“Number 13, please, cabman. . The entrance of the house 85 was grand, and upon entering she was immediately greeted by John’s mother, a tall, thin woman quite a few years older than Cathy Beck. Capes—the ‘Capes crave,’ they would call it in America. “Well?” she said, sitting down again. “Pump, pump, per-um-pump, Pum, Pump, Per-um. And immediately afterwards the curtain was drawn aside, and disclosed the Satanic countenance of Jonathan Wild, who had crept into the house unperceived, "I'll tell you, why he can't go back to his master," cried the thief-taker, with a malignant grin. “He naturally does not wish for connexions which are—I do not wish to hurt you feelings, Anna, but I must say it—not altogether desirable. 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. Almost instantly she had recognized the fallacy of such a statement. But first, we’ve got to secure the convent.
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