306 



THE POPULAB, EDUCATOR. 



connection with each class a corresponding flower, in which the 

 ciiaracteristic mark of distinction may be recognised : 

 Examples. Classes. 



1. Ceiitranthus . 



2. Veronica . . 



3. Iris 



4. Plantain . . 



5. Pimpernel . . 



6. Lily . . . 



7. Horse Chestnut . 



8. Evening Primrose. 



9. Bay-Laurel . 



10. Pink . 



11. Houseleek . . 



12. Strawberry . 



13. Ranunculus . . 



14. Foxglove . 



15. Wall-flower . 



16. Mallow. 



17. Pea ... 



18. St. John's Wort . 



19. Blue Corn- Flower . 



20. Orchis . 



21. Arum . 



22. Nettle . 



23. Pellitory of the wall 



Monaudria. 



Diandria. 



Triandria. 



Tetraudia. 



Pentandria. 



Hcxaudria. 



Heptaudria. 



Octaudria. 



Eunoandria. 



Decandria. 



Dodecaudria. 



Icosandria. 



Polyandria. 



Didynamia. 



Tetradyuatnia. 



Monadelphis. 



Diadelphia. 



Polyadelphia. 



Syugenesia. 



Gynandria. 



Monceeia. 



Dicecia. 



Polygamia. 



"With respect to further divisions of these classes, the first 

 thirteen of them are divided into orders founded on the number 

 of free carpels or styles entering into the composition of the 

 pistil. In the order monogynia the pistil is formed of one 

 single carpel, or many carpels united into one single body by 

 their ovaries or their styles ; in digynia there are two distinct 

 ovaries, or styles ; in trigynia, throe ; in tetragynia, four ; in 

 pentagynia, five ; in hexagynia, six ; in polygynia, a number 

 exceeding ten. The fourteenth class includes two orders : 

 gymnospermia, in which the pistil is composed of four achccnia, 

 having the appearance of naked seeds ; angiospermia, in which 

 the seeds are included in a capsule. The fifteenth class, 

 or tetradynamia, is divided into two orders, siliquosa; or 

 siliculosce, according as the fruit happens to bo longer than 

 broad, or broader than long. The sixteenth, seventeenth, 

 eighteenth, twentieth, twenty-first, and twenty-second classes, 

 have their orders established in conformity with the number 

 and the mode of connection of the stamena and the styles 

 (triandria, pentandria, polyandria, monogynia, polygynia, mona- 

 delphia, etc.). The nineteenth class is sub- divided into poly- 

 gamia cequalis,in which all the flowers of the head contain both 

 stamens and pistils ; polygamia superjlua, in which the 

 central flowers of the capitulum contain both stamena and 

 pistils, and those of the circumference pistils only; poly- 

 gamia frustranea, when tha flowers of the circumference have 

 neither stamens nor pistils ; polygamia necessaria, when all 

 the central flowers contain stamens, and those of the circum- 

 ference pistils. 



The botanist who sets about applying the principles of Lin- 

 nseus soon finds that the same class is made to contain plants 

 of different natural families, whilst others having affinities to 

 each other are widely separated. 



It would be unjust to the memory of Linnaeus not to say that 

 he recognised the desirableness of classifying vegetables accord- 

 ing to their natural alliances, if this could be done ; but at the 

 time when he lived a sufficient number of facts to admit of this 

 liad nob been collected. " All plants," remarks Linnceus, in his 

 botanical philosophy, " are allied by affinities, just as territories 

 come in contact with each other on a geographical chart. Bota- 

 nists should unceasingly endeavour to arrive at a natural order 

 of classification. Such natural order is the final aim of botani- 

 cal science. The circumstance rendering such a plan defective 

 now is the insufficient knowledge we have of plants, so many 

 species of which are yet undiscovered. When these species are 

 discovered and described, a natural classification will be accom- 

 plished, for nature does not proceed abruptly, as it were by 

 leaps." 



These sentiments, made known by the great Swede himself, 

 prove to us that he only intended his artificial classification to 

 be a provisional arrangement. 



