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. This one was Henry Esmond, that one the melancholy Marius, and so forth and so on; never any villains. His arms were naturally big and his chest was covered with a smattering of soft hairs. I am up to the ears in it all— every moment I can spare. Nor as I’ve to put up with a French spy in my parlour—’ ‘Peste, how you talk,’ interrupted Melusine impatiently, barely taking in his complaints. " "And who is its mother?" asked Jonathan, in an eager whisper. ‘Oh, peste.
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