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Practice Makes Perfect: Spanish Verb Tenses Dorothy Richmond
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Contents
Introduction ix
Useful grammatical terminology for verbs xi
A few remarks about French pronunciation xv
I THE PRESENT TENSE
1 The present tense of regular verbs 3
The conjugation of regular -er verbs 3
The conjugation of -er verbs with spelling changes 9
The conjugation of regular -ir verbs 15
The conjugation of regular -re verbs 16
Asking questions 19
Verbs and their objects 25
2 The present tense of irregular verbs 33
The conjugation of irregular verbs 33
The uses of the present tense 44
Special uses of aller and venir 48
Savoir and connaître 50
Exercices de révision 54
Idioms with avoir, faire, être, aller, vouloir, and prendre 55
Plaire (à) 65
3 A few impersonal verbs 67
Weather verbs 67
The impersonal use of être 68
The impersonal use of avoir 68
Other impersonal expressions 70
4 Reflexive verbs 73
The present tense of reflexive verbs 73
Common French reflexive verbs and their use 74
Exercices de révision 81
Reflexive and non-reflexive use 83
The use of the reflexive pronoun to indicate reciprocal action 87
Reflexive constructions with a passive meaning 88
II THE PAST TENSES
5 The passé composé 93
The formation of the passé composé 93
The passé composé of verbs conjugated with avoir 94
The passé composé of verbs conjugated with être 100
Verbs that can be conjugated with être or avoir 102
The passé composé of reflexive verbs 103
Exercices de révision 107
The uses of the passé composé 108
6 The imperfect tense 115
The formation of the imperfect tense 115
The uses of the imperfect tense 118
The uses of the passé composé and imperfect tense contrasted 126
7 The pluperfect tense 135
The formation of the pluperfect tense 135
The uses of the pluperfect tense 136
8 The passé simple 143
The formation of the passé simple 143
The uses of the passé simple 147
III THE FUTURE TENSES, THE CONDITIONAL, AND THE SUBJUNCTIVE
9 The future tenses 153
The formation of the simple future 153
The uses of the simple future 158
The close future (le futur proche) 162
The formation of the future perfect 164
The uses of the future perfect 165
10 The conditional 169
The formation of the present conditional 169
The uses of the present conditional 172
The formation of the past conditional 179
The uses of the past conditional 181
Tense sequences in conditional sentences 184
11 The subjunctive 189
The present subjunctive of regular verbs 190
The present subjunctive of irregular verbs 193
The past subjunctive 201
The uses of the subjunctive 203
Exercices de révision 231
The use of the subjunctive in the main clause 234
IV THE INFINITIVE, THE IMPERATIVE, THE PRESENT PARTICIPLE AND GERUND, AND THE PASSIVE VOICE
12 The infinitive 237
The formation of the infinitives 237
The negative infinitive 239
The uses of the infinitive 239
Faire 1 infinitive (causative faire) 246
Verb 1 de quoi (something, enough) 1 infinitive 248
Exercices de révision 253
13 The imperative 263
Regular forms of the imperative 263
The negative imperative 264
Irregular forms of the imperative 265
The position of object pronouns with the imperative 267
The imperative of reflexive verbs 270
14 The present participle and the gerund 273
The formation of the present participle 273
The uses of the present participle 275
The gerund and its uses 277
15
The passive voice 283
The formation of the passive voice 283
The uses of the passive voice 288
Review exercises 295
Appendix A: Numbers, dates, time 333
Appendix B: Verb tables 337
French-English glossary 363
English-French glossary 375
Answer key 387
Introduction
The verb is the most important part of the sentence. It expresses an action or state of the subject and indicates the time and mood of an occurrence. In order to be able to communicate in a language, you must know how its verb tenses and moods are formed and how they are used.
Practice Makes Perfect: French Verb Tenses is a manual and workbook that offers the learner a clear and comprehensive explanation of the French verb system, as well as the opportunity to practice the newly acquired skills in numerous exercises that follow each section. Differences between French and English usage are pointed out throughout the book, and idiomatic expressions are presented where literal translations would be incorrect. The vocabulary in the examples and exercises is taken from current usage and is useful for daily communication. Vocabulary presentations make translations easier, and a glossary is provided so that the student can look up new words or words that he/she may have forgotten. And in this new edition, there is a comprehensive review section of exercises. Finally, an answer key allows the user to correct the completed work.
Many years of teaching experience at American universities have taught me where the difficulties of the French language lie for native English speakers when choosing a tense or mood and when inserting a verb in the sentence. The choice of the correct past tense (imperfect or passé composé, for example) and the addition of direct and indirect objects can be quite a challenge for the student. French Verb Tenses is designed to help the learner overcome these difficulties and to master an important aspect of French grammar. The book can be used for additional practice in beginning, intermediate, and advanced language classes; it is ideal for selfstudy and review and can also serve as a reliable reference tool for students and teachers of French.
All French grammar books have sections on verbs but cannot devote as much space as necessary to this subject. Most French verb books on today’s market focus on conjugations and give little, if any, information about the usage of verbs and idioms. What sets French Verb Tenses apart from other books on the same subject is its goal to offer not only a thorough description of all contemporary verb forms and moods but also to show how they are used in a given context. Clear definitions of grammatical terms in the introduction and throughout the manual facilitate comprehension. In addition, cultural information about France has been included in the exercises so that the learner, while refining his/her written and oral communication skills, also gets an insight into aspects of French culture.