Waiving the question of its intrinsic utility, the artificial sys- 

 tem of Linnseus is not always so easy of application as it might 

 at a first glance be thought. The characters of the stamens 

 and tha pistils necessary to be made ut before the class and 



order of any particular vegetable can be determined, are not so 

 easily discriminated as might be supposed. Dodecandria, ioo- 

 sandria, and polyandria, are occasionally very difficult to distin- 

 guish one from the other. In didynamia and tetradynamia tha 

 stamens are sometimes equal, whilst in other classes, in which 

 they form two series, their inequality is manifest ; snch ia the 

 case in pinka and geraniums. Monadelphia and diadoiphia are 

 sources of continual mistakes ; many plants called monadel- 

 phons in the system of Linnseua scarcely present an appreciable 

 junction of the stamens ; many plants called diadelphous are 

 really monadelphous. Syngenesia should as fairly include the 

 cyclamen as the violet. Monoeeia and dioecia furnish many 

 characteristic appearances which are not taken cognisance of; 

 and many other objections might be readily cited. 



READING AND ELOCUTION. X. 



ANALYSIS OF THE VOICE. (continued.) 

 V. TRUE TIME. 



BY true time in elocution is meant an utterance well-propor- 

 tioned in sound and pause, and neither too fast nor too slow. 

 We should never read so fast as to render our reading indistinct, 

 nor so slow as to impair the vivacity, sr prevent the full effect, 

 of what ia read. 



Everything tender or solemn, plaintive or grave, should be 

 read with great moderation. Everything humorous or sprightly, 

 everything witty or amusing, should bo read in a brisk and 

 lively manner. Narration should be generally equable and 

 flowing ; vehemence, firm and accelerated ; anger and joy, 

 rapid ; whereas, dignity, authority, sublimity, reverence, and 

 awe, should, along with deeper tone, assume a slower movement. 

 The movement should, in every instance, be adapted to the 

 sense, and free from all hurry on the one hand, or drawling on 

 the other. The pausing 1 , too, should be carefully proportioned 

 to the movement or rate of the voice ; and no change of move- 

 ment from slow to fast, or the reverse, should take place in any 

 clause, unless a change of emotion is implied in the language of 

 the piece. 



The " slowest" and the "quickest" rates of utterance have 

 been exemplified under the head of " versatility " of voice, and 

 need not be repeated here. They occur in the extremes of grave 

 and gay emotion. 



There are three important applications of " time " in connec- 

 tion with ' rate " or " movement," which frequently occur in the 

 common forms of reading and speaking. These are the " slow," 

 the "moderate," and the "lively." The first of these, the 

 " slow," is exhibited in the tones of aioe, reverence, and solemnity, 

 when these emotions are not so deep as to require the slowest 

 movement of all : the second, the " moderate," belongs to grave 

 and serious expression, when not so deep as to require the 

 " slow " movement ; it belongs, also, to all unimpassioned com- 

 munication, addressed to the understanding more than to the 

 feelings; and it is exemplified in the utterance of moderate, 

 suldued, and chastened emotion : the third rate, the " lively," i* 

 perhaps sufficiently indicated by its designation, as character- 

 ising all animated, cheerful, and gay expression. 



All the exercises on " time " should be repeated till they can 

 be exemplified perfectly and at once. Previous to practising 

 the following exercises, the student will be aided in forming- 

 distinct and well-defined ideas of "time," by turning back to 

 the example under " versatility," marked as " very slow," and 

 repeating it, with close attention to its extreme slowness. He 

 will observe that, in the repeating of this example, the effect of 

 "time," or proportion of movement, is to cause a remarkable 

 lengthening out of the sound of every accented vowel; an 

 extreme slowness in the succession of the sounds of all letters, 

 syllables, and words : and along with all this, an unusual length 

 in all the pauses. It is this adjustment of single and successive 

 sounds and their intermissions, which properly constitutes the 

 office of "time" in elocution: although the term is often inde- 

 finitely used rather as synonymous with the word " movement," 

 as applied in music. 



The "slow" movement differs from the "slowest," in not 

 possessing the same extreme prolongation of sound in single 

 vowels, or the same length of pause. The slow succession of 

 sound is, however, a common characteristic in both. 



