inspection shows a remarkable bit of living mechanism. The trunk is found to consist of three sucker-like tubes, secured in an elegant case, the whole protected from injury by horny defences and supports. This complex tube is not thicker than a hair, and through this all the food of the butterfly must be conveyed. Does not so fine a tube get clogged up sometimes from the thick flowery juices in which the winged beauty delights? Yes, there is a liability to this; for, though a butterfly cannot have toothache, he is not quite free from all accidents. What does the insect do then? Clears out his trunk, of course, the mechanism of the central tube allowing it to be opened for this purpose. Is not this a beautiful provision, enabling the butterfly to be its own surgeon in so dangerous crisis? "Doth God care for oxen?" is a question put in an ancient book. It is also clear that the wants of a butterfly have been wonderfully cared for by the Creator. A whole paper might be filled with the description of the sucker or trunk of the butterfly. We can only state here that it seems to be formed of a countless number of fine elastic rings, moved by a multitude of muscles. Some naturalists have supposed the muscles in this small and delicate organ to exceed in number those in the elephant's trunk: these are estimated at 70,000. Space does not admit of our say ing more about be seen on the we allude rather to the whole nervous mass than to one organ, like that found in the larger animals. The brains of insects may in truth be called many. If we insist upon finding one brain, the first knot, or ganglion as it is called, in the spinal marrow, may be so regarded. The same remark must be made respecting the heart, which is not one organ, but consists of numerous circulating vessels. A butterfly may be as truly said to have many hearts as one. The nine air-holes on each side, eighteen in all, may be regarded as so many nostrils by which the air enters. Naturalists call them spiracles. How many species of these insects are found in Britain? the marvels to 1. SWALLOW-TAIL BUTTERFLY (PAPILIO MACHAON). 2. FIDONIA PLUMISTARIA. FLY (PAPILIO GALATHEA). 4. EGGS OF BUTTERFLIES. 5. CATERPILLAR. BUTTERFLIES' WINGS. head of a butterfly. We have but a few lines to remark that the nerves and digestive system of the butterfly have been closely examined by naturalists, and would require a volume to describe them fully. "As giddy as a butterfly" is a remark applied to some pretty bipeds; but the insect's so-called giddiness is really its work, by which it gets its living, speeding from flower to flower for food. A "Purple Emperor's" brain may be as much taxed by these labours, as that of the said biped's, by reading three sets of novels in one week. The nervous system of the butterfly is near the stomach, so that "weak nerves" must tell upon the digestion of a "Blue Argus or "White Admiral." It will easily be imagined that the nerves connected with the complex eye and wonderful trunk of a butterfly must form an elaborate microscopical system. When speaking of a butterfly's brain, 3. MARBLED WHITE BUTTER6. CHRYSALIS. 7. SCALES OF About 70; but some are only met with in limited districts, and few persons have seen them all in their native haunts. The total number of known species is about 3,000. Readers who wish to make collection should endea vour to obtain the caterpillar, chrysalis, and butterfly of each species; they will then possess a specimen of each form of life through which the insect passes. No one will, of course, run a pin through a butterfly to secure it, before either killing or be Poets, philosophers, and theologians have used the butterfly to illustrate their sentiments. The ancients regarded the bright ethereal creature as a symbol of the human soul, searching after a higher home and a more perfect life. A noble being, called Psyche (the soul), was described as falling in love with visible beauty, then losing through her folly the bright posses sion, and after a sorrowful search, finding again the long-lost and glorious prize. This Psyche was represented under the form of a butterfly, and such marbles may be seen in the Townley Collection in the British Museum. We all know that Christians have long deemed the uprising of so bright a form, from the chrysalis-like grave, as a type of the resurrection. Thus, even a butterfly, sculptured on a tomb, may suggest a volume of rich and ennobling thoughts. LESSONS IN GEOMETRY.—XV. PROBLEM XXXV.