New to this third edition are complementary resources available via the McGraw-Hill Education Language Lab mobile app. All vocabulary lists are provided as flashcards for study and review; quick quizzes for each chapter will test
your progress; and streaming audio recordings provide native-speaker answers for longer translation exercises throughout the book, as well as all review exercises (R1-R49).
We hope that this book will help the student acquire a good understanding of the French verb system as well as enable him/her to use the structures presented with competence and confidence.
Useful grammatical terminology for verbs
Infinitive
The infinitive is the basic, unconjugated form of the verb. In English, all infinitives are preceded by to. In French, infinitives end in -er, -ir, or -re (donner [to give], choisir [to choose], vendre [to sell]).
Subject
The subject of a sentence is the person or thing that performs the action. The subject determines the form of the verb: I go. You sing. David asks. We dance. The students work. The subject can be a noun (David, the students) or a pronoun (I, you, he, etc.).
Conjugation
When one lists the six existing verb forms in a particular tense by adapting the verb to each of the subject pronouns, one conjugates the verb. Contrary to English, most French verb forms change from one person to another during the conjugation.
Compare the following two present tense conjugations:
French: je parle, tu parles, il/elle/on parle, nous parlons, vous parlez, ils/elles parlent. (Only two forms are alike.)
English: I speak, you speak, he/she/one speaks, we speak, you speak, they speak. (All forms are the same except one.)
Stem
The stem is what is left of the verb after dropping the infinitive ending -er, -ir, or -re. Thus, the stem of parler is parl-, the stem of réussir is réuss-, and the stem of attendre is attend-
Verb ending
A verb ending is what is added to the stem during the conjugation. Regular -er verbs, for example, have the endings -e, -es, -e, -ons, -ez, -ent in the present indicative. The verb ending indicates the subject, tense, and mood, i.e., it shows who or what performs the action, when this action occurs, and how it is perceived.
Tense
The tense of a verb indicates when the action takes place, in the present, past, or future. The verb can be in a simple tense, which consists of one word only (such as the present tense), or in a compound tense, which consists of two words: the auxiliary and the past participle (such as the passé composé).
Mood
Grammatical mood means “manner.” It shows how the speaker perceives what he or she is saying. There are four personal and two impersonal moods in French.
The indicative, subjunctive, imperative, and conditional are personal moods. The infinitive and the participle (present and past) are impersonal moods. Impersonal moods do not show who performs the action.
Elision
A vowel is elided when it is dropped and replaced by an apostrophe ( je danse, but j’adore).
Subject pronouns
The following set of subject pronouns are used when conjugating a verb in French: SINGULAR PLURAL first person je I nous we second person tu you vous you third person il he, it ils they elle she, it elles they on one
The French subject pronouns differ from their English counterparts in the following way:
◆ There are two ways to say you, depending on whom one addresses (see Note).
◆ There are two ways to say they, due to gender (see Note).
◆ There is no specific word for it. French refers instead to a masculine thing with il (he) and to a feminine thing with elle (she).
Note: The e in je is elided (i.e., dropped), and je becomes j’ before a verb that starts with a vowel or mute h: j’aime, j’habite.
The pronouns il and elle can be used for persons, animals, and things.
The pronoun il expresses
◆ he (replacing a masculine person)
◆ it (replacing a masculine thing—or an animal—and used as a subject in impersonal expressions)
The pronoun elle expresses
◆ she (replacing a feminine person)
◆ it (replacing a feminine thing or animal)
The indefinite pronoun on expresses one, they, people.
Comment dit-on « chair » en français? How does one say “chair” in French? On parle français en Belgique. People (5 They) speak French in Belgium.
Note that in informal French, on is frequently used instead of nous. On s’aime. We love each other.
There are two ways to express you in French.
1. The pronoun tu is familiar singular and is used to address one person whom one would call by his/her first name in France, i.e., a family member, a good friend or colleague, a fellow student, or a child. Tu is also used when praying to God and when talking to a pet.
2 . The pronoun vous is both singular and plural formal and addresses one adult or a number of adults whom one doesn’t know very well (strangers, service personnel, professional contacts, acquaintances, etc.). It is also the plural of tu, i.e., used when speaking to more than one family member, close friend, fellow student, or child.
In the exercises in this book, fam. (5 familiar) indicates that tu should be used, pol. (5 polite) indicates that vous should be used to translate you There are two ways to express they in French.
1. The pronoun ils replaces masculine beings or things, or masculine and feminine beings or things combined.
2 . The pronoun elles replaces feminine beings or things only.
Verb categories
◆ Regular verbs. The conjugation of these verbs follows a fixed pattern. Once you learn this pattern, you can conjugate each verb within one group (-er, -ir, or -re verbs). With regular verbs, the stem of the infinitive remains intact during the conjugation, and all verbs within one group have the same endings.
◆ Irregular verbs. The conjugation of each of these verbs does not follow a fixed pattern and therefore must be memorized.
◆ Auxiliaries. These verbs (avoir and être in French) are also called helping verbs because they help to build a compound tense.
◆ Transitive verbs. These are verbs that can take an (direct or indirect) object. An object is a person who (or a thing that) receives the action of the subject. In the sentence je visite le musée (I visit the museum), le musée is the object. The verb visiter is transitive. In dictionaries, transitive verbs are often indicated by the abbreviation v.tr. (verbe transitif). You will find a more detailed explanation of the different kinds of objects in the section Verbs and their objects, pages 25–32.
◆ Intransitive verbs. Intransitive verbs, such as aller (to go), venir (to come), and rester (to stay), cannot take an object. You cannot go, come, or stay “someone” or “something.” In dictionaries, intransitive verbs are usually indicated by the abbreviation v.i. (verbe intransitif).
