“About this time a new organ, for the parish church of Halifax, was built by Snetzler; which was opened with an oratorio, by the late well-known Joah Bates. Mr. Herschel, and six others, were candidates for the organist’s place. They drew lots how they were to perform in rotation. Herschel drew the third lot—the second performer was Mr. (afterwards Dr.) Wainwright, of Manchester, whose finger was so rapid, that old Snetzler, the organ builder, ran about the church exclaiming:—‘Te tevil, te tevil, he run over te keys like one cat, he will not give my pipes room for to shpeak!’ During Mr. Wainwright’s performance, I was standing in the middle aile with Herschel;—What chance have you, said I, to follow this man? He replied, ‘I do not know, I am sure fingers will not do.’ On which he ascended the loft, and produced from the organ such an uncommon fullness, such a volume of slow, solemn harmony, that I could by no means account for the effect. After this short extemporary effusion, he finished with the old hundredth psalm, which he played better than his opponent. ‘Aye, aye,’ cried old Snetzler, ‘tish is very goot, very goot inteet; I will luf tish man, for he gives my pipes room for to shpeak!’ Having afterwards asked Herschel by what means, in the beginning of his performance he produced such an uncommon effect? he replied, ‘I told you fingers would not do,’ and producing two pieces of lead from his pocket, ‘one of these,’ said he, ‘I placed on the lowest key of the organ, and the other upon the octave above; thus by accommodating the harmony, I produced the effect of four hands instead of two. However, as my leading the concert on the violin, is their principal object, they will give me the place in preference to a better performer on the organ; but I shall not stay long here, for I have the offer of a superior situation at Bath, which offer I shall accept.’“ PARODIES. The present use of this word is strictly consonant with that of the ancients, who applied it to the giving a ridiculous turn to passages in Homer and the tragic Poets. There are many in Aristophanes. One of the happiest modern instances is the parody of the speech of Sarpedon to Glaucus in the Rape of the Lock. The genealogy of Agamemnon’s sceptre is also parodied in the same poem, canto 5, v. 87. MOURNING FOR THE DEAD.