im was the greatest violinist of his time? What does he call the
most bourgeois piece of music he knows?

2. What was Svengali's real name?

3. Where does the author state that he is a social lion? Where does he
deny that he is a snob?

4. Where does he bring Little Billee in contact with Punch?

5. What did the Laird call M. le general Comte de la Tour-aux-Loups?

6. In what places does the author compare Gecko to a dog?

7. How old was Trilby when she died?

8. What was Little Billee's physical explanation of his inability to
love?

9. What verbal description of one of the heroes contradicts almost every
one of the author's drawings of him?

10. What incident of the story is inconsistent with the author's own
argument in behalf of the nude in art?

"Dear Sir: The above questions are covered by our copyright, but in view
of the popular interest in 'Trilby,' you may wish to reproduce them. We
should be more than pleased to have you do so, if you will give us
credit.

Yours very truly,

JAMES S. METCALFE,

Editor and Manager _Life's Monthly Calendar_."

The Songs in "Trilby"

Dr. Thomas Dunn English wrote the words of "Ben Bolt" in New York, in
1842, when he was a young man of three-and-twenty. Mr. N. P. Willis had
asked him to write a sea-song for _The New Mirror_, and so he wound up
the last stanza with an allusion to "the salt-sea gale!" As a sea-song,
"Ben Bolt" is not a success; but it has been sung on every sea and in
every land where the English tongue is spoken. At Pittsburgh,
Pennsylvania, in 1848, an English journalist named Hunt quoted the words
(from a defective memory) to Nelson Kneass, who was attached to the
local theatre; and, adapted by Kneass to a German melody, the song, in a
somewhat garbled version, was introduced in a play called "The Battle of
Buena Vista." In Helen Kendrick Johnson's "Our Familiar Songs, and Those
Who Made Them" (Henry Holt & Co., 1881), the story of its vogue in
England as well as in America is told effectively. Not only were ships
and steam-boats named in its honor, but a play was built upon its
suggestions, and as recently as in 1877 an English novelist made the
memories evoked by the singing of the song a factor in the development
of his catastrophe. Its revival at the hand of Mr. du Maurier is the
latest and perhaps the most striking tribute to its hold upon the
popular heart. To the author himself--in his ripe old age a member of
the LIIId Congr