more_ of your money," is equivalent to saying "Give him some of your money." Say "Do not give him _any_ of your money."

207. Instead of saying "They are not what nature _designed_ them," say "They are not what nature designed them to be."

208. Instead of "By this _means_," say "By these means."

209. Instead of saying "A beautiful _seat and gardens_," say "A beautiful _seat_ and its gardens."

210. Instead of "All that was _wanting_," say "All that was wanted."

211. Instead of saying "I had not the pleasure of hearing his sentiments when I wrote that letter," say "I had not the pleasure of having heard," &c.

212. Instead of "The quality of the apples _were_ good," say "The quality of the apples was good."

213. Instead of "The want of learning, courage, and energy _are_ more visible," say "Is more visible."

214. Instead of "We are conversant _about_ it," say "We are conversant with it."

215. Instead of "We called _at_ William," say "We called on William."

216. Instead of "We die _for_ want," say "We die of want."

217. Instead of "He died _by_ fever," say "He died of fever."

218. Instead of "I _enjoy_ bad health," say "My health is not good."

219. Instead of "_Either_ of the three," say "Any one of the three."

220. Instead of "Better _nor_ that," say "Better than that."

221. Instead of "We often think _on_ you," say "We often think of you."

222. Instead of "Though he came, I did not see him," say "Though he came, yet I did not see him."

223. Instead of "Mine is _so_ good as yours," say "Mine is as good as yours."

224. Instead of "He was remarkable handsome," say "He was remarkably handsome."

225. Instead of "Smoke ascends _up_ the chimney," I say "Smoke ascends the chimney."

226. Instead of "You will _some_ day be convinced," say "You will one day be convinced."

227. Instead of saying "Because I don't choose to," say "Because I would rather not."

228. Instead of "_Because_ why?" say "Why?"

229. Instead of "That _there_ boy," say "That boy."

230. Instead of "Direct your letter to me," say "Address your letter to me."

231. Instead of "The horse is not _much worth_," say "The horse is not worth much."

232. Instead of "The subject-matter of debate," say "The subject of debate."

233. Instead of saying "When he _was_ come back," say "When he had come back."

234. Instead of saying "His health has been _shook_," say "His health has been shaken."

235. Instead of "It was _spoke_ in my presence," say "It was spoken in my presence."

236. Instead of "_Very_ right," or "_Very_ wrong," say "Right," or "Wrong."

237. Instead of "The _mortgager_ paid him the money," say "The mortgagee paid him the money." The mortgagee lends; the mortgager borrows.

238. Instead of "This town is not _as_ large as we thought," say "This town is not so large as we thought."

239. Instead of "I _took you to be_ another person," say "I mistook you for another person."

240. Instead of "On _either_ side of the river," say "On each side of the river."

241. Instead of "_There's_ fifty," say "There are fifty."

242. Instead of "The _best_ of the two," say "The better of the two."

243. Instead of "My clothes have _become too small_ for me," say "I have grown too stout for my clothes."

244. Instead of "Is Lord Lytton in?" say "Is Lord Lytton within?"

245. Instead of "Two _spoonsful_ of physic," say "Two spoonfuls of physic."

246. Instead of "He _must_ not do it." say "He need not do it."

247. Instead of "She said, says she," say "She said."

248. Avoid such phrases as "I said, says I," "Thinks I to myself, thinks I," &c.

249. Instead of "I don't think so," say "I think not."

250. Instead of "He was in _eminent_ danger," say "He was in _imminent_ danger."

251. Instead of "The weather is _hot_," say "The weather is very warm."

252. Instead of "I _sweat_," say "I _perspire_."

253. Instead of "I _only_ want two shillings," say "I want only two shillings."

254. Instead of "Whatsomever," always take care to say "Whatever," or "Whatsoever."

255. Avoid such exclamations as "God bless me!" "God deliver me!" "By God!" "By Gor'!" "My Lor'!" "Upon my soul," &c., which are vulgar on the one hand, and savour of impiety on the other, for:

256. "Thou shalt not take the name of the Lord thy God in vain."

[Footnote 1: Persons who wish to become well acquainted with the principles of 'English Grammar' by an easy process, are recommended to procure "The Useful Grammar," price 3d., published by Houlston and Sons.]

[SOME FEMALE SPIDERS PRODUCE 2,000 EGGS.]

182. Pronunciation.

Accent is a particular stress or force of the voice upon certain syllables or words. This mark ' in printing denotes the syllable upon which the stress or force of the voice should he placed.