◆ Reflexive verbs. The infinitive of these verbs is preceded by the reflexive pronoun se (or s’ before a vowel or mute h). The verbs se coucher (to go to bed) and s’amuser (to have a good time) are reflexive verbs.
◆ Impersonal verbs. These are verbs that are only used in the third-person singular (5 il) form. Many impersonal verbs describe the weather: Il pleut. (It is raining.)
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A few remarks about French pronunciation
Beginning students of French usually have no difficulty writing the words they have learned but find it hard to pronounce them. In French, numerous letters are silent, and some represent sounds that do not exist in English. Depending on its environment within the word, one letter may have several different pronunciations, and one sound may have several different spellings. Although French uses the same alphabet as English, the rules of English pronunciation do not apply. The sounds that the letters of the alphabet produce in French are frequently quite different from those they produce in English.
To indicate how a letter or combination of letters is pronounced, the symbols of the International Phonetic Alphabet are often used, i.e., the letters are transcribed phonetically. Phonetic transcriptions are always placed in square brackets. The word temps, for example, is transcribed [t3], the word homme [Om]. Note that silent letters (m, p, s in the first example, h and e in the second example) do not appear in phonetic transcriptions.
There are thirty-six phonetic symbols that represent the thirty-six sounds of the French language. If you learn these extremely useful symbols, and if you know which sounds they describe, you will be able to understand the transcriptions given in this book and look up the pronunciation of French words in many dictionaries.
Consonants
Most of the symbols representing the consonants and half-consonants (or semivowels) are derived from the Latin alphabet that we use to write French and English.
FRENCH WORDS THAT ENGLISH WORDS THAT SYMBOL CONTAIN THIS SOUND CONTAIN A SIMILAR SOUND
[ b] barbe
[d] madame
boy
day
[f] fenêtre fox
[g] garçon
garage
[k] cœur (Contrary to English, the sk i sound [k] is never aspirated, i.e., never articulated with air.)
[l] l ivre (Contrary to English, [l] is late always pronounced with the tongue pressing against the upper front teeth.)
(continued)
FRENCH WORDS THAT ENGLISH WORDS THAT SYMBOL CONTAIN THIS SOUND CONTAIN A SIMILAR SOUND
[m] monsieur man
[n] ba na ne ba na na
[p] plage (Contrary to English, the spouse sound [p] is never aspirated.)
[R] rouge (Contrary to English the no equivalent in English sound [R] is produced between the back of the tongue and the upper part of the back of the mouth.)
[s] merci sun
[t] table (Contrary to English, the stop sound [t] is never aspirated.)
[v] voilà van
[ j] bien yes
[w] ou i west
[z] chaise zebra
The following phonetic symbols are not taken from the Latin alphabet:
FRENCH WORDS THAT ENGLISH WORDS THAT SYMBOL CONTAIN THIS SOUND CONTAIN A SIMILAR SOUND
[ S ] chocolat shoe
[Z] jeu pleasure
[ ] montagne onion
[ŋ] smoki ng smoki ng
[ɥ] nuit no equivalent in English
Vowels
Note that French vowel sounds are much tenser than the English ones.
FRENCH WORDS THAT ENGLISH WORDS THAT SYMBOL CONTAIN THIS SOUND CONTAIN A SIMILAR SOUND
[a] papa ca r
[e] été (To produce the [e] sound, extend your lips as if you were smiling; no equivalent in English.)
[E] très (To produce the [E] sound, bad open the jaw.)
[i] mid i f it
[o] stylo no equivalent in English
[O] porte not
[ø] deu x (To produce the [ø] sound, no equivalent in English project your lips forward to form a circle.)
[œ] beurre f ur
[u] vous shoe
[y] sur (To produce the [y] sound, no equivalent in English place the tip of the tongue behind the lower front teeth and project
remarks about French pronunciation
your lips forward as far as possible as if to whistle.)
[@] je (The sound [@] is similar to the [ø] sound, but weaker. The lips are projected less far forward; no equivalent in English.)
Nasal vowels
Note that these vowels are transcribed with a tilde [~] above them and that the sounds they represent resonate in the nose.
FRENCH WORDS THAT ENGLISH WORDS THAT SYMBOL CONTAIN THIS SOUND CONTAIN A SIMILAR SOUND
[3] comment no equivalent in English
[4] v in no equivalent in English
[5] bon no equivalent in English
[6] lundi no equivalent in English
Abbreviations
The following abbreviations are used in this book:
adj. adjective
e.g. for example
fam. familiar (you [ fam.] 5 tu)
f. or fem. feminine
f.pl. feminine plural
i.e. that is, that is to say inf. infinitive
lit. literally (indicating a literal translation of a French expression or sentence)
m. or masc. masculine
m.pl. masculine plural
p. page
pl. or plur. plural
pol. polite (you [pol.] 5 vous)
qch quelque chose (something)
qn quelqu’un (someone)
sing. singular
sb somebody
sth something
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French Verb Tenses
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·
I ·
THE PRESENT TENSE
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The present tense of regular verbs ·1·
In English as in French, the present tense is used to express what happens and what is true at the present time.
He lives in Paris. I like chocolate.
Note, however, that whereas English has three present tense forms: the simple present (she sings), the continuous present (also called present progressive), which consists of the present tense of to be and the verb ending in -ing (she is singing), and the emphatic present (she does sing), French has only the simple present (elle chante), which translates all three English forms.
This chapter will treat the present tense in the indicative mood, which states facts objectively.
