“He’s a good creature-really,” Cecil spoke on his cousin’s behalf. “Mad; he always will be mad. A dear old savage; always amuses me. He does! I get half my entertainment from him.” Captain Baskelett was gifted with the art, which is a fine and a precious one, of priceless value in society, and not wanting a benediction upon it in our elegant literature, namely, the art of stripping his fellow-man and so posturing him as to make every movement of the comical wretch puppet-like, constrained, stiff, and foolish. He could present you heroical actions in that fashion; for example: “A long-shanked trooper, bearing the name of John Thomas Drew, was crawling along under fire of the batteries. Out pops old Nevil, tries to get the man on his back. It won’t do. Nevil insists that it’s exactly one of the cases that ought to be, and they remain arguing about it like a pair of nine-pins while the Muscovites are at work with the bowls. Very well. Let me tell you my story. It’s perfectly true, I give you my word. So Nevil tries to horse Drew, and Drew proposes to horse Nevil, as at school. Then Drew offers a compromise. He would much rather have crawled on, you know, and allowed the shot to pass over his head; but he’s a Briton, old Nevil the same; but old Nevil’s peculiarity is that, as you are aware, he hates a compromise—won’t have it—retro Sathanas! and Drew’s proposal to take his arm instead of being carried pickaback disgusts old Nevil. Still it won’t do to stop where they are, like the cocoa-nut and the pincushion of our friends, the gipsies, on the downs: so they take arms and commence the journey home, resembling the best of friends on the evening of a holiday in our native clime—two steps to the right, half-a-dozen to the left, etcætera.”