as gentlemen in waiting on royalty are habited now. There they are at
Almack's itself, amidst a crowd of high-bred personages, with the Duke
of Clarence himself looking at them dancing. Now, strange change, they
are in Tom Cribb's parlor, 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 at 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 favor 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 life in these young bucks of 1823 which