It only remains to speak of the most radical of the young English composers, Cyril Scott (born 1874). He broke away completely from the traditional English style, founded on conventional church music, and embraced the ‘atmospheric’ manner of the modern Frenchmen. In this style he has displayed great energy and no small amount of inventiveness. It remains to be seen whether he can make his influence permanently felt in music. His songs well exemplify the general style of his music. The best are ‘Lovely Kind and Kindly Loving’ and ‘Why so Pale and Wan,’ both from opus 55. Others which should be mentioned are ‘My Captain’ (to Walt Whitman’s words), ‘A Reflection,’ and ‘Afterday.’ The song writing of the modern English school has not yet gathered body. It is only beginning to make itself felt beyond the seas. But it has already shown so much vigor and independence that we may justly look for abundant and fine results from it. FOOTNOTES: [33] See Musical examples, Volume XIV. APPENDIX THE FRENCH-CANADIAN FOLK-SONG The songs of the French Canadians, which show considerable originality, are in part transplanted from France, modified and localized in the natural course of popular music. But a considerable part are indigenous, with a history dating back, possibly, more than two centuries. They are all, of course, made in imitation of the parent stock, but in many instances they have taken on a new character, befitting the wild and uncouth environment in which they were composed. In some instances they show model characteristics, as in the _Mon Cri Cra, Tir’ la Liretta_, sung by the boatmen on the Red River. This old song shows scarcely any traces of the omnipresent influence of the court of Louis XIV. Other songs bear the marks of the French priests, through whose hands they passed on their way to the Canadian natives, Indians or Frenchmen. Such a song is _Jesos Ahatonhia_, the music of which was evidently an ecclesiastical melody with a strong modal character indicating its great age. But on the whole the refined and graceful influence of French civilization is strongly marked in the Canadian songs, even when these songs originated in the New World. The one department in which they are supreme is that of playful humor--not the humor of the old English songs, which is somewhat bumptious and muscular, but a more delicate humor, into which the singer enters from pure effervescence of human sympathy and childlike playfulness. We must range a long way through folk-song literature before we find a song of this sort to equal ‘The White Duck,’ or ‘I Hear a Mill Go Tick-Tack.’ A provocative playfulness sings in the words of ‘My Faithful Bottle,’ ‘The Lost Chance,’ and the inimitable ‘When Returning from Varennes,’ with its continuous refrain, _Cach’ton joli bas de laine_. The spirit of Gascony, famous home of the practical joke, is in