melodies that had pleased the most, such as "John Anderson," and "Logie o' Buchan," among Scotch airs, "Der Wirthin Töchterlein," and "Steh' ich in finster Mitternacht," among the German. First, accompanied by Reva, I gave the song in the original words, then rendered it into the prevailing language. This latter task was comparatively easy, on account of the great abundance of sonorous monosyllables. I certainly had no reason to complain of lack of interest on the part of my audience. To them it was an experience much as if some one could reproduce for us the long-lost melodies of Arcadia, or the simple strains in which the Aryan shepherd once wooed his Highland maid.
When, after a while, Reva reminded me that I had not as yet given any thing distinctively American, I found myself in some embarrassment. Payne's beautiful lyric naturally first occurred to my mind. But it might have been written by an Englishman. It is, in fact, known and loved by thousands in the "Old Country," who have no suspicion that it is not of native origin. For the first time it dawned upon me, that in the "Minstrel Melodies" of the last generation is our nearest approach to a distinctive national music.
I did not happen to know a single song in its entirety, so was obliged to content my hearers with a verse or two, partly improvised, of "Nelly Gray," and "Susanna, don't you cry." Somewhat to my surprise, these songs. excited even more interest than the previous ones. The last melody became a favorite with Reva, and with words by her, set to an arrangement by Ulmene, was within a month known in every household through the world. In
