Charles Dickens

Mr Lammle's own particular servant behind his chair; the Analytical behind Veneering's chair; instances in point that such servants fall into two classes: one mistrusting the master's acquaintances, and the other mistrusting the master. Mr Lammle's servant, of the second class. Appearing to be lost in wonder and low spirits because the police are so long in coming to take his master up on some charge of the first magnitude.

Veneering, M.P., on the right of Mrs Lammle; Twemlow on her left; Mrs Veneering, W.M.P. (wife of Member of Parliament), and Lady Tippins on Mr Lammle's right and left. But be sure that well within the fascination of Mr Lammle's eye and smile sits little Georgiana. And be sure that close to little Georgiana, also under inspection by the same gingerous gentleman, sits Fledgeby.

Oftener than twice or thrice while breakfast is in progress, Mr Twemlow gives a little sudden turn towards Mrs Lammle, and then says to her, 'I beg your pardon!' This not being Twemlow's usual way, why is it his way to-day? Why, the truth is, Twemlow repeatedly labours under the impression that Mrs Lammle is going to speak to him, and turning finds that it is not so, and mostly that she has her eyes upon Veneering. Strange that this impression so abides by Twemlow after being corrected, yet so it is.

Lady Tippins partaking plentifully of the fruits of the earth (including grape-juice in the category) becomes livelier, and applies herself to elicit sparks from Mortimer Lightwood. It is always understood among the initiated, that that faithless lover must be planted at table opposite to Lady Tippins, who will then strike conversational fire out of him. In a pause of mastication and deglutition, Lady Tippins, contemplating Mortimer, recalls that it was at our dear Veneerings, and in the presence of a party who are surely all here, that he told them his story of the man from somewhere, which afterwards became so horribly interesting and vulgarly popular.

'Yes, Lady Tippins,' assents Mortimer; 'as they say on the stage, "Even so!"

'Then we expect you,' retorts the charmer, 'to sustain your reputation, and tell us something else.'

'Lady Tippins, I exhausted myself for life that day, and there is nothing more to be got out of me.'

Mortimer parries thus, with a sense upon him that elsewhere it is Eugene and not he who is the jester, and that in these circles where Eugene persists in being speechless, he, Mortimer, is but the double of the friend on whom he has founded himself.

'But,' quoth the fascinating Tippins, 'I am resolved on getting something more out of you. Traitor! what is this I hear about another disappearance?'

'As it is you who have heard it,' returns Lightwood, 'perhaps you'll tell us.'

'Monster, away!' retorts Lady Tippins. 'Your own Golden Dustman referred me to you.'

Mr Lammle, striking in here, proclaims aloud that there is a sequel to the story of the man from somewhere. Silence ensues upon the proclamation.

'I assure you,' says Lightwood, glancing round the table, 'I have nothing to tell.' But Eugene adding in a low voice, 'There, tell it, tell it!' he corrects himself with the addition, 'Nothing worth mentioning.'

Boots and Brewer immediately perceive that it is immensely worth mentioning, and become politely clamorous. Veneering is also visited by a perception to the same effect. But it is understood that his attention is now rather used up, and difficult to hold, that being the tone of the House of Commons.

'Pray don't be at the trouble of composing yourselves to listen,' says Mortimer Lightwood, 'because I shall have finished long before you have fallen into comfortable attitudes. It's like--'

'It's like,' impatiently interrupts Eugene, 'the children's narrative:

"I'll tell you a story Of Jack a Manory, And now my story's begun; I'll tell you another Of Jack and his brother, And now my story is done."

--Get on, and get it over!'

Eugene says this with a sound of vexation in his voice, leaning back in his chair and looking balefully at Lady Tippins, who nods to him as her dear Bear, and playfully insinuates that she (a self- evident proposition) is Beauty, and he Beast.