of jasper, and flinty slate, also the grains of chlorite, and mica, and silicate of iron, indicate the nature of the pre-existing rocks, whose destruction and wearing down produced the greensand and other beds.

III. CRETACEOUS FOSSILS.

1. Though the Maestricht chalk is newer than any cretaceous bed that is found in England, its fossils are quite distinct from the tertiary species, and yet some tertiary volutes and other genera of tertiary univalves, occur in it. One peculiarity of this bed is that it has a few species of shells common to the lower white chalk, the bed No. 3, such as the Belemnites mucronatus, and the Pecten quadricostatus. It is particularly celebrated as the bed in which were found the remains of a great marine reptile called Mososaurus, the Saurian of the Meuse, supposed to have been twenty-four feet in length. This fossil was discovered in a soft freestone.

2. The shells found imbedded in the chalk of Faxoe in Seeland, are chiefly casts. Many of these are univalve shells which belong properly to the chalk era, and are yet absent from the white chalk of Europe. It has more than thirty univalves, such as Cypræa, Mitra, Cerithia, etc., not one of which is common to the white chalk; and yet a great proportion of its bivalves, corals, and Echinoderms are, in species, the same as those of the lower chalk formations.

3. The annexed illustration, fig. 3, represents some of the organic remains found in the white chalk, and in the different beds which underly it.

4. Among the most conspicuous fossils of the white chalk are the Belemnite, Baculite, Ammonite, No. 6, and Turrilite, No. 4, and the Cidaris Diadema, No. 2. The Terebratulæ, like No. 3, are very abundant, being the shells of a species that live at the bottom of the sea in tranquil and deep water. With these are associated many corals and sea-urchins, all of which are marine animals, whose remains indicate a deep sea. In this bed, some of the flinty nodules owe their irregular and grotesque forms to certain zoophytes which they enclose, or to the branches of a sponge. In some portions of the upper chalk the only remains of fish are the teeth of the shark family, in part common to the tertiaries, and in part extinct. We find here no bones of land animals, no river shells, nor any plants, except sea-weeds, and occasionally a piece of drift-wood. The fossils of the white chalk near Maidstone, in Kent, show that turtles, and egglaying saurians or lizards, and the winged lizard called Pterodactyl, lived at this epoch, and their imbedded remains indicate the neighbourhood of land near that part of the ancient sea where they perished.

5. The blue marl bed called Gault, has many peculiar forms of shells, such as the Scaphite, No. 5. It is in connexion with this bed also that the coprolites have been most abundantly found. These masses were once called the cones of the larch, but they are now known to be the excrements of fish.

6. The fossils of the Shanklin sand, or "lower greensand," are, in species, distinct from those found in the higher chalk beds. A very peculiar fossil is the shell called Hippurites, No. 1, a species which seems to be characteristic of the creta.

• Hippurites organisans. 2. Cidaris Diadema or Diadema Rotulare (1gassiz). 3. Terebratula Semigl bosa. 4. Turrilites

Catenatus. 5. Scaphites Equalis. 6. Ammonites. 7. Crioceras Puzosianus.

ceous rocks of the South of France, Spain, Sicily, Greece, and much breath is drawn in, much retained, or withheld, and other countries bordering the Mediterranean.

IV. SOME GEOLOGICAL PHENOMENA CONNECTED WITH
THE CRETACEOUS EPOCH.

feet.

very

little given out at a time; and thus are produced those smooth,
pure, and gradually-increasing tones, which are appropriate
to music, all the breath that is given forth being converted
into sound, and none escaping, that is not vocalised. In notes
of very short duration, singing and speech are, it is true,
brought nearer to a resemblance. But this resemblance is
more apparent than real; as may be observed in the execution
of every good singer, which, in the most rapid passages, still
produces the genuine effect of song, as differing from speech.
The resemblance is owing solely to the brevity of sound, in
such cases, which does not afford time for broad and marked
distinctions to be drawn by the ear.
The modes of voice which constitute speech, or are exempli

1. The bed of the chalk formation must have been
deep, for the chalk of the cliffs of Dover is 620 feet above the
level of the sea, that of Welton Beacon, in Yorkshire, 809 feet,
and that of Inkpen Beacon, in Wiltshire, is more than 1,000
2. The surface of the chalk, as it now appears, consists
generally of bold heights, indented by corresponding deep
acclivities, called coombes, which are deep furrows or valleys
scooped out by currents while the rock was under the waters
of the ocean. These scoopings took place before the London | fied in reading, are the following:-
clay came to rest on these valleys.

