Bleak House. Чарльз Диккенс

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      "Wheels!" says she. They have long been audible to the younger ears of her companion. "What wheels on such a day as this, for gracious sake?"

      After a short interval, a tap at the door. "Come in!" A dark-eyed, dark-haired, shy, village beauty comes in—so fresh in her rosy and yet delicate bloom that the drops of rain which have beaten on her hair look like the dew upon a flower fresh gathered.

      "What company is this, Rosa?" says Mrs. Rouncewell.

      "It's two young men in a gig, ma'am, who want to see the house—yes, and if you please, I told them so!" in quick reply to a gesture of dissent from the housekeeper. "I went to the hall-door and told them it was the wrong day and the wrong hour, but the young man who was driving took off his hat in the wet and begged me to bring this card to you."

      "Read it, my dear Watt," says the housekeeper.

      Rosa is so shy as she gives it to him that they drop it between them and almost knock their foreheads together as they pick it up. Rosa is shyer than before.

      "Mr. Guppy" is all the information the card yields.

      "Guppy!" repeats Mrs. Rouncewell, "MR. Guppy! Nonsense, I never heard of him!"

      "If you please, he told ME that!" says Rosa. "But he said that he and the other young gentleman came from London only last night by the mail, on business at the magistrates' meeting, ten miles off, this morning, and that as their business was soon over, and they had heard a great deal said of Chesney Wold, and really didn't know what to do with themselves, they had come through the wet to see it. They are lawyers. He says he is not in Mr. Tulkinghorn's office, but he is sure he may make use of Mr. Tulkinghorn's name if necessary." Finding, now she leaves off, that she has been making quite a long speech, Rosa is shyer than ever.

      Now, Mr. Tulkinghorn is, in a manner, part and parcel of the place, and besides, is supposed to have made Mrs. Rouncewell's will. The old lady relaxes, consents to the admission of the visitors as a favour, and dismisses Rosa. The grandson, however, being smitten by a sudden wish to see the house himself, proposes to join the party. The grandmother, who is pleased that he should have that interest, accompanies him—though to do him justice, he is exceedingly unwilling to trouble her.

      "Much obliged to you, ma'am!" says Mr. Guppy, divesting himself of his wet dreadnought in the hall. "Us London lawyers don't often get an out, and when we do, we like to make the most of it, you know."

      The old housekeeper, with a gracious severity of deportment, waves her hand towards the great staircase. Mr. Guppy and his friend follow Rosa; Mrs. Rouncewell and her grandson follow them; a young gardener goes before to open the shutters.

      As is usually the case with people who go over houses, Mr. Guppy and his friend are dead beat before they have well begun. They straggle about in wrong places, look at wrong things, don't care for the right things, gape when more rooms are opened, exhibit profound depression of spirits, and are clearly knocked up. In each successive chamber that they enter, Mrs. Rouncewell, who is as upright as the house itself, rests apart in a window-seat or other such nook and listens with stately approval to Rosa's exposition. Her grandson is so attentive to it that Rosa is shyer than ever—and prettier. Thus they pass on from room to room, raising the pictured Dedlocks for a few brief minutes as the young gardener admits the light, and reconsigning them to their graves as he shuts it out again. It appears to the afflicted Mr. Guppy and his inconsolable friend that there is no end to the Dedlocks, whose family greatness seems to consist in their never having done anything to distinguish themselves for seven hundred years.

      Even the long drawing-room of Chesney Wold cannot revive Mr. Guppy's spirits. He is so low that he droops on the threshold and has hardly strength of mind to enter. But a portrait over the chimney-piece, painted by the fashionable artist of the day, acts upon him like a charm. He recovers in a moment. He stares at it with uncommon interest; he seems to be fixed and fascinated by it.

      "Dear me!" says Mr. Guppy. "Who's that?"

      "The picture over the fire-place," says Rosa, "is the portrait of the present Lady Dedlock. It is considered a perfect likeness, and the best work of the master."

      "Blest," says Mr. Guppy, staring in a kind of dismay at his friend, "if I can ever have seen her. Yet I know her! Has the picture been engraved, miss?"

      "The picture has never been engraved. Sir Leicester has always refused permission."

      "Well!" says Mr. Guppy in a low voice. "I'll be shot if it ain't very curious how well I know that picture! So that's Lady Dedlock, is it!"

      "The picture on the right is the present Sir Leicester Dedlock. The picture on the left is his father, the late Sir Leicester."

      Mr. Guppy has no eyes for either of these magnates. "It's unaccountable to me," he says, still staring at the portrait, "how well I know that picture! I'm dashed," adds Mr. Guppy, looking round, "if I don't think I must have had a dream of that picture, you know!"

      As no one present takes any especial interest in Mr. Guppy's dreams, the probability is not pursued. But he still remains so absorbed by the portrait that he stands immovable before it until the young gardener has closed the shutters, when he comes out of the room in a dazed state that is an odd though a sufficient substitute for interest and follows into the succeeding rooms with a confused stare, as if he were looking everywhere for Lady Dedlock again.

      He sees no more of her. He sees her rooms, which are the last shown, as being very elegant, and he looks out of the windows from which she looked out, not long ago, upon the weather that bored her to death. All things have an end, even houses that people take infinite pains to see and are tired of before they begin to see them. He has come to the end of the sight, and the fresh village beauty to the end of her description; which is always this: "The terrace below is much admired. It is called, from an old story in the family, the Ghost's Walk."

      "No?" says Mr. Guppy, greedily curious. "What's the story, miss? Is it anything about a picture?"

      "Pray tell us the story," says Watt in a half whisper.

      "I don't know it, sir." Rosa is shyer than ever.

      "It is not related to visitors; it is almost forgotten," says the housekeeper, advancing. "It has never been more than a family anecdote."

      "You'll excuse my asking again if it has anything to do with a picture, ma'am," observes Mr. Guppy, "because I do assure you that the more I think of that picture the better I know it, without knowing how I know it!"

      The story has nothing to do with a picture; the housekeeper can guarantee that. Mr. Guppy is obliged to her for the information and is, moreover, generally obliged. He retires with his friend, guided down another staircase by the young gardener, and presently is heard to drive away. It is now dusk. Mrs. Rouncewell can trust to the discretion of her two young hearers and may tell THEM how the terrace came to have that ghostly name.

      She seats herself in a large chair by the fast-darkening window and tells them: "In the wicked days, my dears, of King Charles the First—I mean, of course, in the wicked days of the rebels who leagued themselves against that excellent king—Sir Morbury Dedlock was the owner of Chesney Wold. Whether there was any account of a ghost in the family before those days, I can't say. I should think it very likely indeed."

      Mrs. Rouncewell holds this opinion because she considers that a family of such antiquity and importance has a right to a ghost. She regards a ghost as one of the privileges of the upper classes, a genteel distinction to which the common people have no claim.

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