corner cupboard, and its square-backed chairs, and its angular
little staircase leading to the room above, and its three peacock's
feathers displayed over the mantelpiece - I remember wondering when
I first went in, what that peacock would have thought if he had
known what his finery was doomed to come to - fades from before me,
and I nod, and sleep. The flute becomes inaudible, the wheels of
the coach are heard instead, and I am on my journey. The coach
jolts, I wake with a start, and the flute has come back again, and
the Master at Salem House is sitting with his legs crossed, playing
it dolefully, while the old woman of the house looks on delighted.
She fades in her turn, and he fades, and all fades, and there is no
flute, no Master, no Salem House, no David Copperfield, no anything
but heavy sleep.

I dreamed, I thought, that once while he was blowing into this
dismal flute, the old woman of the house, who had gone nearer and
nearer to him in her ecstatic admiration, leaned over the back of
his chair and gave him an affectionate squeeze round the neck,
which stopped his playing for a moment. I was in the middle state
between sleeping and waking, either then or immediately afterwards;
for, as he resumed - it was a real fact that he had stopped playing
- I saw and heard the same old woman ask Mrs. Fibbitson if it
wasn't delicious (meaning the flute), to which Mrs. Fibbitson
replied, 'Ay, ay! yes!' and nodded at the fire: to which, I am
persuaded, she gave the credit of the whole performance.

When I seemed to have been dozing a long while, the Master at Salem
House unscrewed his flute into the three pieces, put them up as
before, and took me away. We found the coach very near at hand,
and got upon the roof; but I was so dead sleepy, that when we