3. These furrows are excellent specimens of the aqueous process called denudation. The action of the sea upon the chalk 1ocks must have been intense and violent, as is attested by the immense quantities of rounded flint, and worn-down chert pebbles, contained in the stratum resting on the present chalk surfaces. This stratum of flint and other pebbles was formed by a muddy sea, whose waves brought down the flints from neighbouring chalk surfaces. Fine examples of this stratum are found in different parts of Kent, but especially at Blackheath and Bexley.

4. Though the formation of white mud in lagoons teaches us that the chalk rocks were not continuous throughout the whole of the districts where they are now found, yet many valleys and plains furnish evidence that over the whole of their length and breadth, the chalk deposit lay once continuous and unbroken. This is the case with the valley of the Sour, in Dorsetshire, the vale of Pewsey, and Salisbury Plain, in Berkshire and Wiltshire. That the chalk rocks were once continuous over the whole extent of these large districts is evident from the outliers of chalk or chalk marl left behind as memorials, some of which are found even at Chard, in Somersetshire, and the valley of the Axe, in Devonshire.

6. That the white chalk was formed in an open sea of great depth is evident from the fact that pebbles of stone, or drifted wood, are very rarely found in it. There have, however, been instances in which pebbles of quartz and of green slate, some of them two or three inches in diameter, have been found. These pebbles could not have been rolled by the waves from a neighbouring coast, for then we would have expected that the same agency would have brought mud or sand to mingle with the chalk, which is never the case. The size of the univalve shells, the corals, and certain fish, all betoken a very warm climate; and, therefore, such pebbles could not have been deposited by icebergs. It is most likely that such pebbles were brought to the spot entangled in the roots of some large tree, or perhaps gigantic sea-weeds.

LESSONS IN READING AND ELOCUTION.
No. XIII.

ANALYSIS OF THE VOICE.

IX. JUST STRESS.

TE next characteristic of good reading and speaking, is
just 'stress. This word is meant to designate a peculiar
modification of force, which distinguishes speech from music.
A long-drawn musical sound has its most forcible part,--in
cons:quence of 'swell' and 'diminish,'--at the middle portion
of the note. The tones of speech, on the contrary--although,
in a few cases, they approach to this mode of voice-usually
have the chief force of each sound at the opening or the closing
part. In music, the increase of force is, comparatively, gra-
dual; in speech and reading, it is frequently abrupt. To these
distinctive modes of voice the term 'stress' is applied.
To understand the application of this term, in detail, it
becomes necessary to advert to the mode of creating vocal
sounds. In vocal music, the result is obtained by full inspi-
ration, (inhaling or drawing in the breath), and, comparatively
sight expiration" (giving forth the breath). In this mode,

I. RADICAL STRESS. This form of force includes two modes, -'explosion' and 'expulsion.'

1. Explosion' is an abrupt and instantaneous burst of voice,-as, for example, in violent anger.

This being an instinctive, unconscious, involuntary, impulsive emotion, does not allow time or disposition for any intentional or deliberate effect, but makes the creation of vocal sound seem an irrepressible, spontaneous, electric production of nature, lying equally out of the reach of the understanding and the will. This tone has its contrast in the deep, calm, and regular swell of the tone of reverence, or the ample volume, and deliberate force, of conscious authority and command, in which the speaker is self-possessed and self-directed, and controls his vocal effects for purposes understood or felt.

Contrast, for instance, the following angry shout of Douglas when enraged by the defiance of Marmion, with the examples of reverential invocation and authoritative command which occur in the subsequent paragraphs.

What, WARD ER,

Example of Explosion.' "UP DRAWBRIDGE! GROOM! Let the PORTCU'LLIS FALL!” The sounds of all the accented vowels, in this style, fall upon the ear with an instantaneous, clear, sharp, abrupt, and cutting force, at the initial or 'radical' part of each.

2. Expulsion,'-a conscions, intentional, and deliberate force, coming upon the car with great power; as, for example, in the language of authoritative command.

