That there is a regular flood of these musical prodigies threatening to sweep over every concert-hall platform, there is not a doubt; and while the public rush in applauding crowds to welcome them, it is not easy to see where it is to stop. As long as the fever lasts, their parents, whatever their weight, may be counted upon to keep hurrying them to the "scales," and set them down to the key-board practising till they are often literally laid on their _Bachs_. Meantime, while the infants struggle, it is becoming a serious question for the regular adult performers, who will find their occupation gone, and certainly not know what to do with themselves, if the former are to have it all their own way. For them, whatever the public may think of it, the matter will undoubtedly be no mere "child's play," and they will surely hail any signs indicating that this recent determined invasion of the concert-room by the nursery is at all on the wane, with every expression of unfeigned delight. The subject is handled more judiciously in one of the admirable "_Voces Populi_" series; best of all in Du Maurier's "Happy Thought":-- MRS. TRIPLETS: "And how is your concert getting on, Herr Pfeiffer?" EMINENT VIOLINIST: "Pudiful, as far as de Brogramme is goncerned--Beethoven--Schumann--Brahms! But ze dickets don't zell!! Ach! Py ze vay, Mrs. Triplets, you don't happen to haf zoch a zing as a Moozicalish Infantile Venomenon apout you zat you could lend me for ze occasion. Ja? Gonzertina! Pantscho! Pones! Gomb! Anyzing vill blease ze Pritish Boblic, if ze berformer is onter vife years olt!" _Punch_ was in his element when Eduard Strauss--son of Johann the elder, and brother of the most famous of all the Viennese Waltz-Kings, Johann Strauss of the _Blue Danube_ and the _Fledermaus_--brought his band to the Inventions Exhibition in 1885. In these days waltzing was still popular, and on the page overleaf I give two phases in its evolution as recorded by the pen of Du Maurier. Eduard Strauss wrote many delightful waltzes, and was an inspiring if somewhat exuberant conductor. _Punch_, who had sat under Jullien in his boyhood, compares the methods of the two, and pronounces the performance of dance-music by Strauss's band to be a revelation. "It unvulgarizes even the polka, and, from time to time, imparts an elevating tone to that ungraceful and prosaic dance." Finally _Punch_ rewrites C. F. Adams's "Leedle Yawcob Strauss" in honour of the Waltz-King:-- He hops und schumps und marks der time, Und shows such taste and nous, Dot dere's to equal him no vun, Mine clever Eduard Strauss. * * * * * He dakes der viddle in his hands, Und he schust blay it, too! He dake der schtick to beat der time, Mine gracious, dot vos drue.