[THERE ARE 9,000 CELLS IN A SQUARE FOOT OF HONEYCOMB.]

183. A Word may have more than One Accent.

Take as an instance aspiration. In uttering this word we give a marked emphasis of the voice upon the first and third syllables, and therefore those syllables are said to be accented. The first of these accents is less distinguishable than the second, upon which we dwell longer, therefore the second accent in point of order is called the primary, or chief accent of the word.

[A COW CONSUMES 100 LBS. OF GREEN FOOD DAILY.]

184. When the full Accent falls on a Vowel,

that vowel should have a long sound, as in _vo'cal_; but when I it, falls on or after a consonant, the preceding vowel has a short sound, as in _hab'it_.

[2,300 SILKWORMS PRODUCE 1LB OF SILK.]

185. To obtain a Good Knowledge of Pronunciation,

it is advisable for the reader to listen to the examples given by good speakers, and by educated persons. We learn the pronunciation of words, to a great extent, by _imitation_, just as birds acquire the notes of other birds which may be near them.

[A QUEEN BEE PRODUCES 100,000 EGGS IN A SEASON.]

186. Double Meaning.

But it will be very important to bear in mind that there are many words having a double meaning or application, and that the difference of meaning is indicated by the difference of the accent. Among these words, _nouns_ are distinguished from _verbs_ by this means: _nouns_ are mostly accented on the first syllable, and _verbs_ on the last.

[A COW YIELDS 168 LBS. OF BUTTER PER ANNUM.]

187. Noun signifies Name;

_Nouns_ are the names of persons and things, as well as of things not material and palpable, but of which we have a conception and knowledge, such as _courage_, _firmness_, _goodness_, _strength_; and _verbs_ express _actions, movements,_ &c. If the word used signifies that anything has been done, or is being done, or is, or is to be done, then that word is a _verb_.

[IT WOULD TAKE 27,600 SPIDERS TO PRODUCE 1 LB. OF WEB.]

188. Examples of the above.

Thus when we say that anything is "an in'sult," that word is a _noun_, and is accented on the first syllable; but when we say he did it "to insult' another person," the word insult' implies _acting_, and becomes a verb, and should be accented on the last syllable. The effect is, that, in speaking, you should employ a different pronunciation in the use of the same word, when uttering such sentences as these:--"What an in'sult!" "Do you mean to insult' me?" In the first sentence the stress of voice must be laid upon the first syllable, _in'_, and in the latter case upon the second syllable, _sult'_.

189. Meaning varied by Accentuation.

A list of nearly all the words that are liable to this variation is given in the following page. It will be noticed that those in the first column, having the accent on the first syllable, are mostly nouns; and that those in the second column, which have the accent on the second and final syllable, are mostly verbs:

Noun, &c. Verb, &c.| Noun, &c. Verb, &c. |Noun, &c. Verb, &c. ---------------------|----------------------|-------------------- Ab'ject abject' | Con'trast contrast' | In'lay inlay' Ab'sent absent' | Con'verse converse' | In'sult insult' Ab'stract abstract' | Con'vert convert' | Ob'ject object' Ac'cent accent' | Con'vict convict' | Out'leap outleap' Affix affix' | Con'voy convoy' | Per'fect perfect' As'pect aspect' | De'crease decrease' | Per'fume perfume' At’tribute attribute'| Des'cant descant' | Per'mit permit' Aug'ment augment' | Des'ert desert' | Pre'fix prefix' Au'gust august' | De'tail detail' | Pre'mise premise' Bom'bard bombard' | Di'gest digest' | Pre'sage presage' Col'league colleague'| Dis'cord discord' | Pres'ent present' Col'lect collect' | Dis'count discount' | Prod'uce produce' Com'ment comment' | Ef'flux efflux' | Proj'ect project' Com'pact compact' | Es'cort escort' | Prot'est protest' Com'plot complot' | Es'say essay' | Reb'el rebel' Com'port comport' | Ex'ile exile' | Rec'ord record' Com'pound compound' | Ex'port export' | Ref'use refuse' Com'press compress' | Ex'tract extract' | Re'tail retail' Con'cert concert' | Fer'ment ferment' | Sub'ject subject' Con'crete concrete' | Fore'cast forecast' | Su'pine supine' Con'duct conduct' | Fore'taste foretaste'| Sur'vey survey' Con fine confine' | Fre'quent frequent' | Tor'ment torment' Con'flict conflict' | Im'part impart' | Tra'ject traject' Con'serve conserve' | Im'port import' | Trans'fer transfer' Con'sort consort' | Im'press impress' | Trans'port transport' Con'test contest' | Im'print imprint' | Un'dress undress' Con'text context' | In'cense incense' | Up'cast upcast' Con'tract contract' | In'crease increase' | Up'start upstart'

190. Exceptions

Cement' is an Exception to the above rule, and should always be accented on the last syllable. So also the word Consols'.

