He was succeeded by a man who played popular airs on the fiddle, happily oblivious of the fact that his E string was half a tone flat. Then, simultaneously, came a singer of sentimental ballads and a syncopated orchestra of three. After they had scowled at each other for a moment or two, the soloist tried to rush things on the possession-being-nine-points principle, by breaking into a wailing Because You Came to Me, but the leader of the orchestra, handing his guitar to a lieutenant, proceeded to interview the tenor, with his elbows out and his hands lifted. The tenor tried to ignore him by looking over his head, but found it difficult, because the musician was half a head taller than himself and appeared to be ubiquitous. He persevered for another two lines, and then the ballad wavered uncertainly into bitter expostulation in his natural voice, and two minutes later he faded up the dark alley, mumbling threats and complaints, and the orchestra broke into the latest dance tune. This being more to the taste of the moderns than inappropriate resurrection of decayed sentiment, they promptly forgot all about the poor victim of force majeure, and twiddled their toes in time to the lively measure. After the orchestra, and severally, came a conjurer, an evangelist, and a man who allowed himself to be tied up in a rope with imposing-looking knots, and as imposingly worked himself free.

All these did their little turn and moved on to another performance elsewhere, and each one before leaving made a tour of the line, thrusting limp but importunate headgear into the meagre interstices of the queue, and saying, "Thank you! Thank you!" as encouragement to the bountiful. By way of punctuation to the programme, there had been vendors of sweetmeats, vendors of matches, vendors of toys, vendors even of picture post cards. And the crowd had parted good-naturedly with their pence and found amusement sufficient to their needs.