There are three groups of regular verbs in French
◆ verbs ending in -er, for example, fumer (to smoke)
◆ verbs ending in -ir, for example, finir (to finish)
◆ verbs ending in -re, for example, entendre (to hear)
The conjugation of regular -er verbs
Formation
The present tense of regular verbs ending in -er consists of the stem of the verb and certain endings. The stem of the verb (which is the same for all persons) is found by dropping the -er ending of the infinitive. The personal endings that are added to the stem of all regular -er verbs are: -e, -es, -e, -ons, -ez, -ent.
The following is the present tense conjugation of the verb demander. It can serve as a model for all regular -er ending verbs in the present tense.
demander to ask
je demande I ask, I am asking, I do ask tu demandes you (familiar singular) ask, you are asking, you do ask il demande he asks, he is asking, he does ask elle demande she asks, she is asking, she does ask on demande one asks, one is asking, one does ask nous demandons we ask, we are asking, we do ask vous demandez you (formal singular and plural, familiar plural) ask, you are asking, you do ask ils demandent they ask, they are asking, they do ask elles demandent they ask, they are asking, they do ask
Note:
◆ Since the verb endings of the first-, second-, and third-person singular, as well as of the third-person plural (demande, demandes, demande, demandent) are silent, these four verb forms are pronounced alike [d@m3d].
◆ Since the final -s in ils and elles is silent, il demande and ils demandent are pronounced alike [ild@m3d], and elle demande is pronounced the same way as elles demandent [Eld@m3d].
◆ If however the verb begins with a vowel or a mute h, the final s of ils and elles is audible in the liaison, and the pronunciation of the third-person singular and plural is not identical. Compare:
il aime [ilEm] he/it likes ➞ ils aiment [ilzEm] they like elle habite [Elabit] she/it lives ➞ elles habitent [Elzabit] they live
◆ If the stem of the verb ends in r, this r must of course be pronounced: j’entre, tu rencontres, il montre, elle rentre, etc.
◆ If the stem of the verb ends in a vowel, this vowel must be pronounced (except in verbs ending in -guer).
j’étud ie [Zetydi] I study tu oubl ies [tyubli] you forget il remercie [ilR@mERsi] he thanks
◆ Remember that if the verb begins with a vowel or a mute h, the e of je is dropped.
j’adore I adore j’hésite I hesitate
◆ Note also that the expression tout le monde (everybody) takes the third-person singular verb form.
Tout le monde demande. Everybody is asking.
Listed here are some commonly used regular -er verbs.
admirer to admire adorer to adore aider to help aimer to like, love apporter to bring arriver to arrive chanter to sing chercher to look for coûter to cost danser to dance déjeuner to have/eat lunch demander (à) to ask dépenser to spend (money) détester to detest, hate dîner to have/eat dinner donner to give écouter to listen (to) embrasser to hug, kiss
enseigner to teach entrer (dans) to enter, come in étudier to study fermer to close fumer to smoke gagner to win, earn habiter to live (reside) jouer to play laver to wash marcher to walk monter to go up montrer to show oublier to forget parler to speak, talk passer to go / pass / come by, spend (time), take (a test) penser to think pleurer to cry porter to wear, carry quitter to leave (a person or place) raconter to tell (a story) regarder to look at, watch remercier to thank rencontrer to meet rentrer to return (home) rester to stay retourner to return sonner to ring (bell, telephone, alarm clock, etc.) téléphoner (à) to call on the telephone tomber to fall tourner to turn travailler to work traverser to cross trouver to find visiter to visit (places)
EXERCICE
Complétez les phrases suivantes avec la forme correcte du verbe entre parenthèses. (Fill in the blanks with the correct form of the verb in parentheses.)
1. (habiter) Marie à Cannes.
2. (travailler) Je dans une usine.
3. (coûter) Le livre vingt euros.
4. (jouer) Les enfants dans le jardin.
5. (sonner) Le téléphone souvent.
6. (écouter) Nous la radio.
7. (tourner) Tu à gauche.
8. (danser) Vous très bien.
9. (adorer) Elle le chocolat.
10. (aimer) Tout le monde les vacances.
EXERCICE
Traduisez les mots entre parenthèses. (Translate the words in parentheses.)
1. (We visit) la France.
2. (She teaches) le latin.
3. (You [pol.] sing) la chanson.
4. (I think) que oui.
5. (We go up) l’escalier.
6. (We show) la photo.
7. (He hugs) l’enfant.
8. (They [masc.] find) la solution.
9. (They [masc.] kiss) le bébé.
10. (I fall) dans le piège.
11. (He tells) une histoire (a story).
12. (She watches) la télévision.
13. (We eat dinner) à sept heures.
14. (They [masc.] eat lunch) à midi.
15. (He cries) tout le temps.
16. (You [fam.] play) au tennis.
17. (I stay) à la maison.
18. (They [fem.] study) le français.
19. (He lives) à Rouen.
20. (You [fam.] close) la porte.
21. (I forget) tout.
22. (They [masc.] help) le vieil homme.
23. (You [pol.] bring) une bouteille de vin.
24. (You [fam.] give) de l’argent aux pauvres.
25. (I like) les animaux.
26. (They [masc.] win) le match.
27. (We thank) nos parents.
28. (They [masc.] cross) la rue.
29. (She is wearing) une jolie robe blanche.
30. (He works) dans un bureau.
EXERCICE
1·3
Est-ce vrai ou faux? (Write vrai in the blank if the statement is true, write faux if it is false.)