191. Hints to "Cockney Speakers."

The most objectionable error of the Cockney, that of substituting the _v_ for the _w_, and _vice versâ_, is, we believe, pretty generally abandoned. Such sentences as "Are you going to Vest Vickkam?" "This is wery good weal," &c., were too intolerable to be retained. Moreover, there has been a very able schoolmaster at work during the past forty years. This schoolmaster is no other than the loquacious Mr. _Punch_, from whose works we quote a few admirable exercises:

i. Low Cockney.--"Seen that party lately?" "What! the party with the wooden leg, as come with--" "No, no--not that party. The party, you know, as--" "Oh! ah! I know the party you mean, now." "Well, a party told me as he can't agree with that other party, and he says that if another party can't be found to make it all square, he shall look out for a party as will."--(_And so on for half an hour._)

ii. Police.--"Lor, Soosan, how's a feller to eat meat such weather as this! Now, a bit o' pickled salmon and cowcumber, or a lobster salid, _might_ do."

iii. Cockney Yachtsman.--(Example of affectation.) Scene: the Regatta Ball.--"I say, Tom, what's that little craft with the black velvet flying at the fore, close under the lee scuppers of the man-of-war?" "Why, from her fore-and-aft rig, and the cut of her mainsail, I should say she's down from the port of London; but I'll signal the commodore to come and introduce us!"

iv. Omnibus Driver.--_Old acquaintance_. "'Ave a drop, Bill?" _Driver._ "Why, yer see, Jim, this 'ere young hoss has only been in 'arness once afore, and he's such a beggar to bolt, ten to one if I leave 'im he'll be a-runnin' hoff, and a smashin' into suthun. Howsoever--here--(_handing reins to a timid passenger_)--lay hold, sir, I'LL CHANCE IT!"

v. Costermonger (_to extremely genteel person_).--"I say, guv'ner, give us a hist with this 'ere bilin' o' greens!" (A large hamper of market stuff.)

vi. Genteel Cockney (_by the seaside_).--_Blanche._ "How grand, how solemn, dear Frederick, this is! I really think the ocean is more beautiful under this aspect than under any other!" _Frederick_.--"H'm--ah! Per-waps. By the way, Blanche, there's a fella shwimping. S'pose we ask him if he can get us some pwawns for breakfast to-mowaw mawning?"

vii. Stuck-up Cockney.--(_Small Swell enters a tailor's shop_.) "A--Brown, A--want some more coats!" _Snip_. "Yes, sir. Thank you, sir. How many would you please to want?" _Small Swell_. "A--let me see; A--ll have eight. A--no, I'll have nine; and look here! A--shall want some trousers." _Snip_. "Yes, sir, thank you, sir. How many would you like?" _Small Swell_.--"A--don't know exactly. S'pose we say twenty-four pairs; and look here! Show me some patterns that won't be worn by any snobs!"

viii. Cockney Flunkey,--(_Country Footman meekly inquires of London Footman_)--"Pray, sir, what do you think of our town? A nice place, ain't it" _London Footman (condescendingly_). "Vell, Joseph, I likes your town well enough. It's clean: your streets are hairy; and you have lots of rewins. But I don't like your champagne, it's all gewsberry!"

ix Cockney Cabby (_with politeness_).--"Beg pardon, sir; please don't smoke in the keb. sir; ladies do complain o' the 'bacca uncommon. Better let me smoke it for yer outside, sir!"

x. Military Cockney.--_Lieutenant Blazer (of the Plungers)_.--"Gwood gwacious! Here's a howible go! The ifan [? word not legible] v's going to gwow a moustache! _Cornet Huffey_ (whose face is whiskerless). "Yaw don't mean that! Wall! there's only one alternative for us. We must shave!"

xi. Juvenile Low Cockney.--"Jack; Whereabouts is Amstid-am?" _Jack._ "Well, I can't say exackerley, but I know it's somewhere near 'Ampstid-'eath!"

xii. Cockney Domestic.--_Servant girl_--"Well, mam--Heverythink considered, I'm afraid you won't suit me. I've always bin brought up genteel: and I couldn't go nowheres where there ain't no footman kep'."

