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LESSONS IN FRENCH.-No. XV.

By Professor LOUIS FASQUELLE, LL.D.
SECTION XXXII.

UNIPERSONAL VERBS.

I. THE unipersonal verb is conjugated only in the third person singular of a tense. Its nominative pronoun il, it, is used absolutely, i.e. it represents no noun previously expressed. Il pleut aujourd'hui. It rains to-day.

2. The unipersonal verb assumes the termination of the class or conjugation to which it belongs. Some verbs are always Others are only occaunipersonal, and will be found in $62. sionally so, and if irregular, will be found in the personal form in the same § 62.

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cette chambre ? 15. I n'y fait ni trop froid ni trop chaud. 16. Y a-t-il beaucoup de foin dans votre écurie? 17. Il y en a assez pour mon cheval. 18. Restez vous à la maison quand il pleut? 19. Quand il pleut je reste à la maison, mais quand il fait beau temps je vais chez mor cousin. 20. Y a-t-il de la viande au marché? 21. Il y en a beaucoup, il y a aussi du gibier. 22. Il y a du veau, du mouton et de la volaille. 23. N'y a-t-il pas aussi des légumes et des fruits? 24. Il n'y en a pas. 25. Il y en a aussi.

EXERCISE 64.

1. Are you cold this morning? 2. I am not cold, it is warm this morning. 3. Is it foggy or windy? 4. It is neither foggy nor windy, it rains in torrents (à verse). 5. Is it going to rain or to snow? 6. It is going to freeze, it is very cold. 7. It is windy and foggy. 8. Is there anybody at your brother's today? 9. My brother is at home, and my sister is at church. 10. Is there any meat in the market? 11. There is meat and poultry. 12. Is it too warm or too cold for your sister in this room? 13. It is not so warm in this room as in your brother's liorary. 14. Are there good English books in your sister's library? 15. There are some good ones. 16. Are there peaches and plums in your garden? 17. There are many. 18. Do you remain at your brother's when it snows? 19.

4. Il y a means there is, or there are, and may be followed by When it snows we remain at home. 20. Are there ladies at a singular or plural noun [§ 61, 2].

Il y a du gibier au marché.

There is game in the market.

There are apples in your garden.

Il y a des pommes dans votre jardin. 5. In relation to the weather, the verb faire is used unipersonally in the same manner as the English verb to be.

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1. Quel temps fait il aujourd'hui ? 2. Il fait un temps superbe. 3. Fait il très beau temps aujourd'hui ? 4. Il fait un temps couvert et humide. 5. Pleut il beaucoup ce matin ? 6. Il ne pleut pas encore, mais il va pleuvoir 7. Fait il du vent ou du brouillard? 8. Il ne fait pas de vent. 9. Le brouillard est très épais. 10. Combien de personnes y a-t-il à l'assemblée? 11. Il y a plus de deux cents [Sect. 19. 7] per

sonnes.

12. N'y a-t-il pas beaucoup de manuscrits dans bibliothèque? 13. Il n'y en a pas beaucoup, il n'y en a que cinquante-cinq. 14. Fait il trop froid pour vous dans

votre

By unipersonal verbs is simply meant those verbs which are used only in the third person singular. Having, properly speaking, no personal subject, they are sometimes called impersonal; for the third person singular, used in English, is neuter; and in French, though it be used, it is understood and translated as neuter by the word it. These verbs express chiefly an abstract opin en or sentiment; most frequently they denote the state or change of the weather; and they generally precede or announce the occurrence of an event; as, it happened.

your mother's? 21. Your two sisters are there to-day. 22. Have you time to go and fetch them? 23. I have no time this morning. 24. Is your horse in the stable ? 25. It is not there, it is at my brother's. 26. Does it hail this morning? 27. It does not hail, it freezes. 28. What weather is it this morning? 29. It is very fine weather. 30. Is it too warm? 31. It is neither too warm nor too cold. 32. Is it going to freeze? 33. It is going to snow. 34. Does it snow every day? 35. It does not snow every day, but it snows very often (souvent).

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Ne pas parler, ne pas lire.

3. The adverb assez, enough, the other adverbs. It precedes Vous écrivez assez correctement. Vous avez assez de livres. Cet enfant est assez attentif.

