now rarely used; and in the cases in which it is chiefly usednamely, by the poets, and by the Society of Friends-the est is for the most part dropped. Indeed, but for its constant employment in the public prayers of Christian churches, it would now probably be wholly out of use. Nor would the language suffer by its discontinuance; for, as the person is marked by the pronoun thou, there is no occasion for any inflection of the verb, and such inflection abates the euphony, and diminishes the adaptability of our verbs.

Et, as in turret (Latin, turris, a tower), is a diminutive, a small tower; coming to us from the Italian torretta.

"Now like a maiden queen she will behold,

From her high turrets, hourly suitors come;
The east with incense, and the west with gold,
Will stand like suppliants to receive her doom."

Dryden.

Eth, the old termination of the third person singular of the present tense of the English verb; as eateth, found in part in the Latin legit, and found in full in the Anglo-Saxon bærneth, he burneth.

"He that goeth forth and weepeth."-Ps. cxxvi. 6.

Ette, of French origin, is found in words taken from the French; as, coquette, etiquette. Coquette is, with us, spplied to a female who employs her personal attractions to gain attention from males. In French there is the word coquet, a male coquette. Coquet seems to come from coq, a cock, a showy and uxorious animal; and accordingly, it signifies a man who resembles a cock in his attention to woman. By a natural step in the progress of language, the term was applied to females.

Etiquette is the same word as our ticket, and originally denoted the short inscriptions, or tickets, put on packages of goods to point out what they contained. But similar etiquettes or tickets were employed to declare certain observances required in a public assembly; and so the word came to signify forms and formalities, a strict regard to custom; and in general, social conventionalism, particularly in relation to deportment.

"Coquet and coy at once her air,

Both studied, though both seem neglected;
Careless she is with artful care,

Affecting to seem unaffected."- Congreve.

Eur, a French termination, from the Latin or: thus vendeur (a seller) is from the Latin venditor; proditeur, a betrayer, from the Latin proditor. It is similar in import to our ending er, and denotes an actor: for example, producteur, Fr. a producer. old many English words, now terminating in or, terminated in

Of

eur; as autheur for author. The termination is still retained

in certain nouns denoting abstract qualities: for instance, grandeur (Latin, grandis, great); hauteur (French, haut, high), derived immediately from the French. The notion of the actor is retained in the French douceur (from the French doux, sweet), a sweetener; a fee, or bribe.

Ever, connected in origin with the Latin ævum, age; and the Greek awv (i'-own), age, comes to us directly from the AngloSaxon ofre, and signifies always, an enduring reality, either in time past (Ps. xxv. 6; xc. 2), time present (Ps. cxix. 98), or time to come (Ps. cxi. 5). Ever, as a suffix, strengthens the word to which it is appended: thus, "whatever you do" has more force than "what you do." Ever is found in other compounds; for example, whoever, however, wherever, whenever. Additional force is given by the insertion of the particle so; as whosoever, whencesoever, whithersoever. This so used to stand where ever is now placed; as, whoso, howso, whatso.

"Her cursed tongue (full sharp and short)
Appeared like aspis' sting, that closely kills,
Or cruelly doth wound whomso she wills."

Spenser, "Faerie Queene." Full, of Saxon origin, obviously the same as the adjective full, gives an instance of the origin of these particles in words which originally had a definite form and signification. According to its root-meaning, full (now in combination written ful) denotes a large portion of the quality indicated by the word to which it is affixed; as, hate, hateful; thank, thankful; grateful, delightful. Full has for its opposite less; for example, merciful, merciless. In the employment of words, you cannot follow analogy alone, but must consult authority: thus, you may say penniless, but you cannot say penniful; yet pitiful is as good as pitiless.

"How oft, my slice of pocket store consumed,

Still hungering, penn less, and far from home, I fed on scarlet hips and stony haws."-Cowper, "Task." Fy is from the Latin facio, I make. Facio, in combination, becomes ficio, as in efficio. The fi in this word, written fy, is the particle under consideration. It is seen in fructify, literally, to make fruit; that is, to make fruitful.

"Calling drunkenness, good-fellowship; pride, comeliness; rage, valour; bribery, gratification."-Bishop Morton.