xiii. Another.--_Lady._ "Wish to leave! why, I thought, Thompson, you were very comfortable with me!" _Thompson (who is extremely refined)_. "Ho yes, mum! I don't find no fault with you, mum--nor yet with master--but the truth _his_, mum--the _hother_ servants is so orrid vulgar and hignorant, and speaks so hungrammaticai, that I reely cannot live in the same 'ouse with 'em--and I should like to go this day month, if so be has it won't illconvenience you!"

xiv. Cockney "Waiter.--"'Am, sir? Yessir? Don't take anything with your 'am, do you, sir?" _Gentleman._ "Yes, I do; I take the letter H!"

xv. Cockney Hairdresser.--"They say, sir, the cholera is in the Hair, sir!" _Gent (very uneasy)_. "Indeed! Ahem! Then I hope you're very particular about the brushes you use." _Hairdresser._ "Oh, I see you don't nunderstand me, sir; I don't mean the 'air of the 'ed, but the _h_air _h_of the _h_atmosphere?"

xvi. Cockney Sweep _(seated upon a donkey)_.--"Fitch us out another penn'orth o' strawberry hice, with a dollop o' lemon water in it."

xvii. Feminine Cookney _(by the sea-side.)_--"Oh, Harriet, dear, put on your hat and let us thee the stheamboat come in. The thea is tho rough!--and the people will be tho abthurdly thick!"

[ALUM FIRST DISCOVERED A.D. 1300.]

192. Correction

Londoners who desire to correct the defects of their utterance cannot do better than to exercise themselves frequently upon those words respecting which they have been in error.

193. Hints for the Correction of the Irish Brogue.

According to the directions given by Mr. B. H. Smart, an Irishman wishing to throw off the brogue of his mother country should avoid hurling out his words with a superfluous quantity of breath. It is not _broadher_ and _widher_ that he should say, but the _d_, and every other consonant, should be neatly delivered by the tongue, with as little riot, clattering, or breathing as possible. Next let him drop the roughness or rolling of the _r_ in all places but the beginning of syllables; he must not say _stor-rum_ and _far-rum_, but let the word be heard in one smooth syllable. He should exercise himself until he can convert _plaze_ into _please_, _planty_ into _plenty_, _Jasus_ into _Jesus_, and so on. He should modulate his sentences, so as to avoid directing his accent all in one manner--from the acute to the grave. Keeping his ear on the watch for good examples, and exercising himself frequently upon them, he may become master of a greatly improved utterance.

[TEA FIRST USED IN ENGLAND A.D. 1698.]

194. Hints for Correcting the Scotch Brogue.

The same authority remarks that as an Irishman uses the closing accent of the voice too much, so a Scotchman has the contrary habit, and is continually drawling his tones from the grave to the acute, with an effect which, to southern ears, is suspensive in character. The smooth guttural _r_ is as little heard in Scotland as in Ireland, the trilled _r_ taking its place. The substitution of the former instead of the latter must be a matter of practice. The peculiar sound of the _u_, which in the north so of ten borders on the French _u_, must be compared with the several sounds of the letter as they are heard in the south; and the long quality which a Scotchman is apt to give to the vowels that ought to be essentially short, must he clipped. In fact, aural observation and lingual exercise are the only sure means to the end; so that a Scotchman going to a well for a bucket of water, and finding a countryman bathing therein, would not exclaim, "Hey, Colin, dinna ye ken the water's for drink, and nae for bathin'?"

195. Of Provincial Brogues

it is scarcely necessary to say much, as the foregoing advice applies to them. One militiaman exclaimed to another, "Jim, you hain't in step" "Bain't I?" exclaimed the other; "well, change yourn!" Whoever desires knowledge must strive for it. It must not be dispensed with after the fashion of Tummus and Jim, who held the following dialogue upon a vital question:--_Tummus_. "I zay, Jim, be you a purtectionist?" _Jim_. "E'as I be." _Tummus_. "Wall, I zay, Jim, what _be_ purtection?" _Jim_. "Loa'r, Tummus, doan't 'ee knaw?" _Tummus_. "Naw, I doan't." _Jim_. "Wall, I doan't knaw as can tell 'ee, Tummus, _vur I doan't exakerly knaw mysel'!_"

196. Rules of Pronunciation.

i. C before _a, o_, and _u_, and in some other situations, is a close articulation, like _k_. Before _e, i_, and _y, c_ is precisely equivalent to _s_ in _same, this_; as in _cedar, civil, cypress, capacity_.