4. Voici means, here is; voilà, Voici le livre que vous aimez. Voila le monsieur dont vous parlez.

Not to speak, not to read.
tolerably, precedes generally
also adjectives and nouns :-
You write pretty correctly.
You have books enough.
That child is attentive enough.
there is :—

Here is the book which you like.
There is the gentleman of whom you
speak.

5. Dans is used for in or into, when the noun which follows it is preceded by an article, or by a possessive, demonstrative, or numeral adjective [§ 142 (2)] :— Mettez cette lettre dans votre malle. Le crayon est dans le pupitre.

The pencil is in the desk.
Put this letter into your trunk.

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THE POPULAR EDUCATOR.

9. INDICATIVE PRESENT OF THE IRREGULAR VERES, CONDUI-RE, 4. to conduct. ECRI-RE, 4. to write.

LI-RE, 4. to read.

Je conduis, I conduct, do J'écris, I write, do write, Je lis, I read, do read,
conduct, or am

ducting;

Tu conduis,

Il conduit.

Nous conduisons,
Vous conduisez,
Ils conduisent.

con

or am writing.

Tu écris,

Il écrit,

Nous écrivons,

Vous écrivez,
Ils écrivent.

RESUME OF EXAMPLES.

Votre parent écrit il bien?
Il écrit assez bien et assez vite.
Nous avons assez de livres.
Nous sommes assez attentifs à nos
leçons.

Voilà la demoiselle dont vous
parlez.

Votre cheval n'est il pas dans le
champ?

Il n'y est pas, il est dans le jardin.
Allez vous en France cette année?
Nous allons à Paris et à Lyon.
Où conduisez vous ce jeune homme?
Je le conduis en Allemagne.
Demeurez vous à la ville?
Nous demeurons à la campagne.
Allez vous souvent à la chasse?
Nous allons quelquefois à la pêche.

Associé, m. partner. Canif, m. peninafe. Campague, f. country. Chasse, f. hunting. Commis, m. clerk.

or am reading;

Ta lis,
Il lit,

Nous lisons
Vous lisez,
Ils lisent.

Does your relation write well!
He writes well enough and rapidly
enough.
We are attentive enough to our les-
We have books enough.
There is the young lady of whom you
speak.

Is not your horse in the field ↑

It is not there, it is in the garden.
Do you go to France this year ?
Where do you take this young man!
We go to Paris and to Lyons
I take him to Germany.
Do you live in the town!
We live in the country.
We sometimes go fishing.
Do you go often hunting.
EXERCISE 65.

Fort, very.
Peche, fishing.
Prusse, f. Prussia.
Rapidement, rapidly.
Rend-re, 4. to return.

Suisse, f. Switzerland.
Terre, f farm, estate.
Ville, f. town, city.
Vite, quickly.
Voyage, m. journey.

1. Ecrivez vous encore la même leçon? 2. Je n'écris plus la même, j'en écris une autre. rapidement? 4. Il écrit fort bien, mais il n'ecrit pas vite. 5. 3. Votre commis écrit il N'avez vous pas assez d'argent pour acheter cette terre? 6. J'ai assez d'argent, mais j'ai l'intention de faire un voyage en

LESSONS IN MUSIC.-No. VII.

By JOHN CURWEN.

M. JEU DE BERNEVAL, in his expensive but admirable work "Music Simplified," uses certain signs for the notes of the scale, which well illustrate the closing remarks of our last Jesson. He represents von, the key-note (the strongest of the aree pillars of the scale), by a square firm-standing note; on, the fifth (next to the key-note in strength), by another, but standing on an angle; and ME, the third (also a strong note), by the ordinary round note; TE, the seventh (the most marked of the notes of "suspense and dependence." commonly called "the leading note," because of its "leading" to now, the key-note), he represents by a triangular shape pointAng upwards, as though indicating its desire for DOH; FAH, the fourth (which is next in its leaning tendency), he marks by another triangular note, but pointing downwards, as though ready to resolve itself on Mn; LAH and RAY are expressed by other signs which need not now be described. (LAH is a #quare with the sides hollowed out, and RAY a crescent moon.) We have seen another work in which the imagination of the author has represented the scale in the form of a four-barred gate, us, now, and upper nou being the strong bars of die gate, white vacious animals and objects clinging to them ant fath the various characters of "the leaning notes." We mention these illustrations for the purpose of retaining your attention in the great musical faci to which they point, and ingroasting them in your memory. For the same purpose we ack your attention to the Rllowing summary by Mr. Hickson (ap Weatuluater Review" and pretace to "Part Singing") id M deu de Berneval a viewa: "After all we attach comKey(2. Avadang mukea.

