Guppy. "Would you allow me to get it filled for you?"
"Yes, certainly I would!" cries Krook in high glee. "Certainly I would! Don't mention it! Get it filled next door--Sol's Arms--the Lord Chancellor's fourteenpenny. Bless you, they know ME!"
He so presses the empty bottle upon Mr. Guppy that that gentleman, with a nod to his friend, accepts the trust and hurries out and hurries in again with the bottle filled. The old man receives it in his arms like a beloved grandchild and pats it tenderly.
"But, I say," he whispers, with his eyes screwed up, after tasting it, "this ain't the Lord Chancellor's fourteenpenny. This is eighteenpenny!"
"I thought you might like that better," says Mr. Guppy.
"You're a nobleman, sir," returns Krook with another taste, and his hot breath seems to come towards them like a flame. "You're a baron of the land."
Taking advantage of this auspicious moment, Mr. Guppy presents his friend under the impromptu name of Mr. Weevle and states the object of their visit. Krook, with his bottle under his arm (he never gets beyond a certain point of either drunkenness or sobriety), takes time to survey his proposed lodger and seems to approve of him. "You'd like to see the room, young man?" he says. "Ah! It's a good room! Been whitewashed. Been cleaned down with soft soap and soda. Hi! It's worth twice the rent, letting alone my company when you want it and such a cat to keep the mice away."
Commending the room after this manner, the old man takes them upstairs, where indeed they do find it cleaner than it used to be and also containing some old articles of furniture which he has dug up from his inexhaustible stores. The terms are easily concluded-- for the Lord Chancellor cannot be hard on Mr. Guppy, associated as he is with Kenge and Carboy, Jarndyce and Jarndyce, and other famous claims on his professional consideration--and it is agreed that Mr. Weevle shall take possession on the morrow. Mr. Weevle and Mr. Guppy then repair to Cook's Court, Cursitor Street, where the personal introduction of the former to Mr. Snagsby is effected and (more important) the vote and interest of Mrs. Snagsby are secured. They then report progress to the eminent Smallweed, waiting at the office in his tall hat for that purpose, and separate, Mr. Guppy explaining that he would terminate his little entertainment by standing treat at the play but that there are chords in the human mind which would render it a hollow mockery.
On the morrow, in the dusk of evening, Mr. Weevle modestly appears at Krook's, by no means incommoded with luggage, and establishes himself in his new lodging, where the two eyes in the shutters stare at him in his sleep, as if they were full of wonder. On the following day Mr. Weevle, who is a handy good-for-nothing kind of young fellow, borrows a needle and thread of Miss Flite and a hammer of his landlord and goes to work devising apologies for window-curtains, and knocking up apologies for shelves, and hanging up his two teacups, milkpot, and crockery sundries on a pennyworth of little hooks, like a shipwrecked sailor making the best of it.
But what Mr. Weevle prizes most of all his few possessions (next after his light whiskers, for which he has an attachment that only whiskers can awaken in the breast of man) is a choice collection of copper-plate impressions from that truly national work The Divinities of Albion, or Galaxy Gallery of British Beauty, representing ladies of title and fashion in every variety of smirk that art, combined with capital, is capable of producing. With these magnificent portraits, unworthily confined in a band-box during his seclusion among the market-gardens, he decorates his apartment; and as the Galaxy Gallery of British Beauty wears every variety of fancy dress, plays every variety of musical instrument, fondles every variety of dog, ogles every variety of prospect, and is backed up by every variety of flower-pot and balustrade, the result is very imposing.
But fashion is Mr.