is only a year or two since the correspondence of a lady, published after her death, showed that this anticipation was literally true, that these phrases of love-sickness were actually composed and sent to her because she had awakened in him a passion which she was not wicked enough to satisfy. I know there are people who think transcendent genius such as that of Napoleon, or, in his way, of Wagner, affords a justification, or at least an excuse, for such lawlessness. And you have heard much talk about the _Superman_, whose main attribute seems to me _infra_ human, when the rights of others are concerned. To me the veritable Superman is not the slave of his own passions, who satisfies them at the expense of others, but the master of himself, who, because he is pure, feels and helps the weakness of his neighbours. Not Sir Lancelot but Sir Galahad is the ideal of chivalry. Of the one, “His honour rooted in dishonour stood, And faith unfaithful kept him falsely true”; but of the other, “My strength is as the strength of ten, because my heart is pure!” Perhaps, during this digression, the objection may have been rising in your minds that if Greek music was so universally believed to have a moral or immoral influence, this was because it differed wholly in quality from that which we pursue, and that therefore an inference from one to the other is very hazardous. This is supported by the fact already adduced, that the actual remains of Greek music, though legible and intelligible in the literal sense, have no power whatever to speak to our musical emotions. We must therefore turn back from practice to theory and prove to you that, in spite of these difficulties, Greek music was distinctly the source and forerunner of our own. And I may say by way of preface to this part of my discourse that the simplicity of music, far from being a cause of its lesser emotional effect, may be the very reason why the great mass of people feel it more deeply. The intricacy and difficulty of our modern music tend to estrange it from the feelings of the larger public and to confine its influence to the special class of trained musicians. The Greeks left us no practical work on music, no criticism of existing compositions, no comparison of the effects produced on audiences by this or that artist, by this or that kind of instrument. We find only obvious generalities, such as the flute being more exciting than the harp. There is indeed one passage where Plato goes deeper and inveighs against purely instrumental music as more exciting and therefore possibly more mischievous than vocal music with an accompaniment, showing that he did not lay the stress of the emotion upon the words. Those who have gone deeply into modern music will agree with him; they feel that the emotions produced by a symphony of Beethoven are more subtle, and, because more subtle, deeper and more lasting than those produced by any vocal music, unless it be eight-part