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France. 7. Voilà votre livre, en avez vous besoin? 8. Je besoin de mon canif? 10. Je n'en ai plus besoin, je vais vous n'en ai pas besoin, j'en ai un autre. 9. Avez vous encore le rendre. 11. Notre cousin demeure-t-il à la ville? 12. I ne demeure plus à la ville, il demeure à la campagne. 13. Aime-t-il à aller à la chasse? 14. Il n'aime pas à aller à la chasse. 15. Il va tous les jours à la pêche. 16. Notre associé est il à Paris ou à Rouen? 17. Il est à Marseille. 18. Où avez vous l'intention de conduire votre fils? 19. Je vais le conduire en Italie. 20. Demeurez vous à Milan ou à Florence? 21. Je ni demeure ni à Milan ni à Florence, je demeure à Turin. 22. Votre ami demeure-t-il en Suisse? demeure plus en Suisse, il demeure en Prusse. 23. Il ne domestique est il à l'eglise? 25. Non, Monsieur, il est à l'école. EXERCISE 66.

24. Votre

16.

enough in your library? 4. I have not books enough, but I 1. Does your clerk write as well as your son? 2. He writes tolerably well, but not so well as my son. 3. Have you books intend to buy some more. 5. Here is your sister's letter, will you read it? 6. I intend to read it. 7. Does your son like to go fishing? 8. He likes to go fishing and hunting. 9. When does he like to go fishing? 10. When I am in the country. 11. What do you do when you are in the city? 12. When I am in the city, I read and learn my lesson. 13. Do you intend to go to France this year? 14. I intend to go to Germany. 15. Will you go to the city if it (s'il) rains; When it rains I always remain at home [R. 1]. 17. How many friends have you in the city? 18. I have many friends there. 19. Are there many English in France? 20. There are many English in France and in Italy (Italie). 21. Are there more English in Germany than in Italy? 22. There are more English in Italy than in Germany. 23. Is it fine weather in Italy? 24. It is very fine weather there. 25. Does it often freeze there? 26. It freezes sometimes there, sister? 28. She reads better than her sister, but her sister but not often. 27. Does that young lady read as well as her My father is at home. 31. Is your brother-in-law absent? reads better than I. 29. Is there any one at your house? 30. 32. My brother-in-law is at your house. 33. There is noone at home to-day.

paratively little importance to exercises on fourths or sevenths or any other intervals. They may be learnt by ear as well as thus made, but the pupil's great difficulty is in remembering, when nursery songs, and are so learnt in large classes. Progress is 4ths, 3rds, 6ths, and 7ths are grouped promiscuously together, what is the precise sound [mental effect] belonging to each. And to learn this without the incessant practice of professional singers (which makes it an affair not of mind but of habit) an appeal must be made to the understanding, and the pupil must be taught to mark the quality of the sounds characteristic of each interval. professor of sight-singing at the Royal Academy of Music], M. Jeu de Berneval's system [M. Jeu was from that of Wilhem, which is purely mechanical from beginwhich may be termed an intellectual method, differs entirely ning to end. M. Jeu draws the attention of his pupils to the fact that each interval [it would be more correct to say note] of the diatonic scale has a sound so peculiar to itself, that, when its character is once understood, they can never be at a loss to distinguish it from any other. For example, the 7th (TE) may be remembered by noting its tendency to ascend to the 8th (DOH). The ear cannot rest or repose on the 7th. It is a note of passage, leading to the octave of the key. The 4th (FAH) and the 6th (LAH) are in like manner notes of passage, but having a tendency to descend. The 4th (FAH) leading to the 3rd (ME), and the 6th (LAH) to the 5th (SOH). While the 1st (DOH), 3rd (ME), 5th (SOH), and 8th (upper DOH), are all notes of repose,-notes upon which the ear may rest,-employed, therefore, as the concluding chord of every composition, and remembered with ease as the most natural progression from the key-note to its octave. For example:

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DоH (being the "governing" note) gives a sense of POWER to the hearer, and of SECURITY to the singer in a greater degree than any other. The singer feels it to be the note to which he can, from any point, most easily return. It is more easy to perceive musical effects, than to find words that will sufficiently represent them; but if names must be given, this note should be called (in reference to its effect in a slow movement) THE STRONG or firm NOTE. Soн has a similar effect to DоH, but is not equal to it in power. It may be distinguished (when sung slowly), as THE

GRAND or clear NOTE.

