A marked feature of the wet season is the varied chant of happy frogs. During the day silence is the rule. A low gurgle of content at the sounding rain is occasionally heard on the part of a flabby, moist creature unable to restrain its sentiments until the approach of evening. But as the sun sets, each of the countless host utters a song of thankfulness and pleasure. To the unappreciative it may appear merely an inharmonious vocal go-as-you-please, in which each frog is the embodiment of the idea that upon its jubilant efforts the honour and reputation of the race as vocalists depend. But to one class of listener the opera is decently if not scientifically constituted. There is the loud and cheerful, if not shrill, bleating of the soprano, the strenuous booming of the bass, the velvety softness and depth of the contralto and the thin high tenor. Hordes of the alert, sharp-featured, far-leaping grass frog represent the chorus, and they have a perfectly rehearsed theme. Down on the flat along the edge of the pandanus grove the preliminary chords are uttered--a merry, unreflective, chirrupy strain, gay as "the Fishermen's Chorus." The motive is taken up nearer among the coco-nuts, and is in full swing in the pools below the terrace. Thence the sound passes on through the wattles and bloodwoods to the narrow tea-tree swamp lined with dwarf bamboos and dies in echoes in the distance. A brief interlude, and the pandanus choir gives voice again, stronger and resonant; the companions of the coco-nuts join lustily, the strain reverberates from the wet lands below, resounds through the forest, and is lost in the mellow distance of the tea-trees. And so the sound rises and falls, swells and dwindles away in chords and harmonies, until presently every amphibian is alert and tremulous with emotion and emulation. If an attempt is made to analyse the music, you may discover sounds sharp as those of the fife, deep and hollow as drum-beats, sonorous and acrid, tinny and mellow. I have heard that those who are not disciples of Wagner find it necessary to undergo a process of education ere they acquire an unaffected taste for the composer's masterpieces. Possibly those who have not listened, wet season after wet season, to the light-hearted chant, may be inclined to suggest that there can be no such thing as music in the panting bellows of a North Queensland frog. But music "is of a relative nature, and what is harmony to one ear may be dissonance to another." The Chinese opera proves that "nations do not always express the same passions by the same sounds." If one obtains music from the clang and clamour of full-throated frogs, may it not be because his ears are more attuned to natural than to artificial harmonies, not because, of any defect in, or aberration of, hearing, or any lack of melody on the part of the frogs? ACTS WELL ITS PART