way. You know how your own darling loves you, and--"

YOUNG LADY. "Hush! Don't bother. Here comes VIEUXTEMPS."

VIEUXTEMPS plays, and the audience listens with the air of people who
are dreadfully bored, but are afraid to show it. He disappears with an
amount of applause carefully graduated so as to express enthusiasm
without the desire for hearing him again. The Rural Person remarks that
"he doesn't think much of fiddlers anyhow. Give him a trombone, or a
banjo, for his money."

MR. WEHLI then trifles with the piano. Him, too, the audience politely
endure, but plainly do not appreciate. They have come to hear NILSSON,
and feel outraged at having to hear anybody else. A cornet solo by the
Angel GABRIEL himself would be secretly regarded as undoubtedly
artistic, but certainly a little out of place.

CHORUS OF RIVAL PIANO-MAKERS. "What a wretched instrument that poor
fellow is made to play upon. Nobody can produce any effect on a STEINWAY
piano. It's good for nothing but for boarding-school practice."

CRITIC, (who knows Mr. STEINWAY.) "Anybody can please people by playing
on a STEINWAY. I defy WEHLI or any other man to play badly on such a
superb instrument as that."

YOUNG MAN. "Dearest! Do you remember the day when you gave me one of
your hair-pins? I have worn it next my--"

YOUNG LADY. "Oh, don't bother. NILSSON is just going to sing."