An inferior composer has, however, not unfrequently a better chance of becoming soon popular than a superior one. The latter is likely to be properly appreciated only by a few unbiassed judges--at least during his earlier career--while the former may possess qualities which at once please the uncultivated taste, and the voice of the unrefined majority may silence the voice of the few whose opinion is correct. If you become acquainted with a celebrated musician, you will perhaps find that he is not so talented as you expected; and if you become acquainted with a musician of no reputation, you will perhaps find that he is much more talented than you expected. Diffidence is apt to be mistaken for want of ability. Even some of our deepest thinkers, on acknowledging that they did not understand a certain subject, have been set down by ignorant people as dunces. Composers who have made good studies sometimes write ingenious contrivances or "learned music," instead of inventing a beautiful melody. They are apt to introduce fugues into their works when they are short of ideas or at a loss how to proceed. Even our great composers have done this occasionally, when their power of invention began to flag. But they were careful, when resorting to mere head-work, to use it only in places most appropriate; and they generally succeeded in imparting to it some musical charm. Always striving to attain a higher degree of perfection, they were in fact students all their lifetime. The more they learnt, the clearer they saw that they had much to learn, and that time was precious to them. Beethoven on his death-bed was studying the scores of Handel's oratorios, and Mozart to the end of his life investigated the intricate works of Johann Sebastian Bach. Many examples from different composers might have been cited in support of the opinions advanced in this essay. But, not to lengthen it unnecessarily, only a few examples, referring to such of our composers as are universally acknowledged to be truly great, have been selected. No doubt many more will occur to the reflecting reader, if he is familiar with our classical compositions. [28] 'Briefe von Felix Mendelssohn Bartholdy. Leipzig, 1863. Vol. ii., P. 440. [Illustration] SUPERSTITIONS CONCERNING BELLS. Much is said about church-bells which formerly sometimes used to toll entirely by themselves on occasions of extraordinary importance. In some countries places are pointed out where church-bells which have fallen into a lake or river, or have sunk deep into the ground, will toll on certain days of the year, or on certain solemn occasions. The believers in these wonders go to the place where a bell is said to be hidden, and listen attentively. Generally they soon hear the distant sounds which they anxiously wish to hear.