The Works of Thomas Hood; Vol. 02 (of 11): Comic and Serious, in Prose and Verse, With All the Original IllustrationsHood, Thomas
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The Works of Thomas Hood; Vol. 02 (of 11): Comic and Serious, in Prose and Verse, With All the Original Illustrations
Hood, Thomas
English poetry -- 19th century; English wit and humor; Humorous poetry, English
Craig lept into their craft; one or two even into the water, whilst
others crept as close to the verge of the pier as they could, leaving
a thoroughfare--wide as “the broad path of honour,”--to the Infernal
Cancer. To do him justice, he straddled along with a very unaffected
unconsciousness of his own evil importance. He seemed to have no aim
higher than salt water and sand, and had accomplished half the distance
towards them, when a little decrepit poor old sea-roamer, generally
known as “Creel Katie,” made a dexterous snatch at a hind claw, and
before the Crab-Devil was aware, deposited him in her patchwork
apron, with an “Hech, Sirs, what for are ye gaun to let gang siccan a
braw partane?” In vain a hundred voices shouted out, “Let him bide,
Katie,--he’s no cannie;” fish or fiend, the resolute old dame kept a
fast clutch of her prize, promising him, moreover, a comfortable simmer
in the mickle pat, for the benefit of herself and that “puir silly body
the gudeman:” and she kept her word. Before night the poor Devil was
dressed in his shell, to the infinite horror of all her neighbours.
Some even said that a black figure, with horns, and wings, and hoofs,
and forky tail, in fact old Clooty himself, had been seen to fly out
of the chimney. Others said that unwholesome and unearthly smells, as
of pitch and brimstone, had reeked forth from the abominable thing,
through door and window. Creel Kate, however, persisted, aye, even to
her dying day and on her deathbed, that the Crab was as sweet a Crab
as ever was supped on; and that it recovered her old husband out of a
very poor low way,--adding, “And that was a thing, ye ken, the Deil a
Deil in the Dub of Darkness wad hae dune for siccan a gude man, and
kirk-going Christian body, as my ain douce Davie.”
A BLIND MAN
Is a Blackamoor turned outside in. His skin is fair, but his lining is
utter dark; his eyes are like shotten stars,--mere jellies; or like
mock-painted windows since the tax upon daylight: what his mind’s eye
can be, is yet a mystery with the learned, or if he hath a mental
capacity at all--for, “out of sight is out of mind.”
Wherever he stands, he is antipodean, with his midnight to your noon.
The brightest sunshine serves only to make him the gloomier object;
like a dark house at a general illumination. When he stirs, it is like
a Venetian blind, being pulled up and down by a string; he is a human
kettle tied to a dog’s tail, and with much of the same tin twang in
his tone. With botanists he is a species of solanum, or night-shade,
whereof the berries are in his eyes;--amongst painters he is only
contemned, for his ignorance of clare-obscure; but by musicians
marvelled at for playing, ante-sight, on an invisible fiddle. He stands
against a wall with his two blank orbs, like a figure in high relief,
howbeit but seldom relieved; and though he is fond of getting pence,
yet he is confessedly blind to his own interest.
[Illustration: A MISGUIDED MAN.]
Public-domain text, read in full here on John Shaqi.
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