I have not been able to recognise any of the tunes, or the snatches of tunes, which have come floating up to my window. Possibly they are all unknown to me. But I think it is more likely that they are old acquaintances, coming in such a questionable shape that my ear cannot find any familiar cadence; they have been transmuted by the mouth-organ into something rich and strange; for your mouth-organ is one of the great alchemists among musical instruments and leaves no tune as it finds it. It has been pointed out that whatever material Dickens used, however rich and varied it might be, it was always mysteriously transformed into the Dickens substance, lengths of which he cut off and called Novels. It seems to me that the mouth-organ, though a mechanical agent, has something of this strange power of transformation; whatever is played upon it seems to come out all of a piece; whatever might be the original character of the tunes, gay, fantastical, meditative, stirring, as their sounds are filtered through the little square holes of the instrument, their character changes, and they all become more or less alike. ‘Rule, Britannia!’ ‘Annie Laurie,’ and the latest ditty of the music-halls somehow or other lose their individuality and flow into one endless lament, one lugubrious strain, that might very well go on for ever. For this reason, the sound of a mouth-organ has always succeeded in depressing me. It must have been invented by an incorrigible pessimist, who sought to create a musical instrument that would give to every tune, no matter how lively, some touch of his own hopeless view of life; and probably the only time that he laughed was when he realised that he could leave this thing as a legacy to the world. I have never played a mouth-organ, because I know that my own native optimism would not be strong enough to resist the baneful influence of the music it makes. To hear it now and again is more than enough for me. To one who is filled with the joy of life--a small boy, for example--such hopeless strains may prove only invigorating, may serve as a wholesome check upon his ebullient spirits, like the skeleton at the Egyptian feasts. But to most of us weaker brethren, frail in spirit, music that is unillumined by even a glimmer of hope is intolerable. For the past half hour, I have been trying to concentrate all my attention upon some fairly cheerful matter, and I have failed. It has been impossible to keep out the sound of this mouth-organ. Its formless, unknown, unending tune, only fit for bewailing a ruined world, has gradually invaded my room, penetrated through the ear into my brain, and coloured or discoloured all the thoughts there. There is in it no trace of that noble sadness which great music, like great poetry, so often brings with it; the mouth-organ knows nothing of ‘divine despair.’ It seems to whimper before ‘the heavy and the weary weight of all this unintelligible world.’