I HAVE always known that there was something I disliked about singing, and I naturally dislike print and paper, but now at last I understand why, for I have found something better. I have just heard a poem spoken with so delicate a sense of its rhythm, with so perfect a respect for its meaning, that if I were a wise man and could persuade a few people to learn the art I would never open a book of verses again. A friend, who was here a few minutes ago, has sat with a beautiful stringed instrument upon her knee, her fingers passing over the strings, and has spoken to me some verses from Shelley’s _Skylark_ and Sir Ector’s lamentation over the dead Launcelot out of the _Morte d’ Arthur_ and some of my own poems. Wherever the rhythm was most delicate, wherever the emotion was most ecstatic, her art was the most beautiful, and yet, although she sometimes spoke to a little tune, it was never singing, as we sing to-day, never anything but speech. A singing note, a word chanted as they chant in churches, would have spoiled everything; nor was it reciting, for she spoke to a notation as definite as that of song, using the instrument which murmured sweetly and faintly, under the spoken sounds, to give her the changing notes. Another speaker could have repeated all her effects, except those which came from her own beautiful voice that would have given her fame if the only art that gives the speaking voice its perfect opportunity were as well known among us as it was known in the ancient world. II