Our Mutual Friend - The Original Classic Edition. Dickens Charles

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       'Father, don't! I can't bear to see you striking with it. Put it down!' He looked at the knife; but in his astonishment still held it.

       'Father, it's too horrible. O put it down, put it down!'

       Confounded by her appearance and exclamation, he tossed it away, and stood up with his open hands held out before him.

       'What's come to you, Liz? Can you think I would strike at you with a knife?'

       'No, father, no; you would never hurt me.'

       'What should I hurt?'

       'Nothing, dear father. On my knees, I am certain, in my heart and soul I am certain, nothing! But it was too dreadful to bear; for it

       looked--' her hands covering her face again, 'O it looked--'

       'What did it look like?'

       The recollection of his murderous figure, combining with her trial of last night, and her trial of the morning, caused her to drop at

       his feet, without having answered.

       He had never seen her so before. He raised her with the utmost tenderness, calling her the best of daughters, and 'my poor pretty creetur', and laid her head upon his knee, and tried to restore her. But failing, he laid her head gently down again, got a pillow and placed it under her dark hair, and sought on the table for a spoonful of brandy. There being none left, he hurriedly caught up the empty bottle, and ran out at the door.

       He returned as hurriedly as he had gone, with the bottle still empty. He kneeled down by her, took her head on his arm, and moistened her lips with a little water into which he dipped his fingers: saying, fiercely, as he looked around, now over this shoulder, now over that:

       'Have we got a pest in the house? Is there summ'at deadly sticking to my clothes? What's let loose upon us? Who loosed it?'

       Chapter 7

       45

       MR WEGG LOOKS AFTER HIMSELF

       Silas Wegg, being on his road to the Roman Empire, approaches it by way of Clerkenwell. The time is early in the evening; the weather moist and raw. Mr Wegg finds leisure to make a little circuit, by reason that he folds his screen early, now that he combines another source of income with it, and also that he feels it due to himself to be anxiously expected at the Bower. 'Boffin will get all the eagerer for waiting a bit,' says Silas, screwing up, as he stumps along, first his right eye, and then his left. Which is something superfluous in him, for Nature has already screwed both pretty tight.

       'If I get on with him as I expect to get on,' Silas pursues, stumping and meditating, 'it wouldn't become me to leave it here. It wouldn't he respectable.' Animated by this reflection, he stumps faster, and looks a long way before him, as a man with an ambitious project in abeyance often will do.

       Aware of a working-jeweller population taking sanctuary about the church in Clerkenwell, Mr Wegg is conscious of an interest in, and a respect for, the neighbourhood. But, his sensations in this regard halt as to their strict morality, as he halts in his gait; for, they suggest the delights of a coat of invisibility in which to walk off safely with the precious stones and watch-cases, but stop short of any compunction for the people who would lose the same.

       Not, however, towards the 'shops' where cunning artificers work in pearls and diamonds and gold and silver, making their hands so rich, that the enriched water in which they wash them is bought for the refiners;--not towards these does Mr Wegg stump, but towards the poorer shops of small retail traders in commodities to eat and drink and keep folks warm, and of Italian frame-makers, and of barbers, and of brokers, and of dealers in dogs and singing-birds. From these, in a narrow and a dirty street devoted to such callings, Mr Wegg selects one dark shop-window with a tallow candle dimly burning in it, surrounded by a muddle of objects vaguely resembling pieces of leather and dry stick, but among which nothing is resolvable into anything distinct, save the candle itself in its old tin candlestick, and two preserved frogs fighting a small-sword duel. Stumping with fresh vigour, he goes in at the dark greasy entry, pushes a little greasy dark reluctant side-door, and follows the door into the little dark greasy shop. It is so dark that nothing can be made out in it, over a little counter, but another tallow candle in another old tin candlestick, close to the face of a man stooping low in a chair.

       Mr Wegg nods to the face, 'Good evening.'

       The face looking up is a sallow face with weak eyes, surmounted by a tangle of reddish-dusty hair. The owner of the face has no cravat on, and has opened his tumbled shirtcollar to work with the more ease. For the same reason he has no coat on: only a loose waistcoat over his yellow linen. His eyes are like the over-tried eyes of an engraver, but he is not that; his expression and stoop are like those of a shoemaker, but he is not that.

       'Good evening, Mr Venus. Don't you remember?'

       With slowly dawning remembrance, Mr Venus rises, and holds his candle over the little counter, and holds it down towards the legs,

       natural and artificial, of Mr Wegg.

       'To be SURE!' he says, then. 'How do you do?'

       'Wegg, you know,' that gentleman explains.

       'Yes, yes,' says the other. 'Hospital amputation?'

       'Just so,' says Mr Wegg.

       'Yes, yes,' quoth Venus. 'How do you do? Sit down by the fire, and warm your--your other one.'

       'The little counter being so short a counter that it leaves the fireplace, which would have been behind it if it had been longer, acces-

       sible, Mr Wegg sits down on a box in front of the fire, and inhales a warm and comfortable smell which is not the smell of the shop.

       'For that,' Mr Wegg inwardly decides, as he takes a corrective sniff or two, 'is musty, leathery, feathery, cellary, gluey, gummy, and,'

       with another sniff, 'as it might be, strong of old pairs of bellows.'

       'My tea is drawing, and my muffin is on the hob, Mr Wegg; will you partake?'

       It being one of Mr Wegg's guiding rules in life always to partake, he says he will. But, the little shop is so excessively dark, is stuck so

       46

       full of black shelves and brackets and nooks and corners, that he sees Mr Venus's cup and saucer only because it is close under the candle, and does not see from what mysterious recess Mr Venus produces another for himself until it is under his nose. Concurrently, Wegg perceives a pretty little dead bird lying on the counter, with its head drooping on one side against the rim of Mr Venus's saucer, and a long stiff wire piercing its breast. As if it were Cock Robin, the hero of the ballad, and Mr Venus were the sparrow with his bow and arrow, and Mr Wegg were the fly with his little eye.

       Mr Venus dives, and produces another muffin, yet untoasted; taking the arrow out of the breast of Cock Robin, he proceeds to toast

       it on the end of that cruel instrument. When it is brown, he dives again and produces butter, with which he completes his work.

       Mr Wegg, as an artful man who is sure of his supper by-and-bye, presses muffin on his host to soothe him into a compliant state

       of mind, or, as one might say, to grease his works. As the muffins disappear, little by little, the black shelves and nooks and corners begin to appear, and Mr Wegg gradually СКАЧАТЬ