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 emphatically. Examine, for example, the songs in the repertory of Yvette Guilbert; some are folksongs and some are not. I defy any one outside of Julien Tiersot, Professor Jean Beck, H. E. Krehbiel, and one or two others, to tell you which is which. These men, being tolerably familiar with the available collections of French folksongs, take it for granted, when they hear Mme. Guilbert sing a melody strange to them, that it must have had a composer. There seems to be no other known method for distinguishing between a folksong and a popular tune of the same epoch. A folksong, according to some authorities, is a song which has no composer; it just grows. Some one sings it one day in the fields, some one else adds to it, and, finally, there it is before your ears, a song known all over the country-side, but no one knows who started it rolling. Swing low, sweet chariot is alleged to be such a folksong; it is an extremely good