"Thames, this is no forgery. To-night I locked up my flat at six o’clock. Why was she noting things like this? Capes seemed selfpossessed and elaborately genial and commonplace, but she knew him to be nervous by a little occasional clumsiness, by the faintest shadow of vulgarity in the urgency of his hospitality. She was glad when he went on: “I want to be your city of refuge from every sort of bother. Auntie has taken the nails out of my palms, but the scars will always be there. "I wouldn't give a betel-nut for a man who wouldn't stick to his guns, if he believed himself in the right. Horrible memories of things seen beneath the microscope of the baser forms of life crawled across her mind and set her shuddering with imagined irritations. “Maybe someday I can look them up again, just to see how they are doing. 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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