O mein Beschützer, ziehn, of which he said, "How could Goethe break one's teeth with those z's, while the rest is so musical?" Curiously enough, it is now known that Goethe erased "Beschützer" and substituted "Geliebter." He once read to me from his works for nearly half an hour. He was extremely particular about clear diction in singing, the lack of which in the majority of singers of his day was far more marked than it is nowadays. He intuitively grasped the true basis of that most difficult of tasks, the composing of a good song which is at once practical and grateful to sing. He knew that the poem should be the key to the work, and should be so clearly enunciated that every word can reach the listener; and that the composer must never over-balance the voice with the illustrative detail of the accompaniment. When I was setting "The Voyage of the Mældune" I happened to be at Freshwater; and after finishing the solo quartet, "The Under-sea Isle," four amateurs sang it through for him. His only (and I fear very just) comment on the performance was, "I did not hear a word you said from beginning to end." But he thought afterwards that we might feel somewhat crushed, and as I was going away some little time later, and was passing his door, he put his head out and said with a humorous smile, "I'm afraid I was rather rude just now, but I liked the way your music rippled away when they fall into the water." This was a most curious instance of his faculty for recognizing a subtle piece of musical characterization as rapidly as, and often more rapidly than, a listener who was fully equipped with musical technique.