Head or hood, from the Saxon had, head, in composition, denotes the essence of any person or thing; its essential condition, viewed as a whole: thus, in Anglo-Saxon and English, manhad, manhood; wifhad, wifehood, or womanhood; cildhad, childhood; brotherhad, brotherhood; preosthad, priesthood. "Canst thou, by reason, more of 9 dhead know,

Than Plutarch, Seneca, or Cicero ?"

66

Dryden, Religio Laici." Head is sometimes employed with a more direct reference to the meaning which it has in current use; as in wronghead and wrongheaded, etc

"Much do I suffer, much to keep in peace,

This jealous, waspish, wronghead, rhyming race."-Pope. "Whether we [the Irish] can propose to thrive so long as we entertain a wrongheaded distrust of England."-Bishop Berkeley. After a similar manner we use both heart and head, in fainthearted, lighthearted, hotheaded, lightheaded.

Ible, see able, formerly explained under suffixes.

Ic, ick, ich, have counterparts in the Latia termination icus, and the German ich, isch; as soporificus (Latin, sopor, sleepiness), soporific, rusticus (Latin, rus, the country), rustic, cildisc in AngloSaxon, childish in English; bookish.

"The sweet showers of heaven that fell into the sea are turned into its brackish taste."-Bates.

Ical, an adjective-ending, from the Latin icaiis: for example, amicalis, amical (friendly), grammaticalis, grammatical; so critical (Greek, kрivw, pronounced kri'-no, I judge), which passes into a noun by dropping al, as critic; so musical, music, mystical, mystic. "Fool, thou didst not understand

The mystic language of the eye nor hand."-Donne. Ile, from the Latin adjective termination ilis, to be seen in docilis (Latin, docco, I teach), docile, teachable; fragilis (Latin, Some Latin adjectives frango, I break), fragile, easily broken. in ilis are represented by adjectives in ful in our tongue, as utilis, useful.

In, ine is from the Latin termination inus, which denotes sometimes a name, as Tarentine, an inhabitant of Tarentum, but in English more often a quality, as genuine, from the Latin genuinus, which is derived in its turn from genus, a kind or race-that is, that which possesses the qualities belonging to its kind, in opposition to spurious, which, in its Latin meaning, signifies a bastard.

"We use

No foreign gums, nor essence fetched from far,
No volatile spirits, nor compounds that are
Adulterate; but at Nature's cheap expence

With far more genuine sweets refresh the sense."-Carew. Ing, in Anglo-Saxon, signifies son, as Edgar Atheling; that is, forms the ending of our active participles, as singing, from to Edgar the son of Athel, or Edgar of noble blood. In English, ing sing; also a very large class of nouns; thus, singing itself may be employed as a noun, as the singing was good.

These nouns,

as might be expected from the meaning of the Saxon ing, denote existence; thus, to sing is a verb, but singing is the active of the verb in actual being. When these words in ing are used as nouns they should have the government of nouns; thus, the singing of the birds was delightful. Almost every English verb may be made into a noun by the suffix ing; to eat, the eating; to diminish, the diminishing; to run, the running. Observe that the idea of activity is connected with nouns ending in ing ; as, the seeing; the hearing; the dancing; the reporting-that is, the act, the process of dancing, reporting, etc.-wherein those nouns differ from other nouns which express the result of an action; as sight, the result of the act of seeing; report, the result of the act of reporting. The former have been called active, the latter class passive nouns, from the analogy they bear to active and passive verbs.

LESSONS IN DRAWING.-XVI. TEISHIGH LIGHTS-SETTING DRAWINGS, ETC. Imzon of our remarks upon Foregrounds, we introduce & group of dock-leaves. In the drawing, Fig. 108, So how the principles we endeavoured to explain in Lesvos are to be carried out. The leaf in front repreI need a summary of our observations. Notice the prong part receiving the highest light; the dark cast shadow idered being the strongest in the drawing. Notice, also, the ustaadow across the leaf (caused by the one on the left, which rows the under-leaf back, and brings out the one in light), commencing strongly near the high light, and gradually becoming

will give additional character and truthfulness. It may not be drawing, as probably their whole extent may not be seen; but necessary that these stems should be completed in the finished the slight indication of their whereabouts may be useful for the purpose of adjusting the foliage according to the class of tree to be represented. This process is to be followed throughout the whole drawing. This, which we will call the first stage, must be done faintly, so that, with india-rubber-or, what is better for the softer kinds of paper, bread-crumbs-these marks may be weakened when the second stage is ready for commencement. In this portion of the work there must be no indecision, particulars must be entered into, especially those upon which the light falls. Amongst these will be found many that owe their

