Display title | Oliver Twist/Source/Chapter 17 |
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Article description: (description ) This attribute controls the content of the description and og:description elements. | It is the custom on the stage, in all good murderous melodramas,
to present the tragic and the comic scenes, in as regular
alternation, as the layers of red and white in a side of streaky
bacon. The hero sinks upon his straw bed, weighed down by
fetters and misfortunes; in the next scene, his faithful but
unconscious squire regales the audience with a comic song. We
behold, with throbbing bosoms, the heroine in the grasp of a
proud and ruthless baron: her virtue and her life alike in
danger, drawing forth her dagger to preserve the one at the cost
of the other; and just as our expectations are wrought up to the
highest pitch, a whistle is heard, and we are straightway
transported to the great hall of the castle; where a grey-headed
seneschal sings a funny chorus with a funnier body of vassals,
who are free of all sorts of places, from church vaults to
palaces, and roam about in company, carolling perpetually. |