” The lights sank, the prelude to the third act was beginning, the music rose and fell in crowded intimations of lovers separated—lovers separated with scars and memories between them, and the curtain went reefing up to display Tristan lying wounded on his couch and the shepherd crouching with his pipe. I’m not that sort I quite agree. He wondered if the young fool had any idea of what he had drawn in this tragic lottery called marriage. ‘What would you do in Valade’s place?’ ‘You mean, knowing that the girl was here and liable to queer my pitch?’ ‘Precisely. ” She distantly remembered moments in childhood spent in phobic trance, when her father had told her God was punishing sinners in Hell. It shall never be said that I raised my arm willingly against a woman. As usual the substantive sister—Prudence—did all the talking for the pair; Angelina, the shadow, offered only her submitting nods. And instead he found her playing the great lady, and playing it well. Here the ribs of a thousand pounds beating against the Needles— those dangerous rocks, credulity here floated, to and fro, silks, stuffs, camlets, and velvet, without giving place to each other, according to their dignity; here rolled so many pipes of canary, whose bungholes lying open, were so damaged that the merchant may go hoop for his money," A less picturesque, but more truthful, and, therefore, more melancholy description of the same scene, is furnished by the shrewd and satirical Ned Ward, who informs us, in the "Delectable History of Whittington's College," that "When the prisoners are disposed to recreate themselves with walking, they go up into a spacious room, called the Stone Hall; where, when you see them taking a turn together, it would puzzle one to know which is the gentleman, which the mechanic, and which the beggar, for they are all suited in the same garb of squalid poverty, making a spectacle of more pity than executions; only to be out at the elbows is in fashion here, and a great indecorum not to be threadbare.
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