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292 Disraeli smiles again: he has the minister in his hands, and he shakes him well before he lets him go. What cares he for justice? Criticism is his forte; it was that that made him what he is in the House. The Jew concludes his speech amid considerable applause.

All eyes are turned towards the seat of the Chancellor of the Exchequer: a pause of a moment's duration, and the orator of the House rises to his feet. Those who have been reading The Times lay it down; all whispering stops, and the attention of the members is directed to Gladstone, as he begins. Disraeli rests his chin upon his hat, which lies upon his knee: he too is chained to his seat by the fascinating eloquence of the man of letters. Thunders of applause follow, in which all join but the Jew. Disraeli changes his position on his seat, first one leg crossed, and then the other, but he never smiles while his opponent is speaking. He sits like one of those marble figures in the British Museum. Disraeli has furnished more fun for Punch than any other man in the empire. When it was resolved to have a portrait of the late Sir R. Peel painted for the government, Mr. Gladstone ordered it to be taken from one that appeared in Punch during the lifetime of that great statesman. This was indeed a compliment to the sheet of fun. But now look at the Chancellor of the Exchequer. He is in the midst of his masterly speech, and silence reigns throughout the House.

"His words of learned length and thundering sound

Amazed the gazing rustics ranged around;