's
character. I know of one man in particular who has been going down and
down every year largely because he has never considered anything he has
had to do as worthy of his best efforts. He has always been "above his
job." If you are dissatisfied with your work, seek out something that
you think is really deserving of your labor, something commensurate with
your idea of a serious dignified occupation in which you feel that you
may do your best work. In most cases, however, it is not a matter of
occupation but an attitude of mind--the difference between an earnest
dignified worker and one who finds it more comfortable to evade work.
This is true in music as in everything else. If you can make your
musical work a cult as Gounod did, if you have talent--vision--ah! how
few have vision, how few can really and truly see--if you have the
understanding which comes through vision, there is no artistic height
which you may not climb.

One can not hope to give a portrait of Gounod in so short an interview.
One can only point out a few of his most distinguishing features. One
who enjoyed his magnificent friendship can only look upon it as a
hallowed memory. After all, Gounod has written himself into his own
music and it is to that we must go if we would know his real nature.

MME. FLORENCE EASTON

BIOGRAPHICAL

Mme. Florence Easton was born at Middleborough, Yorkshire, England, Oct.
25, 1887. At a very early age she was taken to Toronto, Canada, by her
parents, who were both accomplished singers. She was given a musical
training in youth with the view of making her a concert pianist. Her
teacher was J. A. D. Tripp, and at the age of eleven she appeared in
concert. Her vocal talents were discovered and she was sent to the Royal
Academy at London, England, where her teachers were Reddy and Mme. Agnes
Larkom, a pupil of Garcia. She then went to Paris and studied under
Eliot Haslam, an English teacher resident in the French metropolis. She
then took small parts in the well-known English Opera organization, the
Moody-Manners Company, acquiring a large repertoire in English. With her
husband, Francis Maclennen, she came to America to take the leading
roles in the Savage production of _Parsifal_, remaining to sing the next
season in _Madama Butterfly_. The couple were then engaged to sing for
six years at the Berlin Royal Opera and became wonderfully successful.
After three years at Hamburg and two years with the Chicago Oper