strange change, they are in Tom Cribb's parlour, where they don't
seem to be a whit less at home than in fashion's gilded halls;
and now they are at Newgate, seeing the irons knocked off the
malefactors' legs previous to execution. What hardened ferocity
in the countenance of the desperado in yellow breeches! What
compunction in the face of the gentleman in black (who, I
suppose, has been forging), and who clasps his hands, and listens
to the chaplain! Now we haste away to merrier scenes: to
Tattersall's (ah gracious powers! what a funny fellow that actor
was who performed Dicky Green in that scene in the play!); and
now we are at a private party, at which Corinthian Tom is
waltzing (and very gracefully too, as you must confess) with
Corinthian Kate, whilst Bob Logic, the Oxonian, is playing on the
piano!

"After," the text says, "the Oxonian had played several pieces of
lively music, he requested as a favour that Kate and his friend
Tom would perform a waltz. Kate without any hesitation
immediately stood up. Tom offered his hand to his fascinating
partner, and the dance took place. The plate conveys a correct
representation of the `gay scene' at that precise moment. The
anxiety of the Oxonian to witness the attitudes of the elegant
pair had nearly put a stop to their movements. On turning round
from the pianoforte and presenting his comical mug, Kate could
scarcely suppress a laugh."

And no wonder; just look at it now (as I have copied it to the
best of my humble ability), and compare Master Logic's
countenance and attitude with the splendid elegance of Tom! Now
every London man is weary and blase. There is an enjoyment of