The bard, then, chants his poem, and the words are noted down, and pass from mouth to mouth; and as they pass, the horizontal scale takes on gradually some coloring of the vertical scale, and the chant becomes more and more a tune. The process is natural, and dependent upon no brain-mind; no composer gets to work upon it, and no one inserts in it consciously any ideas of his own. The Dorian mode, which (we quote from Mrs. Mary Davies, an authority on Welsh music) has a minor third as well as a minor seventh; and the Aeolian or _la_ mode, in which the third as well as the sixth and seventh are minor, are still largely in use in Wales; and we believe that these two modes represent a stage in the passing of the chanted poem, or the chant of the poem, into the full-fledged folk-tune. For one will sometimes hear an air which, in the printed collections is given in the arbitrary modern major or minor scales, sung a little differently, according to these older modes; and it would appear that all or nearly all the well-known Welsh national tunes have passed through such or similar stages. It is here worthy of note that the Welsh hwyl--which is used not only in poetry, but in all the higher levels of prose as well, particularly in pulpit rhetoric--is not found, we believe, elsewhere in Europe, at any rate as a popular custom (for all poets _chant_ and do not _say_ their verses); but it is to be heard in Morocco, along the coast of Northern Africa, in Arabia, Persia, and throughout the East; where also certain of these older modes of music, such as the Dorian, are said to be in vogue to some extent. We imagine that the chant and the music-modes both vary as they go eastward; but it is a gradual growth or differentiation, not an abrupt change. The Persian poet, chanting his Hafiz, and the Welsh preacher, giving out the hymn, have much more in common with each other than either has with the modern conventional drawing-room reciter.