526 Mr. Henry Walford Davies [June 11, 



sung.) But sometimes the emotional and mental appeal are alter- 

 nately stronger each than the other, and in tliis case are more dis- 

 tinguishable and more capable of conscious analysis. To iUustrate 

 this I have roughly set the striking old legendary ballad called 

 "Stephen "to music, in which the alternations of the poem are.reinforced 

 by musical alternations of voices, melodies, cadences and keys, which 

 are all conformed to the structure of the stanzas. (Illustration sung.) 



The next illustration exemplifies the curious fact that a poem 

 sometimes enhances its appeal by an attempt to suggest natural 

 sounds by speech akin in colour or rhythm to those sounds, and that 

 music returns the compliment by re-translating speech into notes that 

 are music, and that yet approximate to the natural sound originally 

 suggested by the poet, in this case the cry of a bird. (" Magdalen " 

 was here sung.) 



The final illustration is refreshing because it seems to complete 

 the indications that at every point music and poetry are ready to play 

 into each other's hands, and it is well to end with an example (taken 

 from old Morley and the golden age of vocal art) which suggests a 

 new point of contact, one that will undoubtedly receive the attention 

 of composers as they grow in sensitiveness to the art of song. It is 

 the only case I recal in Avhich the music consistently rhymes its 

 melody with the verbal rhyme. (" It was a lover and his lass " 

 was sung.) 



YI. — Conclusions. 



To sum up these inquiries in a very few words, it may be said 

 that we shall best appreciate the relation of the two arts if we 

 remember that they are both the free-will expression of vitality ; 

 hence they imply a joyous interest in life. We cannot be said to 

 be joyously interested in the slightest thing or experience till we 

 find both freedom and intelligible order or purpose there. Hence it 

 comes that Energy, Freedom, Order — or in other words (alliterated 

 to help the memory) Force, Fantasy, Form— represent the true 

 trinity of art, if not of all human attainment whatsoever. These 

 three may be more fully expressed as Life, Love of Life, Love of 

 Form of Life. Music and Poetry have four identical ways of pre- 

 senting or expressing these three. But music diverges by itself into 

 w^ays which, though vital, are so detached from ordinary associations 

 and surrounding interests that it is in danger of ceasing to interest 

 localized mortals. The exquisite orderliness of euphonious sound 

 and all lovely correlation of sounds are refreshing to contemplate. 

 But we are only susceptible to them when they hitch on to our per- 

 sonal lives. It so happens that verbal art specializes in personal, 

 local, or associated meanings, while music do2S so in a vaguer, vaster 

 fantasy of impersonal energies. Happily, the two arts, united at 

 their infant source, identical in their fundamental attributes, both 



