out-door things--a symbol of the people's life, of its action, its work, very strong in its appeal, which blends so strangely joy with sadness. A special quality that often surprised me in these songs was the way in which the people translate and use the music of other countries. I have heard popular English tunes sung by the women as they work, which have ceased to be common in their sentiment and become full of a tenderness into which passion has fallen; even slangy music-hall tunes take a new character, a lively brilliance that no longer is vulgar. This music is the true singing of the people, and if you would feel all the beauty of its appeal you must be in touch with the spirit that cries in it, with work, and passion, and life. It may seem that all this has taken us rather far away from our inquiry into the strength of the artistic impulse in women. The way, however, is largely cleared. We have proved that there is, at least, a possible mistake in the opinion that those experiments in creative expression, which we call variations, are necessarily inherent in the male, rather than in the female. Speaking biologically, we may regard woman, in common with man, as a potentially creative agent with a striving will, and thus able to change under the stimulus of appropriate opportunity. Now, to look at the question for a moment in a different light--in relation to the special qualities that are facts of actual experience in woman's character as it is to-day. It is proved--if scientific determination of such qualities were necessary--that women are more sensitive to suggestion and receptive of outward influences; that they have keener affectability, and thus tend to be more emotional and, within certain limits, more imaginative than men. They react to both physical and psychical stimuli more readily, and it would seem that their brain action is more rapid. Experimental tests have shown that in respect of quickness of comprehension and intellectual mobility women are distinctly superior to men.