Example of Expulsion.

Vanguard to right and left the front unfold!”

In this style, bold and forcible as it is, and even sudden as is its commencement, the accented vowels do not startle the ear with the abrupt shock of the tone of anger, exemplified above. There is a partial, though very brief, swell, percep'ible in the radical,' or initial part, of each sound. Both of the preceding examples are classed under the head of 'radical' stress; as their chief force lies in the radical,' or first part of each sound.

II. MEDIAN STRESS. This mode of force is exhibited in

1. ‘Effusion,'—a moderate, gentle, and gradual swelling of tone, as, for example, in the calm and tranquil utterance of reverential feeling, in which no disturbing impulse agitates or forces out the breath, but the voice, somewhat as in music, glides out, with a smooth effusive stream of sound, enlarging as it flows, but never bursting out into irregular violence

Example of Effusion.

"But chiefly Thou, O Spirit! that dost prefer,
Before all temples, the upright heart and pure,
Instruct me, for thou know'st."

The effusive' style avoids every thing abrupt or sudden in the formation of sound, and swells gradually to its acre' (chief point), at the middle of each sound-in the manner of music; and from this point diminishes,' or decreases, to the close. This species of stress' is accordingly denominated median,' from the word medium, or midele.

2. Suppression,'-a powerful force of 'explosion' or 'expulsion,' kept down, in the very act of giving forth the voice, and converted into the median form, as in the case of a

Example of Compound Stress.'

"Gone to be married! gone to swear a peace!
Gone to be friends!"

V. THOROUGH STRESS. This designation is applied to that species of force which marks all the forms of 'stress,' 'radical,' 'median,' and vanishing,' with intense power, on the same sound; so as to cause the character of all to be deeply felt, as in a bold shout, or any other very impressive form of voice, which indicates intense emotion.

In this shout of the arch-fiend to his fallen host, the tone, it will be perceived, is not that of mere volume or quantity, of mere loudness or physical force, as in the mechanical act of calling, or the voice of a public crier. It has the wide 'falling inflection of authority and command, and the forcible 'radical' stress and expulsive' utterance of courage; and to preserve the effect of all these, it must not only begin and close vividly, but exhibit a median' 'swell,' and a distinct vanish.' It must, in other words, give distinctive force and character to the beginning, the middle, and the end of each accented sound.

And what does èlse want credit, come to me,
And I'll be sworn 't is TRUE."

Note.-Amazement, when it does not go to the utmost extreme, has a louder, but lower and slower utterance, than astonish ment: the other properties of voice are of the same description as those expressed in astonishment, but increased in degree.

"Gon. I' the name of something hòly, sir, why stand you In this strange stȧre? [] Alonzo. Oh! it is MONSTROUS! MONSTROUS! Methought, the billou's spoke, and told me of it; The wiNDS did sing it to me; and the THU'Nnder, That deep and dreadful organ-pipe, pronounced The name of PROSPER; it did bass my trespass!"

RULE III. Horror and extreme amazement have a 'softened' force,' an extremely 'low' note, and 'slow' movement, a suppressed stress,' a deep aspirated pectoral quality' and a prevailing 'monotone.'

Wherein we saw thee quietly inurned,
Hath ōped his ponderous and marble jaws,
To cast thee up again! [..] What may this mean,
That thou, dead corse, again, in complete steel
Revisit'st thus the glimpses of the moon,
Making night hideous; and we fools of nature,
So horribly to shake our disposition,

With thoughts beyond the reaches of our souls?"
RULE IV. Awe has usually a suppressed' force, a 'very
.ow' note, and a very slow' movement. Solemnity, reverence,
and sublimity, have a moderate' force, a 'low' note, and a
'slow movement.' All four of these emotions are uttered
with 'effusive median stress,' and deep, but ‘pure,' 'pectoral
quality; together with a prevalent monotone.'

Note. When great force is expressed in the language, the tone becomes 'loud' in awe.

Iath reared these venerable columns; Thou
Didst weave this verdant roof. Thou didst look down
Upon the naked earth, and, förthwith, rōse
All these fair ranks of trees. They, in thỹ sun,
Budded, and shook their green leaves in thy breeze,
And shot towards heaven. The century-living crow,
Whose birth was in their tops, grew old and died
Among their branches, till, at last, they stood,
As nov they stand, n.assy and tall and dark,
Fit shrine foc humble worshipper to hold
Communion with his Maker!