lower in tome se media: this, together with the manner of པེཎཝཱ ཎཱ ཎ ཚུརu:བy ༢pd son the mefarea of the leaves, tends to vive the periereins and armvennently assists in this way to dth of $ af. Examples of this kind can be Toca yotard from Vse that we prefer to leave the pupil to select them for him ulang him to preserve them for ne as we have recommend d, and, when drawing from them, to allow his mind to root previous remarks upon the principles we have laid before him, which apply not only to the drawing of a simple wed or dock-leaf, but have their never failing influence upon ail subjects adinissible in art. In the drawing of trees and the larger kinds of shrubs, we must urge the practice of being particularly careful of the outline, the first process of which must be confined to the general proportions and posi ho parts in light; and, at the same time, where it ifaint line the course of the stems, which

prominence to sharp, clear terminations; and the distinctness of their forms will be in proportion to the amount of light which falls upon them. The stems previously and slightly traced may now receive in those parts in sight all the forcible and distinctive qualities they demand, even to the peculiarities observable upon the bark. At all times avoid a multiplicity of lines when one only will be sufficient. When we see, as we frequently do in the early attempts of beginners, a number of lines of all lengths and thicknesses muddled together, we can only attribute the practice to doubt and uncertainty; they are waiting to see the effect before they can make up their minds as to the one right line required. Such a proceeding indicates weakness, and creates confusion. If we were to extend our instructions beyond the single subject of a tree, and include the whole landscape generally, we could only repeat what has been said before, as our remarks are equally applicable to distances and mountains, where it

would be a great mistake not to be especially careful in their forms and outlines. These lines must not be strong, but firm and decisive, and the more simple the better; all darker lines must be reserved for the foreground. The method of securing the lights upon trees, which we have shown in Fig. 109, will explain to the pupil the manner of proceeding more clearly than words can do. In his practice we recommend him first to copy parts of the example, and make separate and repeated studies of those portions which, as he proceeds, he will find to be most

with it cover down the whole of the part intended to be white; when dry, proceed to the completion of the drawing. It will not in the least matter if the lead pencil should pass over the part gummed, it will not have any effect upon it. When the drawing is finished, pin it down at the corners on a board, let it be held in an inclined position, and pour some hot water over it; the gum immediately dissolves, leaving the parts which were covered by it perfectly white. Broad spaces in light, upon which are to be drawn minute and sharply-cut details, may be preserved in this

difficult. He will be better able to decide for himself than we can for him as to which of those parts may require more frequent repetition; and it is almost needless to say, that by frequent repetition only can he hope to succeed. There is a very easy and legitimate way of preserving in pencil drawings the sharp touches of light which are seen upon polished surfaces, streaks in water, blades of grass, the bright parts of clouds, small objects of a naturally light colour on a dark background, or any effect where brilliancy is requisite, and where a sharp, clear, and distinct outline of the form must be preserved. It is this: After the outline of the object, or part to be preserved, has been made, dip a fine hair-pencil into tolerably strong gum-water, and

way, and, after the gum is washed off, the details may be made out upon them. This leads to the use of gum-water in another way, and that is, as a means of fixing the drawing. If a drawing is worth anything, it surely is worth setting, that is, fixing the lead or chalk with which it is drawn, so that, under moderate treatment, it cannot injure by rubbing. For highly-finished drawings, or where the chalk or pencil has been very liberally applied, it will be better to proceed in this way :--Nearly fill a shallow dish or tray, somewhat larger than the drawing, with a weak solution of gun-water, or which may sometimes be more convenient-a mixture of milk and water, half of each; pass the drawing carefully through the mixture (face uppermost)

If

bacicvels and forwards; then fix it up on the wall by a corner imp and dry; or the drawing may be pinned down to a Bart Jeli on an incline over a dish, and the milk and water pouret smer it with a spoon, beginning at the top; it is necessary de tilat a parts of the drawing have been passed over. trawings are merely outlines, or have very little shading on them, then the fixing medium may be passed over the whole peter with a broad, flat camel-hair brush. With careful treatment. tala method of preserving drawings will be found to be quite satisfactory.

