nearly approaching vermilion in his flesh tints. 'The Bashful Maid's' nose, therefore, bloomed with a hue as rosy as her cheeks, and these, until toned down by wind and weather, had been an honest scarlet. None of the critics ventured to dispute the position that the carpenter's theory was sound. Slap-Jack, indeed, with a lively recollection of her wan face when he took leave of his Alice, suggested that for his part he liked them "a little less gaudy about the gills"; but this heresy was ignominiously coughed down at once. It was merely a question as to whether the paint was, or was not, laid on a trifle too thick, and each man argued according to his own experience of the real human subject.
All the older hands (particularly Bottle-Jack, who protested vehemently that the figure-head of 'The Bashful Maid,' so far from being a representation of feminine beauty, was in fact an elevated ideal of that seductive quality, a very model to be imitated, though hardly possible to be approached) were in favour of red noses, as adding warmth and expression to the female face. Their wives, their sweethearts, their sisters, their mothers, their grandmothers, all had red noses, and were careful to keep up the colouring by the use of comforting stimulants.
"What," said the principal speaker, "was the pints of a figur'-head, as laid down in the song? and no man on this
deck was a-goin' to set up his opinion again that, he should think! Wasn't 'em this here?—
'Eyes as black as sloes, Cheeks like any rose.'
And if the song was played out further, which it might or it might not, d'ye see, wouldn't the poet have naturally added—
'With a corresponding nose?'"
It was a telling argument, and although two or three of the foretop-men, smart young fellows, whose sweethearts had not yet taken to drinking, seemed disinclined to side with Slap-Jack, it insured a triumphant majority, which ought to have set the question at rest, even without the conclusive opinion delivered by the negro. "Snowball," said Bottle-Jack, "you've not told us your