1. Je chante mal.
2. J’étudie le français à l’université.
3. Ma mère joue du piano.
4. Je regarde la télévision chaque jour.
5. Mes amis aiment danser.
6. Je déjeune à midi.
7. Mon ami(e) porte souvent un jean.
8. J’habite à Paris.
9. Je danse très bien.
10. Je dépense beaucoup d’argent.
EXERCICE
1·4
Remplissez les tirets avec la forme correcte des verbes suivants. (Fill in each blank with the correct form of a verb that fits best in the context. Use each verb from the following list only once.)
To make a statement negative, one places ne (n’ before a vowel or mute h) before the verb and pas after it.
Je ne pense pas. I don’t think (so). Il ne parle pas allemand. He doesn’t speak German. Vous n’écoutez pas. You don’t listen. Ils n’habitent pas aux États-Unis. They don’t live in the United States.
EXERCICE
1·5
Est-ce vrai ou faux (true or false)?
1. Le président français n’habite pas à New York.
2. Les Français n’aiment pas le vin.
3. Les Américains ne fument pas.
4. Tiger Woods ne joue pas au golf.
5. Céline Dion ne chante pas bien.
6. Les chômeurs (The unemployed) ne trouvent pas de travail.
7. L’équipe de basket-ball de ma ville ne gagne pas souvent.
8. Les étudiants ne restent pas à la maison tout le temps.
EXERCICE
1·6
Écrivez les phrases suivantes à la forme négative. (Make the following statements negative.)
1. Je tombe souvent malade.
2. J’aime les chats.
3. Il travaille dur.
4. Nous parlons chinois.
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John Dolittle, as usual, went after that problem too with much energy. He was a very excellent mathematician, was the Doctor. And one afternoon he sat down with a note book and the Nautical Almanac and worked out tables which should tell him from the stars where he was and in what direction he was going. It was curious, that strange sense of comfort we drew from the stars. They, the heavenly bodies which from the Earth seemed the remotest, most distant, unattainable and strangest of objects, here suddenly became friendly; because, I suppose, they were the only things that really stayed the same. The stars, as we saw them from the Moon, were precisely as the stars we had seen from the Earth. The fact that they were nearly all countless billions of miles away made no difference. For us they were something that we had seen before and knew. “We rigged up weather-vanes”
It was while we were at work on devising some contrivance to take the place of the compass that we made the discovery of the explosive wood. The Doctor after trying many things by which he hoped to keep a definite direction had suddenly said one day:
“Why, Stubbins, I have it.—The wind! It always blows steady— and probably from precisely the same quarter—or at all events with a regular calculable change most likely. Let us test it and see.”
So right away we set to work to make various wind-testing devices. We rigged up weather-vanes from long streamers of light bark. And then John Dolittle hit upon the idea of smoke.
“That is something,” said he, “if we only place it properly, which will warn us by smell if the wind changes. And in the meantime we can carry on our studies of the Animal Kingdom and its languages.”
So without further ado we set to work to build fires—or rather large smoke smudges—which should tell us how reliable our wind would be if depended on for a source of direction.
THE ELEVENTH CHAPTER
We Prepare to Circle the Moon
W went to a lot of trouble working out how we could best place these fires so that they should give us the most satisfactory results. First of all we decided with much care on the exact position where we would build them. Mostly they were on bare knolls or shoulders, where they couldn’t spread to the underbrush and start a bush-fire. Then came the question of fuel: —What would be the best wood to build them of?
There were practically no dead trees, as I have said. The only thing to do then was to cut some timber down and let it dry.
This we proceeded to do but did not get very far with it before the Doctor suddenly had qualms of conscience. Trees that could talk could, one would suppose, also feel. The thought was dreadful. We hadn’t even the courage to ask the trees about it—yet. So we fell back upon gathering fallen twigs and small branches. This made the work heavier still, because, of course, we needed a great deal of fuel to have fires big enough to see and smell for any distance.
After a good deal of discussion we decided that this was a thing which couldn’t be hurried. A great deal depended on its success. It was a nuisance, truly, but we had just got to be patient. So we went back into the jungle-lands and set to work on getting out various samples of woods to try.
It took a longish time, for the Doctor and myself were the only ones who could do this work. Chee-Chee tried to help by gathering twigs; but the material we most needed was wood large enough to last a fair time.
“Mostly they were on bare knolls”
Well, we harvested several different kinds. Some wouldn’t burn at all when we tried them. Others, we found, were pretty fair burners, but not smoky enough.
With about the fifth kind of wood, I think it was that we tested out, we nearly had a serious accident. Fire seemed to be (outside of the traces we had found of the smoke signal apparatus) a thing quite unusual in the Moon. There were no traces of forest burnings anywhere, so far as we had explored. It was therefore with a good deal of fear and caution that we struck matches to test out our fuel.
About dusk one evening the Doctor set a match to a sort of fern wood (something like a bamboo) and he narrowly escaped a bad burning. The stuff flared up like gunpowder.
We took him off, Chee-Chee and I, and examined him. We found he had suffered no serious injuries, though he had had a very close shave. His hands were somewhat blistered and he told us what to get out of the little black bag to relieve the inflammation.
We had all noticed that as the wood flared up it sent off dense masses of white smoke. And for hours after the explosion clouds of heavy fumes were still rolling round the hills near us.
When we had the Doctor patched up he told us he was sure that we had stumbled by accident on the fuel that had been used for making the smoke signals we had seen from Puddleby.
“But my goodness, Doctor,” said I, “what an immense bonfire it must have been to be visible all that distance!—Thousands of tons of the stuff, surely, must have been piled together to make a smudge which could be seen that far.”
“And who could have made it?” put in Chee-Chee.
For a moment there was silence. Then Polynesia spoke the thought that was in my mind—and I imagine in the Doctor’s too.
