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his whiskers finally before the glass. 'Devilish rich,' he remarked, as
he contemplated his reflection. 'I look like a purser's mate.' And at
that moment the window-glass spectacles (which he had hitherto destined
for Pitman) flashed into his mind; he put them on, and fell in love with
the effect. 'Just what I required,' he said. 'I wonder what I look like
now? A humorous novelist, I should think,' and he began to practise
divers characters of walk, naming them to himself as--he proceeded.
'Walk of a humorous novelist--but that would require an umbrella. Walk
of a purser's mate. Walk of an Australian colonist revisiting the scenes
of childhood. Walk of Sepoy colonel, ditto, ditto. And in the midst
of the Sepoy colonel (which was an excellent assumption, although
inconsistent with the style of his make-up), his eye lighted on the
piano. This instrument was made to lock both at the top and at the
keyboard, but the key of the latter had been mislaid. Michael opened
it and ran his fingers over the dumb keys. 'Fine instrument--full, rich
tone,' he observed, and he drew in a seat.
When Mr Pitman returned to the studio, he was appalled to observe his
guide, philosopher, and friend performing miracles of execution on the
silent grand.
'Heaven help me!' thought the little man, 'I fear he has been drinking!
Mr Finsbury,' he said aloud; and Michael, without rising, turned upon
him a countenance somewhat flushed, encircled with the bush of the red
whiskers, and bestridden by the spectacles. 'Capriccio in B-flat on the
departure of a friend,' said he, continuing his noiseless evolutions.
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