The Mystery of Edwin Drood. Чарльз Диккенс

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      ‘One clear word of understanding, Pussy dear. I am not clever out of my own line—now I come to think of it, I don’t know that I am particularly clever in it—but I want to do right. There is not—there may be—I really don’t see my way to what I want to say, but I must say it before we part—there is not any other young—’

      ‘O no, Eddy! It’s generous of you to ask me; but no, no, no!’

      They have come very near to the Cathedral windows, and at this moment the organ and the choir sound out sublimely. As they sit listening to the solemn swell, the confidence of last night rises in young Edwin Drood’s mind, and he thinks how unlike this music is to that discordance.

      ‘I fancy I can distinguish Jack’s voice,’ is his remark in a low tone in connection with the train of thought.

      ‘Take me back at once, please,’ urges his Affianced, quickly laying her light hand upon his wrist. ‘They will all be coming out directly; let us get away. O, what a resounding chord! But don’t let us stop to listen to it; let us get away!’

      Her hurry is over as soon as they have passed out of the Close. They go arm-in-arm now, gravely and deliberately enough, along the old High-street, to the Nuns’ House. At the gate, the street being within sight empty, Edwin bends down his face to Rosebud’s.

      She remonstrates, laughing, and is a childish schoolgirl again.

      ‘Eddy, no! I’m too sticky to be kissed. But give me your hand, and I’ll blow a kiss into that.’

      He does so. She breathes a light breath into it and asks, retaining it and looking into it:—

      ‘Now say, what do you see?’

      ‘See, Rosa?’

      ‘Why, I thought you Egyptian boys could look into a hand and see all sorts of phantoms. Can’t you see a happy Future?’

      For certain, neither of them sees a happy Present, as the gate opens and closes, and one goes in, and the other goes away.

CHAPTER IV—MR. SAPSEA

       Table of Contents

      Accepting the Jackass as the type of self-sufficient stupidity and conceit—a custom, perhaps, like some few other customs, more conventional than fair—then the purest jackass in Cloisterham is Mr. Thomas Sapsea, Auctioneer.

      Mr. Sapsea ‘dresses at’ the Dean; has been bowed to for the Dean, in mistake; has even been spoken to in the street as My Lord, under the impression that he was the Bishop come down unexpectedly, without his chaplain. Mr. Sapsea is very proud of this, and of his voice, and of his style. He has even (in selling landed property) tried the experiment of slightly intoning in his pulpit, to make himself more like what he takes to be the genuine ecclesiastical article. So, in ending a Sale by Public Auction, Mr. Sapsea finishes off with an air of bestowing a benediction on the assembled brokers, which leaves the real Dean—a modest and worthy gentleman—far behind.

      Mr. Sapsea has many admirers; indeed, the proposition is carried by a large local majority, even including non-believers in his wisdom, that he is a credit to Cloisterham. He possesses the great qualities of being portentous and dull, and of having a roll in his speech, and another roll in his gait; not to mention a certain gravely flowing action with his hands, as if he were presently going to Confirm the individual with whom he holds discourse. Much nearer sixty years of age than fifty, with a flowing outline of stomach, and horizontal creases in his waistcoat; reputed to be rich; voting at elections in the strictly respectable interest; morally satisfied that nothing but he himself has grown since he was a baby; how can dunder-headed Mr. Sapsea be otherwise than a credit to Cloisterham, and society?

      Mr. Sapsea’s premises are in the High-street, over against the Nuns’ House. They are of about the period of the Nuns’ House, irregularly modernised here and there, as steadily deteriorating generations found, more and more, that they preferred air and light to Fever and the Plague. Over the doorway is a wooden effigy, about half life-size, representing Mr. Sapsea’s father, in a curly wig and toga, in the act of selling. The chastity of the idea, and the natural appearance of the little finger, hammer, and pulpit, have been much admired.

      Mr. Sapsea sits in his dull ground-floor sitting-room, giving first on his paved back yard; and then on his railed-off garden. Mr. Sapsea has a bottle of port wine on a table before the fire—the fire is an early luxury, but pleasant on the cool, chilly autumn evening—and is characteristically attended by his portrait, his eight-day clock, and his weather-glass. Characteristically, because he would uphold himself against mankind, his weather-glass against weather, and his clock against time.

      By Mr. Sapsea’s side on the table are a writing-desk and writing materials. Glancing at a scrap of manuscript, Mr. Sapsea reads it to himself with a lofty air, and then, slowly pacing the room with his thumbs in the arm-holes of his waistcoat, repeats it from memory: so internally, though with much dignity, that the word ‘Ethelinda’ is alone audible.

      There are three clean wineglasses in a tray on the table. His serving-maid entering, and announcing ‘Mr. Jasper is come, sir,’ Mr. Sapsea waves ‘Admit him,’ and draws two wineglasses from the rank, as being claimed.

      ‘Glad to see you, sir. I congratulate myself on having the honour of receiving you here for the first time.’ Mr. Sapsea does the honours of his house in this wise.

      ‘You are very good. The honour is mine and the self-congratulation is mine.’

      ‘You are pleased to say so, sir. But I do assure you that it is a satisfaction to me to receive you in my humble home. And that is what I would not say to everybody.’ Ineffable loftiness on Mr. Sapsea’s part accompanies these words, as leaving the sentence to be understood: ‘You will СКАЧАТЬ