“The man who made those torches,” said she quietly, “could move an awful lot of timber in one day, I’ll warrant.”
“You mean you think it was he who sent the signals?” asked Chee-Chee, his funny little eyes staring wide open with astonishment. “ ‘You mean you think it was he who sent the signals?’ ”
“Why not?” said Polynesia. Then she lapsed into silent contemplation and no further questioning from Chee-Chee could get a word out of her.
“Well,” said the monkey at last, “if he did send it that would look as though he were responsible for the whole thing. It must have been he who sent the moth down to us—who needed the Doctor’s assistance and presence here.”
He looked towards John Dolittle for an answer to this suggestion. But the Doctor, like Polynesia, didn’t seem to have anything to say.
Well, in spite of our little mishap, our wood tests with smoke were extremely successful. We found that the wind as a direction-pointer could certainly be relied on for three or four days at a time.
“Of course, Stubbins,” said the Doctor, “we will have to test again before we set off on our round trip. It may be that the breeze, while blowing in one prevailing direction now, may change after a week or so. Also we will have to watch it that the mountain ranges don’t deflect the wind’s course and so lead us astray. But from what we have seen so far, I feel pretty sure that we have here something to take the place of the compass.”
I made one or two attempts later, when Polynesia and CheeChee were out of earshot, to discover what John Dolittle thought about this idea that it had really been the Moon Man who had brought us here and not the Animal Kingdom. I felt that possibly he might talk more freely to me alone on the subject than he had been willing to with all of us listening. But he was strangely untalkative.
“‘I don’t know, Stubbins,’ said he, frowning”
“I don’t know, Stubbins,” said he, frowning, “I really don’t know. To tell the truth, my mind is not occupied with that problem now—at all events, not as a matter for immediate decision. This field of the lunar Vegetable Kingdom is something that could take up the attention of a hundred naturalists for a year or two. I feel we have only scratched the surface. As we go forward into the unknown areas of the Moon’s further side we are liable to make discoveries of—well, er—who can tell? When the Moon Man and the Animal Kingdom make up their minds that they want to get in touch with us, I suppose we shall hear from them. In the meantime we have our work to do—more than we can do. . . . Gracious, I wish I had a whole staff with me!—Surveyors, cartographers, geologists and the rest. Think of it! Here we are, messing our way along across a new world—and we don’t even know where we are! I think I have a vague idea of the line we have followed. And I’ve tried to keep a sort of chart of our march. But I should be making maps, Stubbins, real maps, showing all the peaks, valleys, streams, lakes, plateaux and everything.—Dear, dear! Well, we must do the best we can.”
THE TWELFTH CHAPTER
The Vanity Lilies
O course on a globe larger than that of the Moon we could never have done as well as we did. When you come to think of it, one man, a boy, a monkey and a parrot, as a staff for the exploration of a whole world, makes the expedition sound, to say the least, absurd.
We did not realize, any of us, when we started out from our first landing that we were going to make a circular trip of the Moon’s globe. It just worked out that way. To begin with, we were expecting every hour that some part of the Animal Kingdom would come forward into the open. But it didn’t. And still we went on. Then this language of the trees and flowers came up and got the Doctor going on one of his fever-heat investigations. That carried us still further. We always took great care when departing from one district for an excursion of any length to leave landmarks behind us, camps or dumps, so that we could find our way back to food and shelter if we should get caught in a tight place.
In this sort of feeling our way forward Polynesia was most helpful. The Doctor used to let her off regularly now to fly ahead of us and bring back reports. That gave us some sort of idea of what we should prepare for Then in addition to that, the Doctor had brought with him several small pocket surveying instruments with which he marked on his chart roughly the points at which we changed course to any considerable extent.
“We always took care to leave landmarks behind us”
In the earlier stages of our trip we had felt we must keep in touch with the first fruit section we had met with, in order to have a supply of vegetables and fruits to rely on for food. But we soon discovered from Polynesia’s scouting reports, that other wooded sections lay ahead of us. To these we sent Chee-Chee, the expert, to investigate. And when he returned and told us that they contained even a better diet than those further back, we had no hesitation in leaving our old haunts and venturing still further into the mysteries of the Moon’s Further Side.
The Doctor’s progress with the language of the trees and plants seemed to improve with our penetration into the interior. Many times we stopped and pitched camp for four or five days, while he set up some new apparatus and struggled with fresh problems in plant language. It seemed to grow easier and easier for him all the time. Certainly the plant life became more elaborate and lively. By this we were all grown more accustomed to strange things in the Vegetable Kingdom. And even to my unscientific eyes it was quite evident that here the flowers and bushes were communicating with one another with great freedom and in many different ways.
I shall never forget our first meeting with the Vanity Lilies, as the Doctor later came to call them. Great gaudy blooms they were, on
long slender stems that swayed and moved in groups like people whispering and gossiping at a party. When we came in sight of them for the first time, they were more or less motionless. But as we approached, the movement among them increased as though they were disturbed by, or interested in, our coming.
I think they were beyond all question the most beautiful flowers I have ever seen. The wind, regular as ever, had not changed. But the heads of these great masses of plants got so agitated as we drew near, that the Doctor decided he would halt the expedition and investigate.
We pitched camp as we called it—a very simple business in the Moon, because we did not have to raise tents or build a fire. It was really only a matter of unpacking, getting out the food to eat and the bedding to sleep in.
