Книга Dombey and Son. Содержание - CHAPTER 18 Father and Daughter
'I'll give you for a toast,' said the Captain, 'Wal'r!'
'Who?' submitted Mr Perch.
'Wal'r!' repeated the Captain, in a voice of thunder.
Mr Perch, who seemed to remember having heard in infancy that there was once a poet of that name, made no objection; but he was much astonished at the Captain's coming into the City to propose a poet; indeed, if he had proposed to put a poet's statue up — say Shakespeare's for example — in a civic thoroughfare, he could hardly have done a greater outrage to Mr Perch's experience. On the whole, he was such a mysterious and incomprehensible character, that Mr Perch decided not to mention him to Mrs Perch at all, in case of giving rise to any disagreeable consequences.
Mysterious and incomprehensible, the Captain, with that lively sense upon him of having done a little business for the youngsters, remained all day, even to his most intimate friends; and but that Walter attributed his winks and grins, and other such pantomimic reliefs of himself, to his satisfaction in the success of their innocent deception upon old Sol Gills, he would assuredly have betrayed himself before night. As it was, however, he kept his own secret; and went home late from the Instrument-maker's house, wearing the glazed hat so much on one side, and carrying such a beaming expression in his eyes, that Mrs MacStinger (who might have been brought up at Doctor Blimber's, she was such a Roman matron) fortified herself, at the first glimpse of him, behind the open street door, and refused to come out to the contemplation of her blessed infants, until he was securely lodged in his own room.
Father and Daughter
There is a hush through Mr Dombey's house. Servants gliding up and down stairs rustle, but make no sound of footsteps. They talk together constantly, and sit long at meals, making much of their meat and drink, and enjoying themselves after a grim unholy fashion. Mrs Wickam, with her eyes suffused with tears, relates melancholy anecdotes; and tells them how she always said at Mrs Pipchin's that it would be so, and takes more table-ale than usual, and is very sorry but sociable. Cook's state of mind is similar. She promises a little fry for supper, and struggles about equally against her feelings and the onions. Towlinson begins to think there's a fate in it, and wants to know if anybody can tell him ofany good that ever came of living in a corner house. It seems to all of them as having happened a long time ago; though yet the child lies, calm and beautiful, upon his little bed.
After dark there come some visitors — noiseless visitors, with shoes of felt — who have been there before; and with them comes that bed of rest which is so strange a one for infant sleepers. All this time, the bereaved father has not been seen even by his attendant; for he sits in an inner corner of his own dark room when anyone is there, and never seems to move at other times, except to pace it to and fro.
But in the morning it is whispered among the household that he was heard to go upstairs in the dead night, and that he stayed there — in the room — until the sun was shining.
At the offices in the City, the ground-glass windows are made more dim by shutters; and while the lighted lamps upon the desks are half extinguished by the day that wanders in, the day is half extinguished by the lamps, and an unusual gloom prevails. There is not much business done. The clerks are indisposed to work; and they make assignations to eat chops in the afternoon, and go up the river.
Perch, the messenger, stays long upon his errands; and finds himself in bars of public-houses, invited thither by friends, and holding forth on the uncertainty of human affairs. He goes home to Ball's Pond earlier in the evening than usual, and treats Mrs Perch to a veal cutlet and Scotch ale. Mr Carker the Manager treats no one; neither is he treated; but alone in his own room he shows his teeth all day; and it would seem that there is something gone from Mr Carker's path — some obstacle removed — which clears his way before him.
Now the rosy children living opposite to Mr Dombey's house, peep from their nursery windows down into the street; for there are four black horses at his door, with feathers on their heads; and feathers tremble on the carriage that they draw; and these, and an array of men with scarves and staves, attract a crowd. The juggler who was going to twirl the basin, puts his loose coat on again over his fine dress; and his trudging wife, one-sided with her heavy baby in her arms, loiters to see the company come out. But closer to her dingy breast she presses her baby, when the burden that is so easily carried is borne forth; and the youngest of the rosy children at the high window opposite, needs no restraining hand to check her in her glee, when, pointing with her dimpled finger, she looks into her nurse's face, and asks 'What's that?'
And now, among the knot of servants dressed in mourning, and the weeping women, Mr Dombey passes through the hall to the other carriage that is waiting to receive him. He is not 'brought down,' these observers think, by sorrow and distress of mind. His walk is as erect, his bearing is as stiff as ever it has been. He hides his face behind no handkerchief, and looks before him. But that his face is something sunk and rigid, and is pale, it bears the same expression as of old.
He takes his place within the carriage, and three other gentlemen follow. Then the grand funeral moves slowly down the street. The feathers are yet nodding in the distance, when the juggler has the basin spinning on a cane, and has the same crowd to admire it. But the juggler's wife is less alert than usual with the money-box, for a child's burial has set her thinking that perhaps the baby underneath her shabby shawl may not grow up to be a man, and wear a sky-blue fillet round his head, and salmon-coloured worsted drawers, and tumble in the mud.
The feathers wind their gloomy way along the streets, and come within the sound of a church bell. In this same church, the pretty boy received all that will soon be left of him on earth — a name. All of him that is dead, they lay there, near the perishable substance of his mother. It is well. Their ashes lie where Florence in her walks — oh lonely, lonely walks! — may pass them any day.
The service over, and the clergyman withdrawn, Mr Dombey looks round, demanding in a low voice, whether the person who has been requested to attend to receive instructions for the tablet, is there?
Someone comes forward, and says 'Yes.'
Mr Dombey intimates where he would have it placed; and shows him, with his hand upon the wall, the shape and size; and how it is to follow the memorial to the mother. Then, with his pencil, he writes out the inscription, and gives it to him: adding, 'I wish to have it done at once.
'It shall be done immediately, Sir.'
'There is really nothing to inscribe but name and age, you see.'
The man bows, glancing at the paper, but appears to hesitate. Mr Dombey not observing his hesitation, turns away, and leads towards the porch.
'I beg your pardon, Sir;' a touch falls gently on his mourning cloak; 'but as you wish it done immediately, and it may be put in hand when I get back — '
'Will you be so good as read it over again? I think there's a mistake.'
The statuary gives him back the paper, and points out, with his pocket rule, the words, 'beloved and only child.'
'It should be, "son," I think, Sir?'
'You are right. Of course. Make the correction.'
The father, with a hastier step, pursues his way to the coach. When the other three, who follow closely, take their seats, his face is hidden for the first time — shaded by his cloak. Nor do they see it any more that day. He alights first, and passes immediately into his own room. The other mourners (who are only Mr Chick, and two of the medical attendants) proceed upstairs to the drawing-room, to be received by Mrs Chick and Miss Tox. And what the face is, in the shut-up chamber underneath: or what the thoughts are: what the heart is, what the contest or the suffering: no one knows.