"Hail! hōly Light, öffspring of heaven first börn,——
Or, of the Eternal, coeternal team

May I express thee unblamed? since Gòn is Light,
And never but in unapproached light
Dwelt from eternity,-dwelt then in thee,
Bright effluence of bright essence increàte;
Or hearst thou, rather, püre ethereal stream,
Whose fountain who shall tell? Before the sun,
Before the heavens thou wert, and, at the voice
Of God, as with a mantle, didst invest
The rising world of waters, dark and deep,
Won from the võid and fōrmless infinite."

LESSONS IN GREEK.-No. XXXII.

BY JOHN R. BEARD, D.D.
CONTRACTED PURE VERBS.

In order to obtain a perfect acquaintance with these verbs,
we must still dwell upon them, taking up the forms in detail;
and first,

The Present and Imperfect Active of Contracted Verbs in aw.
VOCABULARY.

Akun, ns, the height, the
bloom or flower, our acmé.
Ηλικία, ας, ή, age,

Idea, ac, i, appearance, form.
Ελλας, άδος, ή, Hellas, Greece.
Αθάνατος, ον, deathless, im-
mortal.

Σύμμαχος, ον, fighting with
(on the side of); as a sub.
stantive, an ally.
A0g, wretchedly.
Oappaλewe, daringly, bravely.
Πως; how? πως αν; how
could? how can?
Kai, even.

REMARKS.

Eogy is one of those verbs which take their object in the genitive case.

Fote un poi, literally, those not acting, that is, those who do not act.

In order to assist the learner in examining himself, as he should carefully do at every step, I here supply

Questions on the ensuing Exercise.

What is anаTo made up of? what mood, tense, and person is it: what class of verbs does it belong to is it a contracted or uncontracted form? how do you know? Go through the tense; give the principal parts of the verb; what are the parts which do not receive contraction?-What part of speech is expog? in what case is it? decline the word in full.-Why is stag in the genitive case? Go through the noun, that is, decline it. -Give the tense to which dog belongs in all its parts, first uncontracted, then contracted.-Go through the chief parts of akovo, and point out in the formation certain peculiaritics already explained.-What part of the verb is puni? Go through the chief parts; go through the Imperfect tense; also the Present tense, first the indicative, then the subjunctive, and then the optative.-What is the root of yarpazTE? what augment has the form? Repeat the Present tense indicative in full.-Explain the formation of PERURA.-What part of the verb is ayanger? Go through the tense; give the chief parts of the verb.

EXERCISES. GREEK-ENGLISH.

Πολλακις γνώμην εξαπατῶσιν ιδέαι. Μη σε νικάτω κερδος. Ενώ της αρετης. Πολλάκις νικά και κακός άνδρα αγάθον. Οἱ αγαθοι ερῶσι της αρετής. Πολλοί άνθρωποι εν τη της ηλικίας ακμη τελευτώσιν. Η σιωπά, η λεγε αμείνονα. Ανάγκη εστι πάντας ανθρωπους τελευτήν. Νοῦς ὁρᾷ και τους ακούει, Θαρραλέως, ω στρατιώται, ὁρμῶμεν επί τους πολεμίους. Πριν μεν πεινῶν πολλοι εσθίουσι, πριν δε διψήν πονουσιν. " Ουκ εστί τους μη δρῶσι συμμαχος τύχη. Περικλής ήστραπτεν, εβρόντα, συνέκυκα την Ελλάδα. Ειθε παντες παίδες τους γονέας αγαπάει. Πως αν τολμφην τον φίλον βλαπτειν; Το μεν σώμα πολλακις και πεινή και διψῇ ἡ δε ψυχή πως αν η δίψρη η πειρή; Ψυχή αθάνατος και αγήρως ζῇ δια παντος (-e. χρόνου). Κρείττον το reproche fait mal à propos n'est pas moins nuisible que la e non méritée ; il jette celui qui le reçoit dans les bras du 1 μη ζών εστιν, η ζήν αθλίως. Ολοφυρόμεθα του εν τῷ της ηλικίας

-Plutarque.

[ ακμή τελευτῶντα,