ish songs, for which she was famous,
then, overcome with emotion, she hurried to a dark room where no one
could see the tears with which her eyes were filled, and exclaimed
modestly, "Yes, yes, I will exert myself. I will endeavour. I will be
better qualified than I now am when I again come to Copenhagen!"

The wonderful courage and perseverance of Jenny's girlhood in the face
of almost insuperable obstacles was now rewarded. She was the great
artist of Sweden, never again to be taken from the pedestal on which she
was placed by an adoring public, both for her wonderful singing and for
her lovely character.

Once on a disengaged night, she gave a benefit performance for
unfortunate children, and when informed of the large sum raised by it,
exclaimed, "How beautiful that I can sing so!" She felt that both the
voice and the money which poured in now in a golden flood, were
God-given responsibilities which she assumed with all the earnestness of
her sweet, religious nature, and her first pleasure was to buy a little
home in the country for her mother and father.

As we leave her on the threshold of mature womanhood, serene in her
poise of body and spirit, with a noble purpose and a wonderful gift, we
can but feel that Jenny Lind, the girl, was responsible for the
marvellous achievements of the great artist of later years, who believed
as she said, that "to develop every talent, however small, and use it to
the fullest extent possible, is the duty of every human being. Indolence
makes thousands of mediocre lives."

The verses written of her by Topelius of Finland sum up the feeling of
those who knew her in her girlhood:

"I saw thee once, so young and fair
In thy sweet spring-tide, long ago,
A myrtle wreath was in thy hair
And at thy breast a rose did blow.

"Poor was thy purse, yet gold thy gift,
All music's golden boons were thine,
And yet, through all the wealth of art
It was thy soul which sang to mine.

"Yea, sang as no one else has sung
So subtly skilled, so simply good,
So brilliant! yet as pure and true
As birds that warble in the wood."

ELIZA LUCAS:

A Girl Planter of the 15th Century

IN our day any young woman who shows keen interest in civic,
agricultural, or social reforms is loudly applauded and spoken of as a
New Woman, a product of the twentieth century, but there is