_The verbs of this language do not change _(naõ fẽ variedade)_ to show person and number as do those of Latin; rather, one form _(voz)_ {15} is used for all persons, singular and plural. Number and person are understood according to the subject _(Naminativo [_sic_])_, or pronoun, which is joined to the verb. The moods of the verb, which in this language have distinct forms for the tenses, are indicative, imperative, conjunctive, conditional, and preterit participle. The remaining moods are made up of these forms joined to certain particles. Each mood has but three tenses which have distinct forms; these are preterit, present, and future. These forms are signified by the Japanese terms _(vocabulos)_ _Quaco_, _ghenzai_, _mirai_. The preterit imperfect and pluperfect are made up of the present, preterit, and preterit participle together with the substantive verb, as will be seen below in the conjugations._ _Concerning the formation of the tenses and moods of the verbs in general, one is reminded that to understand the actual root _(raiz)_ and the natural formation of all the tenses and moods, both affirmative and negative, it is extremely important to take notice of the usage of the _Goyn_,[14] which are the five vowels _(cinco letras vogaes)_ in the syllables which are below each aforementioned formation; and that it is also important to understand _Canadzucai_,[15] which is the way to write with _Firagana_ as well as the way one joins together syllables, or letters, to form other words _(palauras)_, while noticing which syllable is changed by which, what constitutes long, short, or diphthongal syllables, which combinations cause contraction _(sincope)_, which cause augmentation _(incremento)_ of the verb, whether one makes a syllable liquid _(liquescit)_[16] or not, and how the tenses of the moods are written with the same _Cana_.[17] The term _Goyn_, not only indicates the syllables, or _Cana_, which are transformed to others, such as _Fa_, _Fe_, _Fi_, _Fo_, _Fu_, which are changed to the closely related sounds _Ba_, _Be_, _Bi_, _Bo_, _Bu_ and _Pa_, _Pe_, _Pi_, _Po_, _Pu_; but it also indicates another kind of change from one sound to another in the same order _(ordem)_, as happens among the syllables _Fa_, _Fe_, _Fi_, _Fo_, _Fu_. _Ba_, _Be_, _Bi_, _Bo_, _Bu_. _Ma_, _Me_, _Mi_, _Mo_, _Mu_, {16} etc. where often by rule _(regna)_ _Ma_ is changed to _Mi_; or to the contrary _Bu_ to _Ba_ and _Bi_ to _Ba_, and likewise for others. The greater part of the formation of the tenses of each mood is confined to such changes, as is clearly seen in the way one writes the tense forms with _Cana_. It is to this that another change belongs. That which exists among those syllables having a certain relationship and rapport between them, as _Ma_, _Fa_, _Ba_, _Pa_; _Me_, _Fe_, _Be_, _Pe_; _Mi_, _Fi_, _Bi_, _Pi_; _Mo_, _Fo_, _Bo_, _Po_; _Mu_, _Fu_, _Bu_, _Pu_; with _Mu_ and _V_. Thus, what is written _Vma_ in _Cana_ is written _Muma_,