LESSONS IN FRENCH.-XXIX.
SECTION LII-THE IMPERFECT TENSE [§ 119].

1 THE imperfect, or simultaneous past tense, may be called the drptive tense of the French. The action which it represents, de tous situation which it describes, is imperfect of itself. This tee leas the beginning, duration, and end of an action Ser untied. It may often be rendered in English by the a..... ...ary u 18, etc., and the participle present of the verb [§ 119,

1. De qui parliez-vous ce matin quand je suis venu vous trouver? 2. Ma cousine parlait de son frère et je parlais du mien. 3. N'aimiez-vous pas mieux le boeuf que le mouton autrefois ? 4. J'aimais le boeuf, mais je n'ai jamais aimé le mouton. 5. Ne vendiez-vous pas beaucoup de livres lorsque vous demeuriez à Paris? 6. J'en vendais beaucoup, parceque

j'étais libraire. 7. Le libraire a-t-il ven lu beaucoup de crayons ce matin ? 8. Il a vendu beaucoup de crayons aujourd'hui. 9. Vendiez-vous beaucoup de parchemin lorsque vous étiez libraire ? 10. Je n'en vendais presque pas. 11. Votre frère portait-il un habit vert lorsqu'il demeurait à Londres? 12. II 13. Que cherportait un habit brun et des pantoufles noires. chiez-vous ? 14. Je cherchais mon livre. 15. Depuis quand

17.

perdu de nouveau. 19. Ce boulanger vous fournissait-il de bon pain? 20. Il nous en fournissait d'excellent. 21. Punis

siez-vous souvent vos écoliers? 22. Je les punissais quand ils le méritaient. 23. Où étiez-vous ce matin quand je vous cherchais? 24. J'étais dans ma chambre. 25. Je finissais mon thème.

EXERCISE 100.

1. Who was at your house this morning? 2. My friend G. was there, and was looking for you. 3. Did you speak to my father yesterday? 4. I was speaking to him when they brought me your letter. 5. Did your father (use to) wear a white hat 6. He used to wear a black hat, when he lived in London? and my brother wore a black coat. 7. Were you singing when my father came? 8. No, Sir, I was finishing my exercise. 9. Had you lost your pencil this morning? 10. I had lost it, and was looking for it when you spoke to me. 11. You used to like reading (la lecture); did your sister (use to) like it also? 12. She liked it also. 13. What song were you singing this morning? 14. I was singing an Italian song. 15. Have you been afraid to speak to me? 16. I have never been afraid to speak 17. Have you brought my book? 18. I have not

to you. brought it. SECTION LIII.-THE IMPERFECT TENSE (continued). 1. The imperfect of the indicative of every French verb, regular or irregular, ends in ais, ais, ait, ions, iez, aient. 2. No verb of the first conjugation, er, is irregular in this

"

7

your letter.

in.

efois à lire les poètes I used to like formerly to read the English poets. votre chambre lorsque I was in your room when you came 1. la matinée. I spoke yesterday the whole morning. relorsque votre I was speaking to your father when your friend met us yesterday.

3. The only irregularity found in the irregular verbs of the second conjugation, ir, is that, to form the imperfect, the stem of these verbs takes ais, etc., instead of issais; as, ven-ir, je ven-ais; cour-ir, je cour-ais; cueill-ir, je cueill-ais. Exception: Fuir, to flee-je fuyais.

4. The irregular verbs of the third conjugation, oir, change that termination (oir) into ais, etc., like the irregular verbs of the same; as, sav-oir, je sav-ais; av-oir, j'av-ais. Exceptions: se-oir, to become; voir, to see; and their compounds, and déchoir [see § 63].

5. The changes which the stem of the irregular verbs of the fourth conjugation undergoes, in this tense, are too various to admit of a complete classification. We, however, offer the following:

Like

Food.

I was looking for your father.

pounds.