-To find the centre of any given circle, or of any given arc of a circle. Let A B C (Fig. 53) be the given circle of which it is required to find the centre. First, draw any straight line, A B, dividing the circle into two unequal segments. Bisect A B in D, and through the point D draw the straight line E c at right angles to AB. Bisect EC in F. The point F is the centre of the circle ABC. M E There are other methods by which the centre of the circle ABC may be found, although the one that has just been described is perhaps the most simple. For instance, we might have drawn the straight lines G H, KL as tangents to the circle A B C, through the points A and B, and at R, H the points of contact, A and B, drawn the straight lines AN, BO, at right angles to the straight lines GH, KL, and intersecting each other in the point F; from which we learn that if any two points be taken in the circumference of a circle, which are not the opposite extremities of a diameter of that circle, and tangents to the circle be drawn through K these points, the straight lines drawn at right angles to the tangents through the points of contact shall intersect each other, if produced far enough, in the centre of the circle. Fig. 53. This method is useful when we wish to find the centre from which an arc or part of the circumference of a circle of very great extent has been described. The following is a third method of finding the centre of a given circle or the given arc of any circle. Let us suppose, as before, that ABC in Fig. 53 represents the given circle. Set off along any part of the circumference three equal arcs, B E, EA, and a P. Then from the points P and E as centres, with any radius greater than the radius of the given circle, describe two arcs intersecting each other in the point N; and from the points A and B as centres, with any radius greater than the radius of the given circle, describe two arcs intersecting each other in the point Q. Join AN, EQ. The point F in which these lines intersect each other is the centre of the circle A B C. A D intersect C D in F. The point F is the centre from which the arc A C B has been described. Draw Now let A E B in Fig. 53 be the arc of which it is required to find the centre. Join AB as before; bisect A B in D. DE perpendicular to A B, and join A E. Produce ED indefinitely towards c, and at the point a in the straight line E A, make the angle E AF equal to the angle A E F, producing the leg a F of the angle E AF, if necessary, far enough to intersect ED produced in the point F. This point, as before, is the centre from which the arc A E B has been described. In the first of these two cases it will be noticed that the arc of which the centre is required is greater than half the circumference of the circle of which it is an arc, but in the second it is less than half the circumference. If the arc were half the circumference, it is plain that to find its centre all we have to do is to join its extremities, and bisect the chord that joins them. On further inspection of Fig. 53 it will be noticed that the straight lines G H, KL, which were drawn as tangents to the circle A B C through the points A and B, have their points of intersection м in the straight line CR obtained by producing CE in an upward direction; and the angle A M C is equal to the angle B M C. This leads to another mode of finding the centre of the circle A B C, which is as follows: Through any two points, A and B, in the circumference of the given circle A B C, draw the tangents G H, KL, intersecting each other in the point M. Bisect the angle A Mв by the straight line M E, and produce it to cut the circumference of the circle in c. Bisect c E in F. The point F, as before, is the centre of the circle A B C. PROBLEM XXXVI.-To describe a circle through any three given points which are not in the same straight line. K H Let A, B, C (Fig.55), be the three given points through which it is required to describe a circle, or rather the circumference of a circle. Join A B, A C, and bisect these straight lines respectively in the points D and E. Through D draw the straight line D F of indefinite length, perpendicular to A B, and through E draw the straight line E G, also of an indefinite length, perpendicular to a C. The point of intersection, H, of the straight lines D F, EG, is the centre from which a circle may be described with a radius, HA, that shall pass through the other two given points, A, B, and C. The same result would be obtained by joining the straight lines A B, B C, or A C, C B, bisecting them, and drawing perpendiculars through the points of bisection as shown in the figure. Fig. 55. PROBLEM XXXVII.-To draw a tangent to a given circle through any given point either in the circumference of the circle or without it. Our figures, as we have said before, sometimes appear complicated from the necessity that there is of saving as much space as we can by making one diagram serve as an illustration either to many methods of doing the B same thing, or to sequences that may arise out of the consideration of the problem in question. Our readers are therefore in all cases when it is necessary recommended to study our problems with a piece of paper, a pair of compasses, and a parallel ruler at hand, that they may construct Fig. 54. for themselves just so much of our diagram as is necessary for an illustration of the process in course of description, disentangling it as it were from the figure that we have given as a means of explaining our directions. As an example of this, we give in Fig. 54, on a reduced S scale, just so much as is absolutely necessary of Fig. 53 to enable a reader to understand the first method that we have given of finding the centre of any given circle. Some of the methods that have been described for finding the centre of a given circle apply equally well, as it may have been seen, to finding the centre from which any given arc of a circle has been described; but there is another method of finding the centre of any