“'Yuss,'.rdquo; continued Missy without a break, “'an' if you're a man,' I sez, 'come an' 'elp shift this 'ere bloomin' imitition,' I sez. 'Right you are,' 'e sez, 'since you put it so flatterin' like. An' wot do they call you, my dear,' sez 'e. 'That's my bloomin' business,' sez I, 'wot's yours on the charge-sheet?' 'Ted,' sez 'e. 'Right,' sez I. 'You git a holt of 'is 'eels, Ted, an' I'll 'ang on to 'is 'air!'.rdquo;
Up to this point matters had proceeded without audible let or hindrance. But it appeared that at the psychological moment now reached by the narrator the prostrate hero had regained the command of his tongue, and the use he made of it was represented by Missy in so voluble and violent a harangue, couched in such exceedingly strong language, and all hurled so pointedly at the heads of Mr. and Mrs. Teesdale on the sofa opposite the fire-place, that an inevitable interruption now occurred.
“It's quite disgusting! I won't allow such language in my house. Stop at once!” cried Mrs. T. half rising; but Missy's voice was louder; while old David stretched an arm in front of his wife and fenced her to the sofa.
“Sit still, my dear, and don't be foolish,” said he, quite firmly. “Can't you see that it's part of the song, and only in fun?”
“Only in fun!” echoed Missy, whose speaking voice had risen to a hoarse scream. “Ho, yuss, an' I s'pose it was fun between 'Arry an' me an' Ted? You bet your bags it wasn't! Why, time we'd done with 'im, Ted's rigging was gone to glory—all but 'is chest-protector. And as for me, you couldn't ha' made a decent pen-wiper out o' my 'ole attire. An' why? Why 'cause—now then, you at the pianner!—'cause—
“'Arry' e' ad the 'ump—
The liquorin' lushin' lump—
So I sez to Ted,
“Ere, sit on 'is 'ead,
Or shove 'im under the pump!'