We were pretty weary after a full day’s march. Beyond the lily beds (which lay in a sort of marsh) we could see a new jungle district with more strange trees and flowering creepers. “Certainly the plant life became more elaborate and lively”
After a short and silent supper, we lay down and pulled the covers over us. The music of the forest grew louder as darkness
increased. It seemed almost as though the whole vegetable world was remarking on these visitors who had invaded their home.
And then above the music of the woods we’d hear the drone of flying, while we dropped off to sleep. Some of the giant insects were hovering near, as usual, to keep an eye on these creatures from another world.
I think that of all experiences with the plant life of the Moon that with the Vanity Lilies was perhaps the most peculiar and the most thrilling. In about two days the Doctor had made extraordinary strides in his study of this language. That, he explained to me, was due more to the unusual intelligence of this species and its willingness to help than to his own efforts. But of course if he had not already done considerable work with the trees and bushes it is doubtful if the lilies could have got in touch with him as quickly as they did.
By the end of the third day Chee-Chee, Polynesia and I were all astonished to find that John Dolittle was actually able to carry on conversation with these flowers. And this with the aid of very little apparatus. He had now discovered that the Vanity Lilies spoke among themselves largely by the movement of their blossoms. They used different means of communication with species of plants and trees other than their own—and also (we heard later) in talking with birds and insects; but among themselves the swaying of the flowerheads was the common method of speech.
The lilies, when seen in great banks, presented a very gorgeous and wonderful appearance. The flowers would be, I should judge, about eighteen inches across, trumpet-shaped and brilliantly colored. The background was a soft cream tone and on this great blotches of violet and orange were grouped around a jet-black tongue in the center. The leaves were a deep olive green.
But it was that extraordinary look of alive intelligence that was the most uncanny thing about them. No one, no matter how little he knew of natural history in general or of the Moon’s Vegetable Kingdom, could see those wonderful flowers without immediately being arrested by this peculiar character. You felt at once that you
were in the presence of people rather than plants; and to talk with them, or to try to, seemed the most natural thing in the world.
“The flowers would be about eighteen inches across”
I filled up two of those numerous note books of the Doctor’s on his conversations with the Vanity Lilies. Often he came back to these flowers later, when he wanted further information about the Moon’s Vegetable Kingdom. For as he explained to us, it was in this species that Plant Life—so far at all events as it was known on either the Moon or the Earth—had reached its highest point of development.
THE THIRTEENTH CHAPTER
The Flower of Many Scents
A
peculiar thing that baffled us completely, when we first came into the marshy regions of the Vanity Lily’s home, was the variety of scents which assailed our noses. For a mile or so around the locality there was no other flower visible; the whole of the marsh seemed to have been taken up by the lilies and nothing else intruded on their domain. Yet at least half a dozen perfumes were distinct and clear. At first we thought that perhaps the wind might be bringing us scents from other plants either in the jungle or the flowering heath lands. But the direction of the breeze was such that it could only come over the sandy desert areas and was not likely to bring perfumes as strong as this.
It was the Doctor who first hit upon the idea that possibly the lily could give off more than one scent at will. He set to work to find out right away. And it took no more than a couple of minutes to convince him that it could. He said he was sorry he had not got Jip with him. Jip’s expert sense of smell would have been very useful here. But for ordinary purposes it required nothing more delicate than an average human’s nose to tell that this flower, when John Dolittle had communicated the idea to it, was clearly able to give out at least half a dozen different smells as it wished.
The majority of these perfumes were extremely agreeable. But there were one or two that nearly knocked you down. It was only after the Doctor had asked the lilies about this gift of theirs that they sent forth obnoxious ones in demonstrating all the scents that they could give out. Chee-Chee just fainted away at the first sample. It was like some deadly gas. It got into your eyes and made them run. The Doctor and I only escaped suffocation by flight—carrying the body of the unconscious monkey along with us.
“Chee-Chee just fainted away at the first sample”
The Vanity Lilies, seeing what distress they had caused, immediately threw out the most soothing lovely scent I have ever smelled. Clearly they were anxious to please us and cultivate our acquaintance. Indeed it turned out later from their conversation with the Doctor (which I took down word for word) that in spite of being a stationary part of the Moon’s landscape, they had heard of John Dolittle, the great naturalist, and had been watching for his arrival many days. They were in fact the first creatures in our experience of the Moon that made us feel we were among friends.
I think I could not do better, in trying to give you an idea of the Doctor’s communication with the Vegetable Kingdom of the Moon, than to set down from my diary, word for word, some parts of the conversation between him and the Vanity Lilies as he translated them to me for dictation at the time. Even so, there are many I am sure who will doubt the truth of the whole idea: that a man could talk with the flowers. But with them I am not so concerned. Any one who had followed John Dolittle through the various stages of animal, fish, and insect languages would not, I feel certain, find it very strange, when the great man did at last come in touch with plant life of unusual intelligence, that he should be able to converse with it.
On looking over my diary of those eventful days the scene of that occasion comes up visibly before my eyes. It was about an hour before dusk—that is the slight dimming of the pale daylight which proceeded a half darkness, the nearest thing to real night we ever saw on the Moon. The Doctor, as we left the camp, called back over his shoulder to me to bring an extra note book along as he expected to make a good deal of progress to-night. I armed myself therefore with three extra books and followed him out.
Halting about twenty paces in front of the lily beds (we had camped back several hundred yards from them after they had nearly suffocated Chee-Chee) the Doctor squatted on the ground and began swaying his head from side to side. Immediately the lilies began moving their heads in answer, swinging, nodding, waving, and dipping. “ ‘Are you ready, Stubbins?’ ”
“Are you ready, Stubbins?” asked John Dolittle.
“Yes, Doctor,” said I, making sure my pencil point would last awhile.