given are that we will now proceed to bring under the reader's notice. First, let A C B in Fig. 53 be the arc of which it is required to find the centre. Join A B; bisect A B in D; draw DC at right angles to A B, and join A c. Then at the point A in the straight line CA make the angle CAF equal to the angle a C F, and produce the leg a F of the angle CAF, if necessary, far enough to The case in which the given point is in the circumference of 10 M R explanation, for it is manifest that nothing more is required than to D draw a straight line joining the centre of the circle and the given point, and then through the given point to draw a straight line at right angles to the radius of the circle thus obtained. The straight line drawn through the given point at right angles to the radius will be a tangent to the given circle. K Fig. 56. In the case in which the given point lies without the circum. ference of the circle, let A B C (Fig. 56) represent the given circle, and D the given point without it. Find E, the centre of the circle A B C, and join D E. Bisect D E in F, and from the point as centre, at the distance F E or FD as radius, describe the circle D G H, cutting the circumference of the circle A B C in the points G, H. Join D G, D H, and produce them indefinitely towards K and L respectively. The straight lines D K, DL are tangents to the circle A B C, and they are drawn from the given point D, without the circumference of the circle A B C, as required. From this problem we learn that from any point without a circle two straight lines can be drawn which are tangents to that circle, and that the angle formed by any pair of tangents drawn to a circle from a point without it is bisected by the straight line which joins that point and the centre of the given circle. We also learn from this problem how, with a given radius, to draw a circle touching two given straight lines. In Fig. 56, let LM, K N represent the two given straight lines, and x the given radius of the circle that is required to be drawn, touching the given straight lines L M, K N. If necessary, produce the straight lines LM, KN in the direction of M and N, and let them meet in D. Bisect the angle L D K by the straight line DO, and at any point, P, in the straight line D K draw PQ perpendicular to DK, and equal to the given radius x. Then through the point o draw the straight line R S of indefinite length, parallel to DK, and intersecting the straight line Do in the point E. From the point E as centre, with a radius equal to the given radius x, describe the circle A H G. This circle touches the given straight lines L M, KN, in the points H and G. The winter of the good man's age is cheered with pleasing reflections of the pást, and bright hopes of the fùture. It was a moment replete with joy, amazement, and anxiety. Nothing would tend more to remove apologies for inattention to religion than a fair, impartial, and full account of the education, the characters, the intellectual processes, and the dying moments of those who offer them. Then it would be seen that they had gained by their scepticism no new pleasures, no tranquillity of mind, no peace of conscience during life, and no consolation in the hour of death. Well-doing is the cause of a just sense of elevation of character; it clears and strengthens the spirits; it gives higher riches of thought; it widens our benevolence, and makes the current of our peculiar affections swift and deep. A distant sail, gliding along the edge of the ocean, was sometimes a theme of speculation. How interesting this fragment of a world, hastening to rejoin the great mass of existence! What a glorious monument of human invention, that has thus triumphed over wind and wave; has brought the ends of the earth in communion; has established an interchange of blessings, pouring into the sterile regions of the north all the luxuries of the south; diffused the light of knowledge, and the charities of cultivated life; and has thus bound together those scattered portions of the human race, between which nature seems to have thrown an insurmountable barrier! 1. "Disconnected series." Youth, in the fulness of its spirits, defers religion to the sobriety of manhood; manhood, encumbered with cares, defers it to the leisure of old age; old age, weak and hesitating, is unable to enter on an untried mode of life. Let me prepare for the approach of eternity; let me give up my soul to meditation; let solitude and silence acquaint me with the • Accidental "falling" inflection, for contrast. mysteries of devotion; let me forget the world, and by the world be forgotten, till the moment arrives in which the veil of eternity shall fall, and I shall be found at the bar of the Almighty. Religion will grow up with you in youth, and grow old with you in àge; it will attend you, with peculiar pleasure, to the hovels of the poor, or the chamber of the sick; it will retire with you to your to the house of God; it will follow you beyond the confines of the closet, and watch by your béd, or walk with you, in gladsome union, world, and dwell with you for ever in heaven, as its native residence. 