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deeply affected sister that Oliver had been taken ill in the office, and discharged in consequence of a witness having proved the robbery to have been committed by another boy not in custody; and that the prosecutor had carried him away in an insensible condition to his own residence, of and concerning which all the informant knew was, that it was somewhere at Pentonville, he having heard that word mentioned in the directions to the coachman.

      In a dreadful state of doubt and uncertainty the agonised young woman staggered to the gate, and then, – exchanging her faltering gait for a good swift steady run, returned by the most devious and complicated route she could think of, to the domicile of the Jew.

      Mr. Bill Sikes no sooner heard the account of the expedition delivered, than he very hastily called up the white dog, and, putting on his hat, expeditiously departed, without devoting any time to the formality of wishing the company good-morning.

      "We must know where he is, my dears; he must be found," said the Jew, greatly excited. "Charley, do nothing but skulk about, till you bring home some news of him. Nancy, my dear, I must have him found: I trust to you, my dear, – to you and the Artful for every thing. Stay, stay," added the Jew, unlocking a drawer with a shaking hand; "there's money, my dears. I shall shut up this shop to-night: you'll know where to find me. Don't stop here a minute, – not an instant, my dears!"

      With these words he pushed them from the room, and carefully double-locking and barring the door behind them, drew from its place of concealment the box which he had unintentionally disclosed to Oliver, and hastily proceeded to dispose the watches and jewellery beneath his clothing.

      A rap at the door startled him in this occupation. "Who's there?" he cried in a shrill tone of alarm.

      "Me!" replied the voice of the Dodger through the keyhole.

      "What now?" cried the Jew impatiently.

      "Is he to be kidnapped to the other ken, Nancy says?" inquired the Dodger cautiously.

      "Yes," replied the Jew, "wherever she lays hands on him. Find him, find him out, that's all; and I shall know what to do next, never fear."

      The boy murmured a reply of intelligence, and hurried down stairs after his companions.

      "He has not peached so far," said the Jew as he pursued his occupation. "If he means to blab us among his new friends, we may stop his windpipe yet."

      WHAT THOUGH WE WERE RIVALS OF YORE

A ROMANCE. BY HAYNES BAYLYI

      "What though we were rivals of yore,

      It seems you the victor have proved,

      Henceforth we are rivals no more,

      For I must forget I have loved.

      You tell me you wed her to-day,

      I thank you for telling the worst;

      Adieu then! to horse, and away! —

      But, hold! – let us drink her health first!

II

      "Alas! I confess I was wrong

      To cope with so charming a knight;

      Excelling in dance, and in song,

      Well-dress'd, debonnaire, and polite!

      So, putting all envy aside,

      I take a new flask from the shelf;

      Another full glass to the bride,

      And now a full glass to yourself.

III

      "You'll drink a full bumper to me,

      So well I have borne my defeat?

      To the nymphs who the bridemaids will be,

      And to each of the friends you will meet.

      You are weary? – one glass to renew;

      You are dozing? – one glass to restore;

      You are sleeping? – proud rival, adieu!

      Excuse me for locking the door."

IV

      There's a fee in the hand of the priest!

      There's a kiss on the cheek of the bride!

      And the guest she expected the least

      Is He who now sits by her side!

      Oh, well may the loiterer fail,

      His love is the grape of the Rhine;

      And the spirit most sure to prevail

      Was never the spirit of wine.

      LOVE IN THE CITY

TO THE PUBLIC

      In the prefatory observations I thought advisable to make when placing "Love in the City" before the world, I stated that my chief aim was the restoration of the drama to its pristine purity by avoiding those unnatural and superhuman agencies which modern writers have so extensively indulged in. Opposing myself thus, to innovation, I have ventured on one of the boldest changes in dramatic arrangement, by postponing the performance of the overture until the commencement of the second act. Having thus admitted my offending, I trust that, when the reasons which induced it are explained and understood, I shall have justified this daring step, and obtained a verdict of public acquittal.

      Is there a frequenter of our theatres on a first night whose musical sensibilities have not been lacerated by the noise and tumult incidental to a crowded house? Let him achieve by desperate exertion a favourable place in the undress circle, – suppose the theatre crammed to the pigeon-holes, the orchestra already tuned, and every eye bent upon the leader, awaiting his premonitory tap; – then, when the nervous system should be quiescent, the ear open to receive delicious sounds, the heart ready to expand itself into harmonious ecstacy, – at that very moment of rapturous expectation has not his tranquillity been annihilated by pinching him in the ribs to acquaint him that he is "sitting on her boa!" While, from that "refugium peccatorum," the shilling gallery, infernal cries of "Down in the front!" "Music!" "Curse your pedigree!" "Hats off!" "How's your mother?" drown even the double-drums, and render the overture inaudible from the opening crash to the close.

      "Some giggling daughter of the queen of love"

      To remedy this nuisance, – to allow the excited feelings of an overcrowded house to subside sufficiently to enable the audience, by presenting them with the first act, to judge how far the music of the overture is adapted to the business of the stage, – these considerations have induced me thus to postpone its performance, and with what success the public will best decide.

      Another, and a more agreeable duty, now devolves upon me, – to express my ardent thanks to all and every to whom this drama is in any way indebted for its brilliant and unparalleled success. To Messrs. Flight and Robson; the commanding officers of the Foot and Fusileer Guards; the King of the Two Sicilies; the Hereditary Prince of Coolavin; and his serene highness the Duke of Darmstadt, I am eternally grateful. To the performers, male and female, the composers, the orchestra at large, scene-painters and scene-shifters, prompters and property-men, box-keepers and check-takers, sentries and police, I present my heartfelt acknowledgements. And to the most crowded and fashionable audience that ever graced a metropolitan theatre, I shall only say, that the rapturous and reiterated plaudits bestowed upon this drama shall never fade from the recollection of their most devoted, very humble, too fortunate, and ever grateful servant,

The Author.

      July 1, 1837.

      LOVE IN THE CITY;

OR, ALL'S WELL THAT ENDS WELLA MELODRAMATIC EXTRAVAGANZAAct II

      Grand Overture, – composed jointly by Spohr, Haynes Bayly, Newkom, and Rossini, and performed by the largest orchestra ever collected in a European theatre, assisted by the Duke of Darmstadt's brass band, and the entire drums of the Foot and Fusileer Guards.

      In the course of the overture the following novelties will be introduced.

      A duet upon

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