1. Pourquoi n'écriviez-vous pas plus vite ce matin ? 2. Parceque j'avais peur de me tromper. 3. Ne craigniez-vous pas d'offenser cette dame? 4. Je craignais de l'offenser, mais je ne pouvais faire autrement. 5. Que peigniez-vous ce matin? 6. Je peignais un tableau d'histoire. 7. Votre teinturier que teignait-il ? 8. Il teignait du drap, de la soie et de la toile. 9. De quelle couleur les teignait-il? 10. Il teignait le drap en noir, et la soie et la toile en vert. 11. Conduisiez-vous le jeune Polonais à l'école lorsque je vous ai rencontré ? 12. Je conduisais mon fils aîné à l'église. 13. Que lisiez-vous ? 14. Je lisais des livres que je venais d'acheter. 15. Ne saviez-vous pas que ce monsieur est mort? 16. Je l'avais oublié. 17. Combien la montre que vous avez cassée valait-elle ? 18. Elle valait au moins deux cents francs. 19. Ne valait-il pas mieux rester ici que d'aller à la chasse ? 20. Il valait beaucoup mieux aller à l'école. 21. Votre ami que vous disait-il ? 22. Il me disait son frère est revenu d'Espagne. 23. N'alliez-vous pas à la chasse tous les jours lorsque vous demeuriez à la campagne ? 24. J'allais souvent à la pêche. 25. Mon frère allait tous les jours à l'école quand il était ici.

EXERCISE 102.

que

1. Were you afraid this morning when you came to our house? 2. I was afraid. 3. Of what were you afraid? 4. I was afraid of the horse. 5. Was not your friend afraid of falling (de tomber)? [See Sect. XX. 2, 4.] 6. He was not afraid of falling, but he was afraid of making a mistake (de se tromper). [See 2, in exercise above.] 7. Were you taking your son to school? 8. I was conducting him to school. 9. What colour was the dyer dyeing the silk ? 10. He was dyeing some red and some green. 11. Was he dyeing his cloth black or green? 12. He was neither dyeing it black nor green, he was dyeing it pink (rose). 13. What was the gentleman reading? 14. He was reading a letter which he had just received. 15. Were you cold when you came here ? 16. I was cold, hungry, and thirsty. 17. Were you not ashamed of your conduct (conduite)? 18. I was ashamed of it. 19. Whither were you going when I met you? 20. I was going to your house. 21. Were you driving your brother's carriage? 22. I was driving my own (la mienne). 23. Were you writing to me or to my father? 24. I was writing to your friend's cousin.

KEY TO EXERCISES IN LESSONS IN FRENCH.

sommeil, mais j'ai faim. 3. Avez-vous du poivre ou du sel? 4. Je n'ai ni poivre ni sel, j'ai du fromage. 5. Votre frère a-t-il soif ou faim ? 6. Mon frère n'a ni soif ni faim. 7. Votre sœur a-t-elle raison ou tort ? 9. Le bon nenuisier a-t-il peur ? 8. Elle n'a pas tort, elle a raison. 10. Il n'a pas peur, mais honte. 11. Avez-vous du lait ou du fromage? 12. Je n'ai ni lait ni fromage, j'ai du beurre. 13. Avez-vous le

beau drap ou le bon thé ? 14. Je n'ai ni le beau drap ni le bon thé. 15. Avez-vous quelque chose, mon bon ani? 16. Je n'ai rien, mon bon Monsieur. 17. N'avez-vous pas de pain? 18. Oui, Madame, j'ai de bon pain, de bon beurre, et de bon fromage. 19. Le charpentier a-t-il sommeil ? 20. Le charpentier n'a pas sommeil, mais le ferblantier a faim. 21. Avez-vous le marteau de bois du ferblantier? 22. Je n'ai pas son marteau de bois. 23. Quel marteau avez-vous ? 24. J'ai le marteau d'acier. 25. Avez-vous un bon habit de drap? 26. Non, Monsieur, mais j'ai une robe de soie. 27. Le tailleur a-t-il le bon bouton d'or ? 28. Oui, Monsieur, il a le bon bouton d'or.

EXERCISE 11 (Vol. I., page 43).

1. Have you the silver fork? 2. Yes, Sir, I have it. 3. Has the cook the beef? 4. No, Sir, he has it not. 5. What mutton have you? 6. I have the butcher's good mutton and good veal. 7. Has your relation the chest of drawers? 8. No, Sir, he has it not. 9. Has he my fish ? 10. Who has all the baker's biscuit? 11. The sailor has neither his bread nor his biscuit. 12. Has he his knife and his fork? 13. He has neither his knife nor his fork; he has his plate. 14. What dish has he? 15. He has the pretty china dish. 16. Have you mine or his ? 17. I have neither yours nor his; I have ours. 18. Are you afraid, Sir? 19. No, Madam, I am not afraid, I am hungry. 20. Has any one my gold watch? 21. No, Sir, no one has it. 22. What is the matter with you, Sir? 23. Nothing is the matter with me.

pas.