“Good,” said he.—“Put it down”:
The Doctor—“Do you like this stationary life—I mean, living in the same place all the time, unable to move?”
The Lilies—(Several of them seemed to answer in chorus) —“Why, yes—of course. Being stationary doesn’t bother us. We hear about all that is going on.”
The Doctor—“From whom, what, do you hear it?”
The Lilies—“Well, the other plants, the bees, the birds, bring us news of what is happening.”
The Doctor—“Oh, do you communicate with the bees and the birds?”
The Lilies—“Why, certainly, of course!”
The Doctor—“Yet the bees and the birds are races different from your own.”
The Lilies—“Quite true, but the bees come to us for honey. And the birds come to sit among our leaves—especially the warblers— and they sing and talk and tell us of what is happening in the world. What more would you want?”
The Doctor—“Oh, quite so, quite so. I didn’t mean you should be discontented. But don’t you ever want to move, to travel?”
The Lilies—“Good gracious, no! What’s the use of all this running about? After all, there’s no place like home—provided it’s a good one. It’s a pleasant life we lead—and very safe. The folks who rush around are always having accidents, breaking legs and so forth. Those troubles can’t happen to us. We sit still and watch the world go by. We chat sometimes among ourselves and then there is always the gossip of the birds and the bees to entertain us.”
The Doctor—“And you really understand the language of the birds and bees!—You astonish me.”
The Lilies—“Oh, perfectly—and of the beetles and moths too.”
“He struck a light”
It was at about this point in our first recorded conversation that we made the astonishing discovery that the Vanity Lilies could see. The light, as I have told you, was always somewhat dim on the Moon. The Doctor, while he was talking, suddenly decided he would like a smoke. He asked the lilies if they objected to the fumes of tobacco. They said they did not know because they had never had any experience of it. So the Doctor said he would light his pipe and if they did not like it he would stop.
So taking a box of matches from his pocket he struck a light. We had not fully realized before how soft and gentle was the light of the Moon until that match flared up. It is true that in testing our woods for smoke fuel we had made much larger blazes. But then, I suppose we had been more intent on the results of our experiments than on anything else. Now, as we noticed the lilies suddenly draw back their heads and turn aside from the flare, we saw that the extra illumination of a mere match had made a big difference to the ordinary daylight they were accustomed to.
THE FOURTEENTH CHAPTER
Mirrors for Flowers
W the Doctor noticed how the lilies shrank away from the glow of the matches he became greatly interested in this curious unexpected effect that the extra light had had on them.
“Why, Stubbins,” he whispered, “they could not have felt the heat. We were too far away. If it is the glare that made them draw back it must be that they have some organs so sensitive to light that quite possibly they can see! I must find out about this.”
Thereupon he began questioning the lilies again to discover how much they could tell him of their sense of vision. He shot his hand out and asked them if they knew what movement he had made. Every time (though they had no idea of what he was trying to find out) they told him precisely what he had done. Then going close to one large flower he passed his hand all round it; and the blossom turned its head and faced the moving hand all the way round the circle.
There was no doubt in our minds whatever, when we had finished our experiments, that the Vanity Lilies could in their own way see— though where the machinery called eyes was placed in their anatomy we could not as yet discover.
The Doctor spent hours and days trying to solve this problem. But, he told me, he met with very little success. For a while he was forced to the conclusion (since he could not find in the flowers any eyes such as we knew) that what he had taken for a sense of vision was only some other sense, highly developed, which produced the same results as seeing.
“He passed his hand all around it”
“After all, Stubbins,” said he, “just because we ourselves only have five senses, it doesn’t follow that other creatures can’t have more. It has long been supposed that certain birds had a sixth sense. Still, the way those flowers feel light, can tell colors, movement, and form, makes it look very much as though they had found a way of seeing—even if they haven’t got eyes. . . . Humph! Yes, one might quite possibly see with other things besides eyes.”
Going through his baggage that night after our day’s work was done, the Doctor discovered among his papers an illustrated catalogue which had somehow got packed by accident. John Dolittle, always a devoted gardener, had catalogues sent to him from nearly every seed merchant and nurseryman in England.
“Why, Stubbins!” he cried, turning over the pages of gorgeous annuals in high glee—“Here’s a chance: if those lilies can see we can test them with this.—Pictures of flowers in color!”
The next day he interviewed the Vanity Lilies with the catalogue and his work was rewarded with very good results. Taking the brightly colored pictures of petunias, chrysanthemums and hollyhocks, he held them in a good light before the faces of the lilies. Even Chee-Chee and I could see at once that this caused quite a
sensation. The great trumpet-shaped blossoms swayed downwards and forwards on their slender stems to get a closer view of the pages. Then they turned to one another as though in critical conversation.
Later the Doctor interpreted to me the comments they had made and I booked them among the notes. They seemed most curious to know who these flowers were. They spoke of them (or rather of their species) in a peculiarly personal way. This was one of the first occasions when we got some idea or glimpses of lunar Vegetable Society, as the Doctor later came to call it. It almost seemed as though these beautiful creatures were surprised, like human ladies, at the portraits displayed and wanted to know all about these foreign beauties and the lives they led.
“He held them before the lilies”
This interest in personal appearance on the part of the lilies was, as a matter of fact, what originally led the Doctor to call their species the Vanity Lily. In their own strange tongue they questioned him for hours and hours about these outlandish flowers whose pictures he had shown them. They seemed very disappointed when he told them the actual size of most earthly flowers. But they seemed a little pleased that their sisters of the other world could not at least compete with them in that. They were also much mystified when