2. Emphatic series." Assemble in your parishes, villages, and hamlets. Resolve, petition, addrèss. This monument will speak of patriotism and coùrage; of civil and religious liberty; of free government; of the moral improvement and elevation of mankind; and of the immortal memory of those who, with heroic devotion, have sacrificed their lives for their country. I have roamed through the world, to find hearts nowhere warmer than those of New England, soldiers nowhere braver, patriots nowhere purer, wives and mothers nowhere trùer, maidens nowhere lovelier, not be silent, when I hear her patriotism or her truth questioned with green valleys and bright rivers nowhere greener or brighter; and I will so much as a whisper of detraction. What is the most odious species of tyranny? That a handful of men, free themselves, should executo the most base and abominable despotism over millions of their fellow-creatures; that innocence should be the victim of opprèssion; that industry should toil for rapine; that the harmless labourer should sweat, not for his own benefit, but for the luxury and rapacity of tyrannic depredation ;-in a ordinary endowments of humanity, should groan under a system of word, that thirty millions of men, gifted by Providence with the despotism, unmatched in all the histories of the world. 3. "Poetic series." He looks in boundless majesty abroad, And sheds the shining day, that burnished plays Round thy beaming car, High-seen, the Seasons lead, in sprightly dance Harmonious knit, the rosy-fingered Hours, The Zephyrs floating loose, the timely Rains, Of bloom ethereal, the light-footed Déws, And, softened into joy, the surly Storms. Hear him compare his happier lot, with his Who bends his way across the wintry wolds, A poor night-traveller, while the dismal snow Beats in his face, and dubious of his paths, He stops and thinks, in every lengthening blast, He hears some village mastiff's distant howl, And sees, far streaming, some lone cottage light; Then, undeceived, upturns his streaming eyes, And clasps his shivering hands, or, overpowered, Sinks on the frozen ground, weighed down with sleep, From which the hapless wretch shall never wake. There was neither tree, nor shrub, nor field, nor house, nor living créatures, nor visible remnant of what human hands had reared. I am charged with pride and ambition. glory in its truth. The charge is true, and I Who ever achieved anything great in letters, art, or arms, who was not ambitious? Cæsar was not more ambitions than Cicero. It was but in another way. All greatness is born of ambition. Let the ambition be a noble one, and who shall blame it! I confess I did once aspire to be queen, not only of Palmyra, but of the East. That I am. I now aspire to remain so. Is it not ab honourable ambition ? Does it not become a descendant of the have already done. Ptolemies and of Cleopatra? I am applauded by you all for what I You would not it should have been less. more criminal? But why pause here? Is so much ambition praiseworthy, and Is it fixed in nature that the limits of this empire should be Egypt on the one hand, the Hellespont and the Euxine on the other? Were not Suez and Armenia more natural limits? Or hath empire no natural limit, but is broad as the genius that can devise, and the power that can win? Rome has the West. Let Palmyra possess the East. Not that nature subscribes this and no more. The gods prospering, and I swear not that the Mediterranean shall hem me in upon the west, or Persia on the east. Longinus is right: I would that the world were mine. I feel, within, the will and the power to bless it, were it so. Are not my people happy? I look upon the past and the present upon my nearer and remoter subjects, and ask nor fear the answer. Whom have I wronged ?-what province have I oppressed ?-what city pillaged ?-what region drained with taxes ?-whose life have I unjustly taken, or estates coveted or robbed ?-whose honour have I wantonly assailed ?-whose rights, though of the weakest and poorest, have I trenched upon? I dwell, where I would ever dwell, in the hearts of my people. It is written in your faces, that I reign not more over you than within you. The foundation of my throne is not more power than love. How shall I know thee in the sphere which keeps The disembodied spirits of the dead, When all of thee that time could wither, sleeps, For I shall feel the sting of ceaseless pain, Will not thy own meek heart demand me there ? That heart whose fondest throbs to me were given ? Shall it be banished from thy tongue in heaven ? The love that lived through all the stormy past, A happier lot than mine, and larger light, And lovedst all, and renderedst good for ill. For me, the sordid cares in which I dwell, Both Inflections, in connection. Rule 1.