Her whimsical and adventuresome spirit puts her so much on her mettle that she makes rather a poor subject for the psychological experimenter. Moreover, Miss Sullivan does not see why Miss Keller should be subjected to the investigation of the scientist, and has not herself made many experiments. When a psychologist asked her if Miss Keller spelled on her fingers in her sleep, Miss Sullivan replied that she did not think it worth while to sit up and watch, such matters were of so little consequence. Miss Keller likes to be part of the company. If any one whom she is touching laughs at a joke, she laughs, too, just as if she had heard it. If others are aglow with music, a responding glow, caught sympathetically, shines in her face. Indeed, she feels the movements of Miss Sullivan so minutely that she responds to her moods, and so she seems to know what is going on, even though the conversation has not been spelled to her for some time. In the same way her response to music is in part sympathetic, although she enjoys it for its own sake. Music probably can mean little to her but beat and pulsation. She cannot sing and she cannot play the piano, although, as some early experiments show, she could learn mechanically to beat out a tune on the keys. Her enjoyment of music, however, is very genuine, for she has a tactile recognition of sound when the waves of air beat against her. Part of her experience of the rhythm of music comes, no doubt, from the vibration of solid objects which she is touching: the floor, or, what is more evident, the case of the piano, on which her hand rests. But she seems to feel the pulsation of the air itself. When the organ was played for her in St. Bartholomew's, the whole building shook with the great pedal notes, but that does not altogether account for what she felt and enjoyed. The vibration of the air as the organ notes swelled made her sway in answer. Sometimes she puts her hand on a singer's throat to feel the muscular thrill and contraction, and from this she gets genuine pleasure. No one knows, however, just what her sensations are. It is amusing to read in one of the magazines of 1895 that Miss Keller "has a just and intelligent appreciation of different composers from having literally felt their music, Schumann being her favourite." If she knows the difference between Schumann and Beethoven, it is because she has read it, and if she has read it, she remembers it and can tell any one who asks her.