Another popular song writer of Sullivan’s time was Stephen Adams (1844-1911), whose real name was Michael Maybrick. The great popularity of his songs of the sea, such as ‘Nancy Lee’ and ‘The Midshipmite,’ or of his romantic songs, such as ‘In Days of Old,’ is quite justified. They do not parade as art-songs (rather they might be justly called folk-songs), but in their vigor and straightforwardness they might serve as a model to many a precious song-writer with more sentimentality than talent. A more recent song from this composer, ‘The Holy City,’ combines to a remarkable degree the popular quality with real musicianship. The most genuine song-writer of this period was Arthur Goring-Thomas (1851-1892), a man of delicate instincts and fine artistic sense whose work has never received the recognition it deserves. His field of expression was not wide, but within it he worked with a wealth of imagination and refined sense of fitness which England at the time could not match. He was the one true romanticist of his land. His product is perhaps a trifle morbid, but, such as it is, it is free from tricks and cheapness and is absolutely sincere. As a sentimentalist, pure and simple, he is among the best. He was, indeed, one of the few sentimentalists who could approach the tragic mood without losing in his music the ring of sincerity. And as an artist of the voice England for two centuries was not able to show his fellow. Some of his most perfect work as a lyricist is shown in his cantata, ‘The Swan and the Skylark,’ and in his operas. His solo songs and duets show the refinement and polish which is not that of formal learning, but represents the loving care of an intense artistic nature. Among the best may be mentioned ‘Wind in the Trees,’ ‘Barbarine’s Song,’ ‘One Morning, Oh, so Early,’ and the ‘Night Hymn at Sea.’ Before closing this chapter we should mention the romantic and colorful work of Liza Lehman (born 1862). Her song cycles, especially those from Omar Khayyám and Robert Louis Stevenson, are well known. The former, ‘A Persian Garden,’ offers points of remarkable interest to the musician. The music, which covers a considerable emotional range, is equally felicitous in a number of various moods. The exotic color of the cycle is managed with rare taste and effectiveness. The accompaniment is a model of richness and appropriateness. We can safely say that this writer is the only woman composer who has ever succeeded signally in the tragic mood. But her peculiar contribution (for it can almost be called a contribution) is the fine artistry with which she concentrates great emotional feeling into the briefest time. (It is interesting to note that she does it almost entirely by the use of the _da capo_ or ‘A-B-A’ form.) In the variety of styles at her command and in the sureness of her artistic touch she is quite alone among woman composers of the present day. FOOTNOTES: [29] See Musical Examples (Vol. XIII).