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. They’re just a joyous softening of the outline—more beautiful than perfection. With a cry of distress, she dropped the pistol and flew after him, racing past him to the door. Without hindrance—present occupation. And in the vestry was the sword of monsieur le major. Pshaw!" added he, making an effort to subdue his emotion, "I can't leave you in this way. Only one thing emerged with any reasonable clarity in her mind at once, and that was that unless she was saved from drowning by an unmarried man, in which case the ceremony is unavoidable, or totally destitute of under-clothing, and so driven to get a trousseau, in which hardship a trousseau would certainly be “ripping,” marriage was an experience to be strenuously evaded. "Do you know this picture?" he added, with another significant look, and pointing to the miniature. “Uh, I think I might, Shari. “We are the music and you are the instrument,” she said; “we are verse and you are prose.
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