st kiss from her lips--I had been able to focus all
the scattered rays of thought--I had been able to vitalise memory
till it became an actual presence. He did not know that out of my
sorrow had been born at last a strange kind of happiness--the
happiness that springs from loving a memory--living with a
memory--till it becomes a presence--an objective reality. He did not
know that, by holding her continually in my thoughts, by means of
the amulet, I achieved at last the miracle described by the Hindoo
poets--the miracle of reshaping from the undulations of "the three
regions of the universe the remembered object by the all-creative
magic of love!"'

Then followed some translations from the Kumara-sambhava and other
Sanscrit poems, and then the well-known passage in Lucretius about
dreams, and then a pathetic account of the visions called up within
him by the sensation caused by the lacerations of the facets of the
cherished amulet upon his bosom--visions something akin, as I
imagine, to those experienced by _convulsionnaires_. And then after
all this learning came references to poor ignorant Fenella Stanley's
letters and extracts from them.

In one of these extracts I was startled to come upon the now familiar
word 'crwth.'

'De Welch fok ses as de livin mullos only follow the crwth on Snowdon
wen it is playde by a Welch Chavi, but dat is all a lie. Dey follows
the crwth when a Romany Chi plays it as I nows very wel, but de
chavi wot play on the crwth, shee must love the living mullo she want
for to come, and de living mullo must love her.'

And then followed my father's comments on the extract.

'_N.B._--To see and hear a crwth, if possible, and ascertain the true
nature of the vibrations. But there are said to be only a few crwths
in existence; and very likely there is no musician who could play
upon them.'

Then followed a few sentences written at a later date.

'The crwth is now becoming obsolete; on inquiry I learn that it is a
stringed instrument played with a bow like a violin; but as one of
the feet of the bridge passes through one of the sound-holes and
rests on the inside of the back, the vibrations must be quite unique,
if we remember how important a part is played by the back in all
instruments of the violin kind. It must be far more subtle than the
vibrations of the Welsh harp, and even more subtle (if also more
nasal) than those of the violin.

'The reason why music has in all ages b