-"Negation opposed to affirmation." It is not a parchment of pédigree,—it is not a name derived from the ashes of dead men, that make the only charter of a king. Englishmen were but slàves, if, in giving crown and sceptre to a mortal like ourselves, we ask not, in return, the kingly virtues. The true enjoyments of a reasonable being do not consist in unbounded indulgence,* or luxurious éase, in the tumult of passions, the languor of indolence, or the flutter of light amusements. Yielding to immóral pleasures corrupts the mind; living to animal and trifling ones, debàses it; both, in their degree, disqualify it for genuine good, and consign it over to wretchedness. What constitutes a state ? Not high-raised battlements, or laboured mound, Not cities proud, with spires and túrrets crowned, Not bays and broad-armed ports, Where, laughing at the storm, proud návies ride; Where low-browed baseness wafts perfume to príde ! Men who their dúties know, But know their rights, and, knowing, dare maintain. Note. "Concession and unequal antithesis." The clouds of adversity may darken over the Christian's páth; but he can look up with filial trust to the guardian care of a beneficent Father. Still, still, for ever Better, though each man's life-blood were a river, And moving, as a sick man in his sleep, Exception." Emphatic negation." I'll keep them all; He shall not have a Scòt of them; Nò, if a Scot would save his soul, he shall not. Do not descend to your graves with the disgraceful censure, that you suffered the liberties of your country to be taken away, and that you were mutes as well as còwards. Come forward, like mèn; protèst against this atrocious attempt. I am not sounding the trumpet of war. There is no man who more sincerely deprecates its calamities than I do. Rest assured that, in any case, we shall not be willing to rank làst in this generous contest. You may depend on us for whatever heart or haud can dò, in so noble a cause. I will cheerfully concede every reasonable demand, for the sake of peace. But I will not submit to dictation. Rule 2.-" Question and answer." Do you think these yells of hostility will be forgotten! Do you suppose their eche will not reach the plains of my injured and insulted country, that they will not be whispered in her green valleys, and heard from her lofty hills? Oh! they will be heard there; yès, and they will not be forgotten. I will say, what have any classes of you, in Ireland, to hope from the French? Is it your property you wish to preserve ?-Look to the example of Holland; and see how that nation has preserved its property by an alliance with the French! Is it independence you court PLook to the example of unhappy Switzerland: see to what a state of servile abasement that once manly territory has fallen, under France! Is it to the establishment of Catholicity that your hopes are directed P The conduct of the First Consul, in subverting the power and authority of the Pope, and cultivating the friendship of the Mussulman in Egypt, under a boast of that subversion, proves the fallacy of such a reliance. Is it civil liberty you require? Look to France itself, crouching under despotism, and groaning beneath a system of slavery, unparalleled by whatever has disgraced or insulted any nation. Shall I be left forgotten, in the dust, When Fate, relenting, lets the flower revive ? Is it for this fair Virtue oft must strive With disappointment, pénury, and páin? Nò: Heaven's immortal spring shall yet arrive, And man's majestic beauty bloom again, Bright through the eternal year of Love's triumphant reign, Rule 3.-" Disjunctive 'Or."" Will you rise like men, and firmly assert your rights, or will you tamely submit to be trampled on ? Or Did the Romans, in their boasted introduction of civilisation, act from a principle of humane interest in the welfare of the world? did they not rather proceed on the greedy and selfish policy of aggrandising their own nation, and extending its dominion? Do virtuous hábits, a high standard of morálity, proficiency in the arts and embellishments of life, depend upon physical formátion, or the latitude in which we are placed? Do they not depend upon the civil and religious institutions which distinguish the country? The remaining rules on "inflection," as they are of less frequent application, are thought to be sufficiently illustrated by the examples appended to each rule. A repetition of these, however, may be useful to the student as an exercise in review. LESSONS IN MUSIC.-VIII. MENTAL EFFECT OF NOTES. I admit that the Greeks excelled in acuteness and versatility of mind. But, in the firm and manly traits of the Roman character, IWE have now to treat of a most important subject, and one see something more nòble, more worthy of admiration. We war against the leaders of evil-not against the helpless tools: we war against our opprèssors,-not against our misguided brethren. • The penultimate inflection falls, when a sentence ends with the rising slide. which should be thoroughly well understood by every pupil. We refer to the mental effect of notes. Let us put the topic in the form of a question. What is the principal source of a note's power to affect the mind? We observe, for instance, in one of Handel's songs, that a certain note produces a certain effect upon our minds. Why does it produce that effect? Is there 46 any law by which such mental effects are chiefly regulated? To these questions we answer, that many circumstances may modify the mental effect of a note, but that it is mainly produced by the principle of key-relationship, in connection with rate of movement. We believe that every note of the scale (whatever may be the pitch of the key-note) has a peculiar 39 mission of its own to the human mind-a proper mental effect, which circumstances of pitch, quality of