310 



THE POPULAR EDUCATOR. 



keeping the conjunction, as et/co<rt /cat irevre, twenty and five, 25. 

 Thus, 345 will be either vevrt /cat TeTTapa/coj/ra /cat rpiaicoffioi, 

 or Tpia/comot /cat TerrapaKovTa, /cat irevrf. 



DECLENSION OF THE FOUR FIRST NUMERALS, 



Namely, ets, one; Svo, two; rptis, three; rerrapes, four. 



Like els, decline its compounds, ouSets andjitTjSeis, no one : thus, 

 ouSeis, ouSeyuia, ouSev; gen., ovStvos, ouSejutas, etc. Plural, ouSeres, 

 oi/Se^iai, ouSepa, ouSe/uwi', ouSea"!, etc. ; the S is euphonic. 



Auo is often used as an indeclinable word for all cases. The 

 numeral a/j.(p<a, both, has, like 5uo, in the genitive and dative oiv 

 thus, afjHpow ; the accusative is the same as the nominative j like 

 8uo, au</>a> is sometimes used as an indeclinable. 



VOCABULARY. 



EXERCISE 70. GREEK-ENGLISH. 



1. 'O Eu</>paT7JS TTOTO/XOS tffTlTO fVpOS T(TTO.p<l!V ffTaSlUV. 2. To 



Se ffTaoiov x 6 ' Tapa TOIS 'Pwfiatois irtvre /cat tixoffi /cat e/carov 

 ^7j|taTa, TJ irevTe at eiitoffi /cat |a/cocrioujiro8as. 3. Kupy vapt\(To.v 

 at /c Tlf\oirovvi)ffov vrjes TpiaicovTa. itevrt. 4. Tou "Sapou, KtAt/cia? 

 voTUfiov, TO evpos i\v Tpia irAeOpa. 5. To 8e ir\t6pov x 6 ' 

 fKo.Tov iroSas. 6. Ku8)/os, KtAt/ctas irora/xos, eupos effTi Suo ir\ed- 

 (xay. 7. Tou MatavSpou, *puyias jrora/uou, TO eupos taTiv tiKOffi 

 itfVTe iroHuiv. 8. 'O TrapatraTTTjs, TIspffiKOi> ptTpov, x I Tpia/coj/ra 

 (TTaSta TJ irtvTtiKOvro. /cat cirra/coo-tous /cat o/cTa/crxtAtous /cat 

 /uuptous iroSas. 9. Apifyios (ru/xiraffrjs TTJS 6Sou TTJS avdflacrecos 

 /cat KOTa/Safffcos, r] vwo e.fvoipaH'Tos ffvyypatyfTai, i\aav OTafytot 

 diaxoffioi 8e/ca itfVTf, irapaffayyat x 1 ^-"" fKaTov irevTijKovTa 

 irfVTf, oraSia TpttTjUupta T6Tpa/ct<rx'^' a a/cocria irevTtiKovra., 

 Xpopou irA^Oos TIJS avafiaffeus /cat /caTa/Safffcos f J/IOUTOS /cat Tpets 



/X7JJ/S. 10. 'E^OS <pl\lO. ffVVfTOV KpflTTWV fffTIV affVVfTUV aTTOJ/TCOJ'. 



11. Tou Ku,9ou (TTpaTeu/xoToy t\v apiO/J.os T<av p.fv 'EAATjvai^ oir\ira.i 

 wpwi /cat TfTpaKovioi, iff ATairrat 8e StcrxtAtot /cat irfVTaKOffioi, TUP 

 8e /xtra Kupou Eapfiapwv Se/ca jtuptaSes /cat ap^uara SpeiravT/^opa 



CtfiKpt TO. flKOffl. 



EXERCISE 71. ENGLISH-GREEK. 



1. It is better to have one intelligent friend than many unin- 

 telligent ones. 2. Seventy years produce about (a/i(J>i and ace.) 

 25,555 days. 3. The sum total of the way from the battle at 

 (tv) Babylon to (eis) Cotyora, of the retreat, which Xenophon 

 describes, is 122 stages, 620 parasangs, 18.600 stadia, the length 



of the time eight months. 4. The number of the army is 39,850. 



5. (There) are four generals of the army, each of the four of 

 (that is, commanding) 30,990 soldiers. 6. In the battle (there], 

 were present 96,650 soldiers and 150 scythe-bearing chariots. 



KEY TO EXERCISES IN LESSONS IN GREEK. XX. 



