I really thought I was now trotting Captain Gabion, who was a musical amateur. Villain! he was operating to clap the saddle on me, in a way I little suspected. "Then," said I, "each of these fellows, I suppose, has sung a modinha." "Why, no; not exactly that, neither," said the Captain. "I'll tell you. Curious sort of music it is, though; the national music, in fact. When you see one of those big athletic fellows expanding his chest, sucking his breath, his whole pulmonary region heaving, labouring with the song he is going to sing, why, of course you'd expect him to break out like a clap of thunder. But, instead of that, forth comes from his big throat a very mouse-like issue of those mountain throes; an attenuated stream, not altogether unmusical though, of growling, grunting, squeaking cadences--for the compass of their voices is perfectly astonishing--a string of wild and rapid trills, very short notes, very long notes, mostly slurred, never _staccato_; and, if you should happen to notice, similar, in its intervals, to the music of Scotland. With your musical knowledge, of course you understand what I mean by intervals. Well, sir; that sort of mountain music is what I call the national basis of the Portuguese modinha. Take one of those wild airs, arrange it scientifically, with suitable symphonies, accompaniment, and all that sort of thing--no difficulty to _you_--the modinha is then complete." This was by no means a bad theory of the modinha of those days; an Italian graft upon the native stock; a scientific modification of the music of the peasantry; so wild, so expressive, so sweet, so thrilling, never have I heard songs to compare with those old modinhas. Once, at a party in the house of a Lisbon lady, we persuaded her married daughter to sing; a round, fat, rosy-brunette little dump of a woman, famous for singing modinhas. She kindly took her guitar, spat in her handkerchief, and gave us them in such style as I have never but once heard since--and then the fair vocalist was not a Portuguese. What rich expression, what rises and falls, what rapid execution, what accurate intonation, what power, what tenderness, what point, in that soft, flexible, delicate, yet rich, full, brilliant, and highly-cultivated voice! Alas, the modinha of that day is rapidly passing into oblivion. It has yielded in Lisbon society to a new style of songs, still called modinhas, the words generally native, as they used to be; but the music, _modern_ Italian--utterly destitute of sentiment; a constant straining at effect, and a constant failure. "I understand," said I, "that in every part of the Peninsula you meet with a kind of songs that may be called local."