voice, rhythmical arrangement, peculiarities of expression, etc., may modify, but cannot efface. Let us take an example, and look at it in these various lights. It cannot be doubted that the last note in the following phrase, from Dr. Calcott's well-known glee, produces a mental effect peculiarly appropriate to the word to which it is set. That note we call LAH. It is the sixth above or the "minor third" below the key-note. The question is, How comes that note to produce a sorrowful impression on the mind? What is the law, if there is one, by virtue of which that note possesses its power? Let the pupil sing the phrase: s.f:m.r tri-bu-ta-ry 1:tear. For- give, blest shade, the Try first the various conditions of pitch. Take a higher sound, say G, for your key-note or DOH, and sing the phrase again. You will notice that the mental effect is modified, but it remains essentially the same. Again, while in the key of G, sing the phrase, taking the lower LAH, instead of the upper. The effect on the mind is more gloomy, but it is still the same effect. It is not the mere height in pitch, then, that gives to the LAH its peculiar characteristic of sorrowfulness. The difference between the same tune set in a low and in a high key is undoubtedly great, but the special effect of each individual note remains of the same kind. Next try the effect of what is called in French "timbre," or different qualities of sound, upon this note. Let the phrase be sung by a rough voice, a clear voice, a hard voice, a mellow voice, etc., or let it be played first on a flute, next on a trumpet, and again on a violin. Such changes will certainly modify the mental effect. One voice or instrument may be better than the other, but they will all agree in expressing, on the note LAH, the sorrowful sentiment, and, if they sound the note correctly, they cannot help doing so. This mental effect is therefore independent of the mere qualities of sound, and is governed by some other law. Let the next experiment be in relation to interval, for some persons might imagine that the "distance in pitch" between RAY and LAH, called a fifth, produces the mental effect. Therefore sing the word "tear," when you come to the close, thus: " this second mental effect, and that no other note produces the same effect, however you may quicken its rate of movement. There is still, therefore, a law presiding even in this "duplicity' of mental effect. This note LAH (sixth above or "minor third" below the key-note) is now proved to possess twin mental effects, the one showing the grave, the other the gay side of a certain emotion. So is it with every note of the scale. ship" gives it a certain acceptance with the mind, and "rate of Key-relationmovement" has a certain way of modifying that impression. To prove, however, that the key-relation into which a note is thrown, by the sounds which have been heard before it, is the principal producing cause of mental effect, we must try another experiment. Take the same sound, as to absolute pitch, and vary its key-relationship. Strike the "chord" and scale of B, for instance, and then the note B, at length, noticing its mental effect. Next strike the chord and scale of A, followed by the same note B (the same in pitch), as a long note. Notice, now, its effect on the mind. How changed! Try, next, the chord and scale of G, and observe the note, in the same way. How changed again! Try other keys, and you will find that every change of key-relationship makes a change in the reception which the mind gives to that particular sound of unaltered pitch. If you wish to prove this to an incredulous friend, tell him that you are about to play to him, on the flute or piano, a number of long notes, and that, without looking at your playing, he is to tell you, as well as he can, what notes they are, and describe their mental effect. Then play to him the following phrases, and ask him, at the close, whether the notes were the same, or, if not, how they differed. Unless he takes care to keep singing the note B all through (which would be a physical rather than a mental test), he is sure to suppose the notes different. Of course you must be acquainted with some instrument to perform this experiment. The violin will give it most accurately. id.r:m.fs.d: t1.l, s: if : same. You will find that every change produces a modification of the idea, but the idea itself belonging to LAH remains still the Interval, therefore, is not the law which governs mental effect. In a similar way you may try whether singing the same sound to different words or syllables, or with different modes of "expression" (as loud, soft, etc.), will produce any material changes. And when you have found that none of these various conditions of the note can rob it of its own peculiarly emotional character, then try another and most important experiment. Vary the rate of movement. Instead of singing the phrase slowly, sing it as rapidly as though it were a jig. You will then understand why we said that key-relationship, in connection with rate of movement, was the chief cause of mental effect. The note seems, now, to express an abandonment to gaiety, instead of sorrow. But notice that LAH, sung quickly, always produces | d.r:m.fs.dt.11: s: f:-1 |
