During the intervals of the stanzas of this ditty, the good-natured personage addressed as Mamma by the singer, and whose large whiskers appeared under her cap, seemed very anxious to exhibit her maternal affection by embracing the innocent creature who performed the daughter's part. Every caress was received with loud acclamations of laughter by the sympathizing audience. At its conclusion (while the music was performing a symphony as if ever so many birds were warbling) the whole house was unanimous for an encore: and applause and bouquets without end were showered upon the Nightingale of the evening. Lord Steyne's voice of applause was loudest of all. Becky, the nightingale, took the flowers which he threw to her and pressed them to her heart with the air of a consummate comedian. Lord Steyne was frantic with delight. His guests' enthusiasm harmonized with his own. Where was the beautiful black-eyed Houri whose appearance in the first charade had caused such delight? She was twice as handsome as Becky, but the brilliancy of the latter had quite eclipsed her. All voices were for her. 
During this, her Mamma, with large whiskers under her cap, seems very anxious to show her maternal affection by embracing the innocent daughter, to loud laughter from the audience.
At the end the whole house was unanimous for an encore: and applause and bouquets were showered upon the charade's solution: the Nightingale. Lord Steyne's voice was loudest of all. Becky took the flowers which he threw to her and pressed them to her heart with a comical air. Lord Steyne was frantic with delight.
So were his guests. Where was the beautiful black-eyed Houri whose appearance in the first charade had caused such pleasure? She was twice as handsome as Becky, but Becky's brilliancy had eclipsed her. 