. We are quite persuaded the little old man has some notion of this kind, and that he considers their entry as a sort of negative impertinence.
Conversation is now entirely dropped; each person gazes vacantly through the window in front of him, and everybody thinks that his opposite neighbour is staring at him. If one man gets out at Shoe- lane, and another at the corner of Farringdon-street, the little old gentleman grumbles, and suggests to the latter, that if he had got out at Shoe-lane too, he would have saved them the delay of another stoppage; whereupon the young men laugh again, and the old gentleman looks very solemn, and says nothing more till he gets to the Bank, when he trots off as fast as he can, leaving us to do the same, and to wish, as we walk away, that we could impart to others any portion of the amusement we have gained for ourselves.
CHAPTER XVII--THE LAST CAB-DRIVER, AND THE FIRST OMNIBUS CAD
Of all the cabriolet-drivers whom we have ever had the honour and gratification of knowing by sight--and our acquaintance in this way has been most extensive--there is one who made an impression on our mind which can never be effaced, and who awakened in our bosom a feeling of admiration and respect, which we entertain a fatal presentiment will never be called forth again by any human being. He was a man of most simple and prepossessing appearance. He was a brown-whiskered, white-hatted, no-coated cabman; his nose was generally red, and his bright blue eye not unfrequently stood out in bold relief against a black border of artificial workmanship; his boots were of the Wellington form, pulled up to meet his corduroy knee-smalls, or at least to approach as near them as their dimensions would admit of; and his neck was usually garnished with a bright yellow handkerchief. In summer he carried in his mouth a flower; in winter, a straw--slight, but, to a contemplative mind, certain indications of a love of nature, and a taste for botany.
His cabriolet was gorgeously painted--a bright red; and wherever we went, City or West End, Paddington or Holloway, North, East, West, or South, there was the red cab, bumping up against the posts at the street corners, and turning in and out, among hackney-coaches, and drays, and carts, and waggons, and omnibuses, and contriving by some strange means or other, to get out of places which no other vehicle but the red cab could ever by any possibility have contrived to get into at all. Our fondness for that red cab was unbounded. How we should have liked to have seen it in the circle at Astley's! Our life upon it, that it should have performed such evolutions as would have put the whole company to shame--Indian chiefs, knights, Swiss peasants, and all.
Some people object to the exertion of getting into cabs, and others object to the difficulty of getting out of them; we think both these are objections which take their rise in perverse and ill- conditioned minds. The getting into a cab is a very pretty and graceful process, which, when well performed, is essentially melodramatic. First, there is the expressive pantomime of every one of the eighteen cabmen on the stand, the moment you raise your eyes from the ground. Then there is your own pantomime in reply-- quite a little ballet. Four cabs immediately leave the stand, for your especial accommodation; and the evolutions of the animals who draw them, are beautiful in the extreme, as they grate the wheels of the cabs against the curb-stones, and sport playfully in the kennel. You single out a particular cab, and dart swiftly towards it. One bound, and you are on the first step; turn your body lightly round to the right, and you are on the second; bend gracefully beneath the reins, working round to the left at the same time, and you are in the cab. There is no difficulty in finding a seat: the apron knocks you comfortably into it at once, and off you go.
The getting out of a cab is, perhaps, rather more complicated in its theory, and a shade more difficult in its execution.