It was very affecting--very. Nothing more dismal could have been desired by the most fastidious taste. The gentleman of a vocal turn was head mute, or chief mourner; Jinkins took the bass; and the rest took anything they could get. The youngest gentleman blew his melancholy into a flute. He didn't blow much out of it, but that was all the better. If the two Miss Pecksniffs and Mrs Todgers had perished by spontaneous combustion, and the serenade had been in honour of their ashes, it would have been impossible to surpass the unutterable despair expressed in that one chorus, 'Go where glory waits thee!' It was a requiem, a dirge, a moan, a howl, a wail, a lament, an abstract of everything that is sorrowful and hideous in sound. The flute of the youngest gentleman was wild and fitful. It came and went in gusts, like the wind. For a long time together he seemed to have left off, and when it was quite settled by Mrs Todgers and the young ladies that, overcome by his feelings, he had retired in tears, he unexpectedly turned up again at the very top of the tune, gasping for breath. He was a tremendous performer. There was no knowing where to have him; and exactly when you thought he was doing nothing at all, then was he doing the very thing that ought to astonish you most.
There were several of these concerted pieces; perhaps two or three too many, though that, as Mrs Todgers said, was a fault on the right side. But even then, even at that solemn moment, when the thrilling sounds may be presumed to have penetrated into the very depths of his nature, if he had any depths, Jinkins couldn't leave the youngest gentleman alone. He asked him distinctly, before the second song began--as a personal favour too, mark the villain in that--not to play. Yes; he said so; not to play. The breathing of the youngest gentleman was heard through the key-hole of the door. He DIDN'T play. What vent was a flute for the passions swelling up within his breast? A trombone would have been a world too mild.
The serenade approached its close. Its crowning interest was at hand. The gentleman of a literary turn had written a song on the departure of the ladies, and adapted it to an old tune. They all joined, except the youngest gentleman in company, who, for the reasons aforesaid, maintained a fearful silence. The song (which was of a classical nature) invoked the oracle of Apollo, and demanded to know what would become of Todgers's when CHARITY and MERCY were banished from its walls. The oracle delivered no opinion particularly worth remembering, according to the not infrequent practice of oracles from the earliest ages down to the present time. In the absence of enlightenment on that subject, the strain deserted it, and went on to show that the Miss Pecksniffs were nearly related to Rule Britannia, and that if Great Britain hadn't been an island, there could have been no Miss Pecksniffs. And being now on a nautical tack, it closed with this verse:
'All hail to the vessel of Pecksniff the sire! And favouring breezes to fan; While Tritons flock round it, and proudly admire The architect, artist, and man!'
As they presented this beautiful picture to the imagination, the gentlemen gradually withdrew to bed to give the music the effect of distance; and so it died away, and Todgers's was left to its repose.
Mr Bailey reserved his vocal offering until the morning, when he put his head into the room as the young ladies were kneeling before their trunks, packing up, and treated them to an imitation of the voice of a young dog in trying circumstances; when that animal is supposed by persons of a lively fancy, to relieve his feelings by calling for pen and ink.
'Well, young ladies,' said the youth, 'so you're a-going home, are you, worse luck?'
'Yes, Bailey, we're going home,' returned Mercy.
'An't you a-going to leave none of 'em a lock of your hair?' inquired the youth. 'It's real, an't it?'
They laughed at this, and told him of course it was.