And she shall walk in silk attire,
      And siller have to spare—­

there is scarcely a scene in which he is present when he does not illumine his remarks by quotations of some kind or other, though there are certainly a few occasions when his listeners are not always able to appreciate their aptness.  For instance in the scene between Swiveller and the single gentleman, after the latter has been aroused from his slumbers, and has intimated he is not to be disturbed again.

    ‘I beg your pardon,’ said Dick, halting in his passage
    to the door, which the lodger prepared to open,
    ‘when he who adores thee has left but the name—­’

    ‘What do you mean?’

    ‘But the name,’ said Dick, ’has left but the name—­in
    case of letters or parcels—­’

    ‘I never have any,’ said the lodger.

    ‘Or in case anybody should call.’

    ‘Nobody ever calls on me.’

    ’If any mistake should arise from not having the name,
    don’t say it was my fault, sir,’ added Dick, still
    lingering; ‘oh, blame not the bard—­’

    ‘I’ll blame nobody,’ said the lodger.

But that Mr. Swiveller’s knowledge of songs should be both ‘extensive and peculiar’ is only to be expected from one who held the distinguished office of ’Perpetual Grand Master of the Glorious Apollers,’ although he seems to have been more in the habit of quoting extracts from them than of giving vocal illustrations.  On one occasion, however, we find him associated with Mr. Chuckster ’in a fragment of the popular duet of “All’s Well” with a long shake at the end.’

The following extract illustrates the ‘shake’: 

    ALL’S WELL (DUET).

    Sung by Mr. Braham and Mr. Charles Braham.

                                        Music by Mr. Braham.
    [Figure 8]

    All’s well, All’s well;
    Above, below,
    All, all’s well.

Although most of Swiveller’s quotations are from songs, he does not always confine himself to them, as for instance, when he sticks his fork into a large carbuncular potato and reflects that ‘Man wants but little here below,’ which seems to show that in his quieter moments he had studied Goldsmith’s Hermit.

Mr. Swiveller’s quotations are largely connected with his love-passages with Sophy Wackles, and they are so carefully and delicately graded that they practically cover the whole ground in the rise and decline of his affections.  He begins by suggesting that ‘she’s all my fancy painted her.’

From this he passes to

    She’s like the red, red rose,
      That’s newly sprung in June. 
    She’s also like a melody,
      That’s sweetly played in tune.

then

    When the heart of a man is depressed with fears,
    The mist is dispelled when Miss Wackles appears,