"The idea of a _maker_, or creator-of-all-things found no congenial soil in the minds of savage men, who manufactured nothing. But, as the first potters, weavers, house-builders were women, the idea of a divine creator as a moulder, designer, and architect originated with her, or was suggested by her. The three Fates, Clotho, who spins the thread of life; Lachesis, who fixes its prolongation; and Atropos, who cuts this thread with remorseless shears, are necessarily derived from woman's work. The mother-goddess of all peoples, culminating in the apotheosis of the Virgin Mary, is an idea, either originated by women, or devised to satisfy their spiritual cravings." And we have, besides the goddesses of all mythologies, personifying woman's devotion, beauty, love. What shall we say of that art, highest of all human accomplishments, in the exercise of which men have become almost as gods? The old Greeks called the singer [Greek: poiaetaes], "maker," and perhaps from woman the first poets learned how to worship in noble fashion that great _maker_ of all, whose poem is the universe. Religion and poetry have ever gone hand in hand; Plato was right when he said: "I am persuaded, somehow, that good poets are the inspired interpreters of the gods." Of song, as of religion, it may perhaps be said: _Dux foemina facti_. To the mother beside the cradle where lies her tender offspring, song is as natural as speech itself to man. Lullabies are found in every land; everywhere the joyous mother-heart bursts forth into song. The German proverb is significant: "Wer ein saugendes Kind hat, der hat eine singende Frau," and Fischer, a quaint poet of the sixteenth century, has beautifully expressed a like idea:-- "Wo Honig ist, da sammlen sieb die Fliegen, Wo Kinder sind, da singt man um die Wiegen." Ploss, in whose book is to be found a choice collection of lullabies from all over the globe, remarks: "The folk-poetry of all peoples is rich in songs whose texts and melodies the tender mother herself imagined and composed" (326. II. 128). The Countess Martinengo-Cesaresco devotes an interesting chapter of her _Essays in the Study of Folk-Song_ to the subject of lullabies. But not cradle-songs alone have sprung from woman's genius. The world over, dirges and funeral-laments have received their poetical form from the mother. As name-giver, too, in many lands, the mother exercised this side of her imaginative faculty. The mother and the child, from whom language received its chief inspiration, were also the callers forth of its choicest and most creative form. _Mother-Wit._