EXERCISE 68. GREEK-ENGLISH. 



1. This man is good. 2. This judgment is just. 3. This woman is 

 beautiful. 4. That man is a kiug. 5. The king himself is general. 



6. O boy, bear him the key. 7. Some do not know the same things con- 

 cerning the same people on the same day. 8. To speak and to act is 

 not the same thing. 9. These roses which bloom in the garden are 

 lovely. 10. Man is a certain clever contrivance. 11. If you cultivate 

 the friendship of any man, examine carefully into his character. 12. 

 Who writes this letter? 13. Tell me who writes this letter ? 14. To 

 others communicate of the things which you have. 15. He is happy 

 who has kind children. 16. That man is most happy who has no 

 calamity. 17. Why do you take anxious thought ? 18. I cauuot tell 

 why I take anxious thought. 19. As is the disposition of each, such 

 is his manner of life. 20. Who is that woman yonder ? 21. Tell me 

 who is that woman yonder. 



EXERCISE 69. ENGLISH-GREEK. 



1. Oi ai'dper OUTOI eiatv afadoi. 2. Exeivai at Aofai eifft oiicuut. 3. Ta 

 TCKva tavrnt Ti)r -jvvatKot ey-ri xa\a. 4. lixeii/a ra poiu ean xa\a. 5. .'O 

 rrarnp airror ypa<j>et rr\v eirttno\Y\v. 6. 'O vios avrou CJTI crotpot. 7. AUTOI; ') 

 6vf<nr]p eiTTt KuAi], 8. Exeifa Ta Ka\a podu 6ai//uafa), avra <pepe fioi. 9. Ta 

 TCKi/a TUIV avTtav TOKCUP iro\\i.W ftatv 4rpa. 10. TOUTO TO poiov o fv rip Knirf 

 (l\\u, fart KuAcn-. 



GREAT BOOKS. 



XVII. THE WAVERLEY NOVELS. 



THE Historic Novel is to a great extent the creation of modern 

 times, though, like most other things, its beginnings are to be 

 found in the ancient world. One might perhaps say that the 

 " Iliad " is a historical romance in verse, for there can be little 

 doubt that some degree of truth is combined with its mythical 

 incidents. But we have a more genuine counterpart of the 

 modern historic novel in the " Cyroptedia " of Xenophon, 

 which, while in the main fictitious, ia thought to have a basis 

 of fact. Lower down the stream of ages, we find, in the 

 romances of chivalry associated with the heroic names of 

 Arthur, Charlemagne, and the Cid, references to real persons, 

 if not to real events, together with scenes of enchantment, and 

 circumstances of an impossible character. Nevertheless, the 

 assertion holds good that the Historic Novel, as we now 

 understand the term, is a plant of very recent growth, although 

 it seems to bo already far advanced in its decay. The founder 

 of the school was Sir Walter Scott, and it is probable that he 

 will for evor remain its greatest master. He came at a time 

 peculiarly fitted for such productions, and Nature had endowed 

 him with a genius in which the love of romance was curiously 

 blended with a devotion to antiquarian lore. The school of 

 fiction founded by Richardson, Fielding, Smollett, and Gold- 

 smith, had lost its freshness and power, and the writings of 

 Mrs. Radcliffe and others had created a taste for the pictur- 

 esque and romantic. Scott himself began his literary career 

 by writing narrative poems of mediaeval adventure. It was an 

 age of revival, in which the manners and external forms of earlier 

 days exercised a remarkable fascination over the public mind. 

 The author of "Waverley" was in thorough harmony with this 

 feeling ; and it was as a writer of historical romance that he 

 achieved his greatest and most permanent triumphs. 



The metrical stories of Scott were beginning to pall by repe- 

 tition, and to fade before the greater poetic energy of the 

 somewhat similar compositions of Byron, when, in the year 

 1814, the former published his prose romance of " Waverley ; 

 or, 'Tis Sixty Years Since." The second name was misleading, 

 for the period of the novel is 1745, the time of the Second 

 Pretender ; but the story had been written some years before, 

 and an alteration in the sub-title would not have been con- 

 venient. No author's name was attached to the production, 

 and it may be said to have stolen into the world in as unob- 

 trusive a way as any book which afterwards became famous. 

 "The work,'' Scott himself wrote in a General Preface to the 

 "Waverley" series in 1829, "was left to win its way in the 

 world without any of the usual recommendations. Its progress 

 was for some time slow ; but, after the first two or three 



