dancing at Almack's; or flirting in the saloon at the theatre; at the
night-houses, after the play; at Tom Cribb's, examining the silver cup
then in the possession of that champion; at the chambers of Bob Logic,
who, seated at a cabinet piano, plays a waltz to which Corinthian Tom
and Kate are dancing; ambling gallantly in Rotten Row; or examining
the poor fellow at Newgate who was having his chains knocked off before
hanging: all these scenes remain indelibly engraved upon the mind, and
so far we are independent of all the circulating libraries in London.

As to the literary contents of the book, they have passed sheer away. It
was, most likely, not particularly refined; nay, the chances are that it
was absolutely vulgar. But it must have had some merit of its own, that
is clear; it must have given striking descriptions of life in some part
or other of London, for all London read it, and went to see it in its
dramatic shape. The artist, it is said, wished to close the career
of the three heroes by bringing them all to ruin, but the writer, or
publishers, would not allow any such melancholy subjects to dash the
merriment of the public, and we believe Tom, Jerry, and Logic, were
married off at the end of the tale, as if they had been the most moral
personages in the world. There is some goodness in this pity, which
authors and the public are disposed to show towards certain agreeable,
disreputable characters of romance. Who would mar the prospects of
honest Roderick Random, or Charles Surface, or Tom Jones? only a very
stern moralist indeed. And in regard of Jerry Hawthorn and that hero
without a surname, Corinthian Tom, Mr. Cruikshank, we make little doubt,
was glad in his heart that he was not allowed to have his own way.

Soon after the "Tom and Jerry" and the "Life in Paris," Mr. Cruikshank
produced a much more elaborate set of prints, in a work which was called
"Points of Humor." These "Points" were selected from various comic