Another distinguished pupil of the same teacher is Emma Eames, who was born in China of New England parents, and was educated in Boston and in Paris. Her voice too is exceedingly flexible, is fresh, pure and clear, her intonations are correct and her personality most attractive. She has been very successful in Wagnerian roles, makes a superb Elsa, and, in the "Meistersinger," an ideal Eva. During her early years on the stage her extreme calmness amounted almost to aggravating frigidity, but with time she has thawed. She may well be considered a conscientious artist endowed with rare musical intuition. There is no possession more perishable, more delicate, than the human voice. When one considers the joy it is capable of shedding about it, the blessings that may follow in its train, it seems sad to think of the reckless waste caused by its neglect and mismanagement. Its life is brief enough at best. Let it be cherished to the utmost. In America where there are to-day more fine voices among women than in any other country and where time and means are so freely expended on the musical education of girls, the twentieth century should produce nobler queens of song than the world has yet known. First, the American girl must learn that the real things of life are more to be prized than false semblances, and that genuine musical culture resting on a foundation built with painstaking care and consecrated artistic zeal, is of far higher and more enduring value than the most dazzling feats of display which lack solid, intrinsic support. X The Opera and Its Reformers The evolution of the drama is intimately associated with that of music and both are inseparably entwined with the unfolding of the spiritual life of the human race. Man is essentially dramatic by nature, and both history and tradition show it to have been among his earliest instincts to express his inner emotions by action and song. From this tendency arose the Greek religious drama. We find it in legendary times at the altar of Dionysus, master of the resources of vitality, in whose train followed the Muses, actual leaders and conductors of human existence. At seed-time and harvest festivals a rude chorus, grouped about the altar, told the story of the god's wanderings and adventures, in simple words, accompanied by gesture, dance and music. This expression of thought and feeling mirrored the emotions of the worshipers, kindled the imagination, and strengthened the innate instinct for freedom. Gradually the narrative detaching itself from the choral parts fell to individual singers, the acting became more and more a distinct feature of the occasion, ever increasing dramatic quality characterized the song, and the materials were at hand for the Greek drama so fruitful to us in its results.