EXERCISE 12 (Vol. I., page 43).

1. Avez-vous le porte-crayon d'argent? 2. Non, Monsieur, je ne l'ai 3. Avez-vous l'assiette de mon frère ? 4. Oui, Madame, je l'ai. 5. Le boucher a-t-il le bon biscuit ? 6. ne l'a pas; il a le bon bouf, le bon mouton, et le bon veau. 7. Avez-vous mon couteau et ma fourchette ? 8. Je n'ai ni votre couteau ni votre fourchette. 9. Qui a le biscuit du bon matelot ? 11. 10. Le boulanger l'a, et j'ai le mien. Avez-vous le mien aussi ? 12. Je n'ai ni le vôtre ni le sien. 13. Avezvous faim? 14. Je n'ai pas faim, j'ai soif et j'ai sommeil. 15. N'avezvous pas honte ? 16. Non, Monsieur, je n'ai pas honte, mais j'ai froid. 17. Votre parent a-t-il raison ou tort? 18. Mou parent a raison, Monsieur. 19. A-t-il mon plat de porcelaine ou mon couteau d'argent ? 20. Il n'a ni votre plat de porcelaine ni votre couteau d'argent; il a votre assiette de porcelaine. 21. Quelqu'un a-t-il mon porte-crayon d'argent? 22 Personne ne l'a, mais votre frère a votre habit de drap. 23. Avez-vous le mien ou le sien ? 24. J'ai le vôtre.

EXERCISE 13 (Vol. I., page 59).

1. Has your brother his silver inkstand? 2. He has it no longer, he has a lead inkstand. 3. Have we the stranger's letter? 4. Yes, Sir, we have the stranger's. 5. Your sister has not her slate, but she has her satin bonnet. 6. Has the joiner your wood or his ? 7. He has neither mine nor his, he has the gardener's. 8. Have you my good silk umbrella? 9. I have your silk umbrella and your satin parasol. 10. Have you my bottle? 11. I have not your bottle, I have your sister's trunk. 12. Has the servant this salt-cellar ? 13. He has not this salt-cellar, he has that. 14. Have you the good or the bad chicken ? 15. I have neither this nor that. 16. Which chicken have you? 17. I have the cook's. 18. Has the baker poultry ? 19. The baker has no poultry, he has milk. 20. Have you your cheese or mine ? 21. I have neither yours nor mine, I have the sailor's. 22. Is any one hungry? 23. No one is hungry. 21. Is anything the matter with you? 25. No, Sir, nothing is the matter with me. 26. Have you my joiner's mahogany sofa? 27. No, Sir, I have it not. 28. I have his pretty looking-glass and his good pencil.

EXERCISE 14 (Vol. I., page 59).

parapluie de cette dame. 3. Avez-vous ce parasol-ci ou celui-là? 1. Votre frère a-t-il le parapluie de cette dame? 2. Mon frère a le 4. Je n'ai ni celui-ci ni celui-là. 5. Avez-vous la montre d'or de l'étranger ?

6. Non, Monsieur, j'ai celle du boulanger. 7. Qui a mon ardoise? 8. salière d'argent ? 10. Le cuisinier a une salière d'argent, et un plat d'argent. 11. Le cuisinier a-t-il cette volaille-ci ou celle-là ? 12. Il n'a ni celle-ci ni celle-là. 13. A-t-il ce pain-ci ou celui-là ? 14. Il n'a 15. Avez-vous ni celui-ci ni celui-là, il a le bon pain du boulanger. mon parasol de coton? 16. Je n'ai pas votre parasol de coton, j'ai votre parasol de soie. Le jardinier a une malle de cuir. 17. Le jardinier a-t-il une malle de cuir ? Personne n'a votre fromage, mais quelqu'un a celui de votre frère. 19. Qui a mon bon fromage ?

J'ai votre ardoise et celle de votre frère. 9. Le cuisinier a-t-il une

18. 20.

EXERCISE 10 (Vol. I., page 43).

1. Avez-vous sommeil, Monsieur ?