ME has a somewhat graver and softer effect than sox. It may be denominated (especially in slow movements), THE STEADY or calm NOTE.

Let the learner in the old notation pay no attention to the new marks at the beginning of the staff. They will be explained in their place. They are inserted here for the sake of those who understand music. He has only to look for the place of DOH, indicated by the square note as before.] The way to impress these distinctions on the mind is, after having given the explanation, to sing or play to the pupil various intervals and to direct him to write them down, finding out for himself what the intervals are by listening attentively. We would strongly recommend the frequent repetition of such an exercise as one of the most profitable in which a pupil can be engaged. The teacher, however, must be careful, in singing, not always to use the same words or syllables, so as to give any other clue to the interval [note] than the actual sound [mental effect] belonging to it. [This is the practice of "copying by ear," which we shall recommend to our pupils in its proper place.] As an instance of the facility with which this power may be acquired, we may mention that we once heard a little boy, under six years of age (taught by M. Jeu), name correctly the intervals of every chord we struck on the pianoforte, the boy standing with his back to the instrument. Perhaps it is only the children of musicians-in the habit of hearing musical sounds from the moment of birth-In studying the following examples, let the pupil always strike who would at the same age attain an equal proficiency; but there is practically no difficulty in teaching either children or adults to distinguish by the ear separate intervals played upon a flute or a violin, and this kind of practice is generally as pleasing as it is profitable to the pupil."

Let us now simply state our own conclusions in reference to the three principal notes of the scale, asking our pupils to verify or reject them by observation.

KEY F.

When DOH, ME, and soн, predominate in a tune, they contribute to its general character, if the movement be a quick one, great BOLDNESS and DECISION; and, if the movement be a slow one, they give to it DIGNIFIED SOLEMNITY. Of course, the power of any particular note to give a character to the tune in which it occurs, will depend on the frequency and the emphasis with which it is used, and will be modified, also, by the kind of "measure" and the rhythmical arrangement in which it occurs. the chord of the key-note, and part, at least, of the scale before he begins to sing the phrase; for our assertions in reference to the mental effects of notes are not true, unless the ear is first filled with "a sense" of the scale in which they occur. For "dignified solemnity," notice the power of pOH, ME, and soн, in the following opening phrases from Handel. You wi remark how, in each case, the great artist takes advantage e these bold and grand notes to bring out, by contrast, a very KEY D.

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is my shepherd, But another striking illustration occurs to us. A minister had heard, and had been greatly moved by Mendelssohn's song"O! rest in the Lord." He preached on the text, and thought much of that repose which comes, not with weariness or sleep, but with living blessedness. Sometime after, thinking on the power, of the notes of the scale, it occurred that Mendelssohn must surely have expressed the idea of rest in God, chiefly by means of the third note of the scale, ME, which we have called the note of serene repose. "If, by any other note," he said to himself, "that peculiar effect was produced on my mind so strongly, then the theory about mental effects must fall to the ground." He at once analysed the song, and found, that the

KEY C.

m:-
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r: d sha'll very first emphatic note was that which he had expected-that the power of this note was brought out, by placing it in evervarying but most effective positions; and, that even when the key changes, the ear is surprised and pleased by the recurrence again of this same third note in the new scale. Among other studies, in this delightful song, it was pleasant to notice the change in the manner in which the word "Lord" is expressed in the latter part of the song. At first, it is uttered with the firm and sure confidence of the note Dон; but, when that spirit of confidence has risen to a somewhat triumphant feeling, then it must use the "clear" and " grand" note

SOH.

