"To be sure. But you see--in fact, barber, you must be consistent. No, I won't let you have the money now; I won't let you violate the inmost spirit of our contract, that way. So good-night, and I will see you again." "Stay, sir"--humming and hawing--"you have forgotten something." "Handkerchief?--gloves? No, forgotten nothing. Good-night." "Stay, sir--the--the shaving." "Ah, I _did_ forget that. But now that it strikes me, I shan't pay you at present. Look at your agreement; you must trust. Tut! against loss you hold the guarantee. Good-night, my dear barber." With which words he sauntered off, leaving the barber in a maze, staring after. But it holding true in fascination as in natural philosophy, that nothing can act where it is not, so the barber was not long now in being restored to his self-possession and senses; the first evidence of which perhaps was, that, drawing forth his notification from the drawer, he put it back where it belonged; while, as for the agreement, that he tore up; which he felt the more free to do from the impression that in all human probability he would never again see the person who had drawn it. Whether that impression proved well-founded or not, does not appear. But in after days, telling the night's adventure to his friends, the worthy barber always spoke of his queer customer as the man-charmer--as certain East Indians are called snake-charmers--and all his friends united in thinking him QUITE AN ORIGINAL. CHAPTER XLIV. IN WHICH THE LAST THREE WORDS OF THE LAST CHAPTER ARE MADE THE TEXT OF DISCOURSE, WHICH WILL BE SURE OF RECEIVING MORE OR LESS ATTENTION FROM THOSE READERS WHO DO NOT SKIP IT. "Quite an original:" A phrase, we fancy, rather oftener used by the young, or the unlearned, or the untraveled, than by the old, or the well-read, or the man who has made the grand tour. Certainly, the sense of originality exists at its highest in an infant, and probably at its lowest in him who has completed the circle of the sciences. As for original characters in fiction, a grateful reader will, on meeting with one, keep the anniversary of that day. True, we sometimes hear of an author who, at one creation, produces some two or three score such characters; it may be possible. But they can hardly be original in the sense that Hamlet is, or Don Quixote, or Milton's Satan. That is to say, they are not, in a thorough sense, original at all. They are novel, or singular, or striking, or captivating, or all four at once. More likely, they are what are called odd characters; but for that, are no more original, than what is called an odd genius, in his way, is. But, if original, whence came they? Or where did the novelist pick them up?