On the operatic stage Sappho has had much influence; and above I have told how Lamartine said that Sappho was a superb subject for an opera, although he never wrote the opera, and how Grillparzer was asked to write an opera on Sappho. In French we have a lyrical tragedy, _Sapho_, by Empis and Courniol (1818), Delavault’s _Sapho_ and Gounod’s _Sapho_ (1851); and a few years ago (1897) Massenet produced his _Sapho_. In Italian there is Pacini’s _Saffo_ (Naples 1840); in Dutch, Bree’s _Sapho_; in German, Schwartzendorf’s _Sappho_ and Kanne’s _Sappho_; in Bohemian, there is Reicha’s _Sappho_; and in Russian, Lissenko’s _Sappho_. Brahms composed a _Sapphic Ode_, which is very familiar because it is often sung to-day and there is an English victrola record of it by Julia Clausen, but while it deals with Sappho’s favorite flower, the rose, it is Sapphic only in name and metre: Rosen brach ich nachts mir am dunklen Hage. Süsser hauchten Duft sie, als je am Tage; Doch verstreuten reich die bewegten Aeste Thau, der mich nässte. Auch der Küsse Duft mich wie nie berückte, Die ich nachts von Strauch deiner Lippen pflückte; Doch auch dir bewegt ein Gemüth gleich jenen, Thauten die Thränen. (Words by HANS SCHMIDT) From the time of the _Schemata Musica_ printed in Volger’s edition of 1810, down to the music published by G. Cipollini in 1890 in his brother’s _Saffo_, many have put Sappho’s songs to music. Even in the last few years many have tried their hand at the task. Perhaps the most successful music, with a real touch of the old Greek flavor, is that which was composed by Professor Stanley for several of Sappho’s fragments in connection with Mr. Harrison Grey Fiske’s stage presentation of Percy Mackaye’s _Sappho and Phaon_. This has been reprinted this year in a general treatment of Greek music by Professor Stanley of the University of Michigan. The selections published include “Builders, Build the Roof-Beam High, Hymenaeon”; “Gath’rers, What Have We Forgot, Hymenaeon!”; “What shall we do, Cytherea?”; “Hollow Shell, Horny Shell”; “Akoue, Poseidon”; “Hesper, Eleleu”, etc. Miss Pearl C. Wilson, of Miss Chandor’s School in New York, a former student of Professor Perry of Columbia University, without making any pretense of reproducing the ancient music has composed musical accompaniments for several of the odes and also of the new fragments, which have been sung with much success. She tried to illustrate the metre of each fragment, but found it more satisfactory to write the music without the modern division into bars and rests, simply indicating the long and short syllables by notes of different values. This makes possible a lyric delivery of the poems, each line determined solely by the words and their meaning. In that way the simple melodies as expressions of the thought gain a great deal when sung. I can testify from my own public experiments in readings from