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m:-.fs:- dr.m:f.sf: mr-m.f:s.ls: s d': s:-m.r.d.r mrd:the trumpets, beat the drums. The chorus in Judas Maccabæus, "Lead on! Lead on!" | in which the "trumpet note" son is chiefly used. The EL begins thus,-KEY D. : 8 d' s d' s d' s d'. The ing are some of the phrases in which the call to arms a the call to arms in the same oratorio makes the most emphatic most bold and decided. use of these notes. The most inspiring call is evidently that

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Again, in "Let the bright Seraphim" you have the follow- | have been given to the words by any other note of the ing bold phrase at the opening. Could this bold character scale KEY D.

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The peculiar character of the note ME in connexion with a rather quick movement is strikingly illustrated by the opening | of the song, in the Messiah, "He was despised," in which the singer does not, for the moment, express sympathy with the despised one, but rather seems passingly to personate the despiser. As you sing lessen the accent to DOн, and throw a fuller force of voice on ME,

KEY Eb. M. 52. Quickly.

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|_ We remarked in the last lesson, the striking change in mental effect of a note produced by rapidity of movement, observed that, though seemingly opposed, these double effects do hold a real relation to each other. We sp LAH passing (by change of movement) from the “abandera of sorrow to the "abandonment" of joy. We have now the mental effect of DOн, MP, and son passing from the"-** fied and solemn" to the "bold and decisive," and, by tak yet quicker movement still, we may find these same never, mark you, passing into that emotional character belongs to TE, RAY, FAH, and LAH, but-expressing the hearty laughter holding both its sides" of which X wrote, and Handel sung.

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The laughter having thus commenced with the last phrase, which is repeated in the other "parts" also, next changes to another key (that of the subdominant), but still keeping DOH, SOH, ME, as its accented notes. It afterwards falls into laughter of a different style, which is more musical, perhaps, but not so open and hearty. Enough of the example is given to show the character of DOH, ME, and soн in rapid movements. We trust that our pupils will study all these examples with great care, and practise them well. They could not have better exercises for voice or ear. An earnest endeavour to study the mental effect of notes will very greatly increase the power of singing those notes with accuracy.

LESSONS IN BOTANY.-No. VIII.

CLASS IX.-ENNEANDRIA.
Plants bearing flowers with Nine Stamens.
ORDER I. HEXAGYNIA. Six Pistils.

THE only plant found wild in England that belongs to this class, is the flowering rush. It is often called the watergladiole. The old writers named it "grassie rush." One of them is exceedingly laudatory of this plant. He states that, It is of all others the fairest and most pleasant to behold, and serveth very well for the decking and triming-up of houses, because of the beautie and braverie thereof." The flowering rush grows in ditches, pools, slow rivers, and lakes in England and Ireland, and flowers in June and July. It has a round smooth stalk, which, according to its situation, rises from one to six feet in height. At the top of it is an umbel or head of flowers of a delicate rose-colour, tinged with purple. So sharp are the edges of the leaves, that they often wound the mouths of cattle. This plant, so stately from its height, and so beautiful from its cluster of flowers, is so hardy as not to be injured by a very severe frost, and might be made very ornamental to pieces of CLASS X.-DECANDRIA.

water.

Plants bearing flowers with Ten Stamens.

ORDER I. MONOGYNIA. One Pistil.

The arbutus, or strawberry-tree, is a beautiful shrub, bearing branches of white flowers of the present year, while the red berries of the last season, remain pendant upon it. It grows without culture in the West of Ireland, near the Lake of Kil. larney, on barren limestone rocks, to which it is a very delightful ornament. It has a very small cup, an egg-shaped corolla of one petal, with small segments, a woody stem, leaves smooth and toothed at the edges, and small seeds of a bony hardness. It flowers in September. It is a native of the South of Europe; it bears fruit of a fleshy substance like a strawberry. It is edible, and in Spain, both a sugar and a spirit are extracted from it.

Scotland.

The black bear-berry is so called from the colour of its berry; but its flowers, which appear in May and June, are white. It is a small shrub, which grows on dry, mountainous heaths in The red bear-berry is a small shrub, growing abundantly on dry heaths. Its flowers are pale rose-coloured, or white, and grow in short, drooping clusters. The berry is bright red, mealy, and harsh, but often eaten in the Highlands. The leaves of this plant are used as an astringent and tonic in medicine.

DIGYNIA.

