must know of it.

In April, 1906, we did so. The performance was given very nearly in the
height of the concert season; in no announcement of it was any mention
made of charity, or any lack or need of funds: the entertainment was run
as a public affair. And the public responded so that we filled the hall
to the doors and were reluctantly constrained to refuse admittance to a
host beside. The entertainment has since then been repeated several
times; and every repetition brought substantial evidence of continually
increasing public interest.

It should be mentioned here that Miss Mary Neal, of the Espérance Working
Girls' Club, not only made the venture possible in the beginning, but,
with her powers of help and organization, gave it a reach and strength
that neither of us could have given.

But outside appreciation did not end here--one might really say that it
only began. Inquiries poured in from every quarter of the Kingdom, from
every class and kind of person. They all wanted to know how they also
might be shown the way to do as we had done--revive these traditional
English songs and dances in their neighbourhood, amongst the rising
generation of English men and women. One of the inquiries, as to how the
Morris dances might be imported there, came from Japan, where all things
typically English are in so great request.

[Illustration: FROM THE FRONTISPIECE OF "KEMP'S NINE DAIES WONDER,
PERFORMED ON A JOURNEY FROM LONDON TO NORWICH."]

In the case of the Folk-songs, it was easy enough to instruct the anxious
inquirer. But as to the Morris dances it was otherwise. Here there were