“You come into these sordid surroundings—you mustn’t mind my calling them sordid—and it makes them seem as though they didn’t matter. I know faces. Yet she held her tongue. ‘Why, you have heard yourself all that is being said. This she put into the trunk. I’ll see you Seventh Period!” She said, quickly ducking into the English Room. As a rule their comings and goings were discussed with perfect confidence, but on this occasion they both felt that there was intent in her silence as to her destination. "Well, Sir?" cried the other, eagerly. 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. “There’s morbid beauty,” said Ann Veronica. The metrical irregularity is intentional, because I want, as it were, to put you apart: to change the lilt and the mood altogether when I speak of you.
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