illumine his remarks by quotations of some kind or other,
though there are certainly a few occasions when his listeners
are not always able to appreciate their aptness. For instance
in the scene between Swiveller and the single gentleman,
after the latter has been aroused from his slumbers, and has
intimated he is not to be disturbed again.

'I beg your pardon,' said Dick, halting in his passage
to the door, which the lodger prepared to open,
'when he who adores thee has left but the name--'

'What do you mean?'

'But the name,' said Dick, 'has left but the name--in
case of letters or parcels--'

'I never have any,' said the lodger.

'Or in case anybody should call.'

'Nobody ever calls on me.'

'If any mistake should arise from not having the name,
don't say it was my fault, sir,' added Dick, still
lingering; 'oh, blame not the bard--'

'I'll blame nobody,' said the lodger.

But that Mr. Swiveller's knowledge of songs should be both
'extensive and peculiar' is only to be expected from one who
held the distinguished office of 'Perpetual Grand Master of
the Glorious Apollers,' although he seems to have been more
in the habit of quoting extracts from them than of giving
vocal illustrations. On one occasion, however, we find him
associated with Mr. Chuckster 'in a fragment of the popular
duet of "All's Well" with a long shake at the end.'

The following extract illustrates the 'shake':

ALL'S WELL (DUET).

_Sung by Mr. Braham and Mr. Charles Braham._

_Music by Mr. Braham._
[Figure 8]

All's well, All's well;
Above, below,
All, all's well.

Although most of Swiveller's quotations are from songs, he does
not always confine himself to them, as for instance, when he
sticks his fork into a large carbuncular potato and reflects
that 'Man wants but little here below,' which seems to show
that in his quieter moments he had studied Goldsmith's _Hermit_.

Mr. Swiveller's quotations are largely connected with his
love-passages with Sophy Wackles, and they are so carefully
and delicately graded that they practically cover the whole
ground in the rise and decline of his affections. He begins
by suggesting that 'she's all my fancy painted her.'

From this he passes to

She's like the red, red rose,
That's newly sprung in June.
She's also like a melody,
That's sweetly playe