There are twenty-one wild species of the true saxifrage. They are distinguished by a calyx divided into five parts, a corolla of five expanding petals, narrow towards the base; a capsule or seed-vessel of one cell, terminating with two beaks or sharp points, in which are lodged many minute seeds. The golden saxifrage is much esteemed in some places as a salad, and is remarkable for its medicinal virtues. It blooms by the side of rivers, in the month of May. The white saxifrage is often found, in the same month, in meadows and on hedgebanks. It has a larger flower than some other kinds, and is remarkable for a bearded root, composed of a number of little bulbs, connected together in clusters by the fibres. Of a bright red colour, they resemble strings of coral beads. The stem is hairy, a little branched, and grows about a foot high, the leaves next the root are kidney-shaped, and placed on long foot-stalks. The flowers, in small bunches, terminate

the stalk, and are white, streaked with yellow. No one of these plants is so well known as "London pride." It has been supposed that its name is derived from its growing on the little soil which borders the paved yards of the city, unharmed by its smoke and fog. Frequently, however, it adorns the cottage border. It requires a microscope to show all its beauty, and on examination of it by such means, justifies its old name of "Queen Anne's needlework," resembling as it does, an exquisite embroidery. The people of Ireland call it, strangely. enough, St. Patrick's cabbage.

In the same order appear the rich carnation, with its aromatic odour, the whole tribe of pinks, and the modest sweetwilliam. If we trace some of them, in the true spirit of botanists to the fields, we shall find the pinks agree in having a cup formed like a cylinder, toothed at the mouth, and having four scales encompassing the base. The corolla has five petals, with claws of the length of the cup, and a capsule of one cell, opening with four teeth. The Deptford pink grows in pastures and hedges, and flowers in July and August. The proliferous pink grows in sandy pastures and flowers in July. The clove pink, naturalised on old walls, in various parts of England, flowers in June and July. The maiden pink grows in dry hilly banks and pastures, and flowers from July to October. and flowers in July. The sweetwilliam has its flowers incorThe mountain pink grows on Chedder rocks, Somersetshire, porated, or one head formed of many single flowers.

TRIGYNIA.

There are many kinds of catch-fly, which are distinguished by the honey-cup, composed of two little teeth at the neck of each petal, forming a kind of crown at the mouth of the tube. They grow in various places, as in cultivated fields, in sandy corn-fields, in pastures, and among rubbish. One species grows on the sea-shore above water-mark, another on rocks and walls, and on hilly pastures, and another in dense tufts and patches towards the summits of the Highland mountains, as well as on those of Wales. They generally flower in June and July.

Of stitchworts there are also several kinds. One of them grows most beautifully on loamy soils. It used to be called all-bones, or white-flowered grass. It is a very delicate and tender plant. So brittle is it that, in attempting to pull up the root, it breaks just above the fibre; and has often been said, in consequence, to have no root. The flower, white as the driven snow, and not much smaller than the primrose, is very common in most parts of England, and richly adorns our hedges in "the merry month of May.'

PENTAGYNIA.

As this word has not occurred before, we apprise the reader that it means five pistils. Many are the plants thus distinguished; of which we can notice only the stonecrops and the woodsorrel. There are several kinds of the former plant, some having red and others white flowers. They are very similar in nature and habit; except the live-long, or orpine, which grows in the borders of fields, in hedges, and among rubbish, and flowers in August. It has a spotted stem; but, unlike the other stonecrops, has broad leaves, which are sometimes boiled and eaten. A large white kind of stonecrop adorns the rocks on the Highlands, with its white flowers and its thick green leaves; it is called English stonecrop. The biting stonecrop is often called wall-pepper, from its pungent taste. Some of the stonecrops have purplish flowers, but the greater number have yellow blossoms. All have very fleshy, juicy stems and foliage; hence they are enabled to retain a quantity of moisture during drought, and in places so dry, that little is yielded by the soil to their roots. This fact led to the lesson:

There from his rocky pulpit, I heard cry

The stonecrop: See how loose to earth I grow,
And draw my juicy nurture from the sky :
So draw not thou, fond man, thy root too low,
But loosely clinging here,

From God's celestial sphere

Draw life's unearthly food-catch Heaven's undying glow. Most of the stonecrops bloom during the months of June and July. The purple orpine flowers two months later.

When the spring is forward, we shall find an abundance of the pretty flowers of the woodsorrel in the month of April,

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