rchase."

"Well, then, you had better go, for I've nothing that I can supply as
suitable for such as you," and Mr. Shopman walked away.

Before Haydn could reach the door, however, a gentleman entered, who
was known not only to him, but to the music publisher. He greeted the
composer by name, and began to congratulate him upon his latest
symphony produced at Salomon's concerts. The music seller turned
around upon hearing the name of Haydn, and said, "Ah! here's a musician
who does not like that composer's music."

The gentleman at once saw the joke, and, explaining the matter to the
dealer, they all had a hearty laugh over the incident.

Haydn was received with the warmest hospitality in London, and, like
many other "lions," was at no little pains to secure sufficient time
for his work amid the pressure of social engagements and the visits of
celebrities of all kinds. Doctor Burney, the musical historian, with
whom the composer had corresponded, wrote a poem in his honour. This
appeared in the _Monthly Review_, and its concluding stanza runs as
follows:

"Welcome, great master! to our favoured isle,
Already partial to thy name and style;
Long may thy fountain of invention run
In streams as rapid as it first begun;
While skill for each fantastic whim provides,
And certain science ev'ry current guides!
Oh, may thy days, from human sufferings free,
Be blest with glory and felicity,
With full fruition, to a distant hour,
Of all thy magic and creative power!
Blest in thyself, with rectitude of mind,
And blessing, with thy talents, all mankind."

Less pleasant than such tributes was an experience Haydn had with a
noble pupil, who called upon him, saying that he was passionately fond
of music, and would be grateful if the composer would give him a few
lessons in harmony and counterpoint, at a guinea a lesson.

"Oh, willingly!" answered Haydn; "when shall we begin?"

"Immediately, if you see no objection," and the nobleman took out of
his pocket one of Haydn's quartettes. "For the first lesson," said he,
taking the initiative, "let us examine this quartette, and you tell me
the reason of some modulations which I will point out to you, together
with some progressions which are contrary to all rules of composition."

Haydn did not object to this course, and the gentleman proceeded. The
initial bar of the quartette was first attacked, and but few of the
succeeding ones escaped the crit