Dombey and Son, Charles Dickens [ebook reader computer .TXT] 📗

saw when Florence came down that there were tears upon her face, is desperately anxious and uneasy, and at first fears that he did wrong in proposing the visit. But he is soon relieved by her saying she is very glad to have been there again, and by her talking quite cheerfully about it all, as they walked on by the sea. What with the voices there, and her sweet voice, when they come near Mr Dombey's house, and Mr Toots must leave her, he is so enslaved that he has not a scrap of free-will left; when she gives him her hand at parting, he cannot let it go.

'Miss Dombey, I beg your pardon,' says Mr Toots, in a sad fluster, 'but if you would allow me to--to--

The smiling and unconscious look of Florence brings him to a dead stop.

'If you would allow me to--if you would not consider it a liberty, Miss Dombey, if I was to--without any encouragement at all, if I was to hope, you know,' says Mr Toots.

Florence looks at him inquiringly.

'Miss Dombey,' says Mr Toots, who feels that he is in for it now, 'I really am in that state of adoration of you that I don't know what to do with myself. I am the most deplorable wretch. If it wasn't at the corner of the Square at present, I should go down on my knees, and beg and entreat of you, without any encouragement at all, just to let me hope that I may--may think it possible that you--

'Oh, if you please, don't!' cries Florence, for the moment quite alarmed and distressed. 'Oh, pray don't, Mr Toots. Stop, if you please. Don't say any more. As a kindness and a favour to me, don't.'

Mr Toots is dreadfully abashed, and his mouth opens.

'You have been so good to me,' says Florence, 'I am so grateful to you, I have such reason to like you for being a kind friend to me, and I do like you so much;' and here the ingenuous face smiles upon him with the pleasantest look of honesty in the world; 'that I am sure you are only going to say good-bye!'

'Certainly, Miss Dombey,' says Mr Toots, 'I--I--that's exactly what I mean. It's of no consequence.'

'Good-bye!' cries Florence.

'Good-bye, Miss Dombey!' stammers Mr Toots. 'I hope you won't think anything about it. It's--it's of no consequence, thank you. It's not of the least consequence in the world.'

Poor Mr Toots goes home to his hotel in a state of desperation, locks himself into his bedroom, flings himself upon his bed, and lies there for a long time; as if it were of the greatest consequence, nevertheless. But Mr Feeder, B.A., is coming to dinner, which happens well for Mr Toots, or there is no knowing when he might get up again. Mr Toots is obliged to get up to receive him, and to give him hospitable entertainment.

And the generous influence of that social virtue, hospitality (to make no mention of wine and good cheer), opens Mr Toots's heart, and warms him to conversation. He does not tell Mr Feeder, B.A., what passed at the corner of the Square; but when Mr Feeder asks him 'When it is to come off?' Mr Toots replies, 'that there are certain subjects'--which brings Mr Feeder down a peg or two immediately. Mr Toots adds, that he don't know what right Blimber had to notice his being in Miss Dombey's company, and that if he thought he meant impudence by it, he'd have him out, Doctor or no Doctor; but he supposes its only his ignorance. Mr Feeder says he has no doubt of it.

Mr Feeder, however, as an intimate friend, is not excluded from the subject. Mr Toots merely requires that it should be mentioned mysteriously, and with feeling. After a few glasses of wine, he gives Miss Dombey's health, observing, 'Feeder, you have no idea of the sentiments with which I propose that toast.' Mr Feeder replies, 'Oh, yes, I have, my dear Toots; and greatly they redound to your honour, old boy.' Mr Feeder is then agitated by friendship, and shakes hands; and says, if ever Toots wants a brother, he knows where to find him, either by post or parcel. Mr Feeder like-wise says, that if he may advise, he would recommend Mr Toots to learn the guitar, or, at least the flute; for women like music, when you are paying your addresses to 'em, and he has found the advantage of it himself.

This brings Mr Feeder, B.A., to the confession that he has his eye upon Cornelia Blimber. He informs Mr Toots that he don't object to spectacles, and that if the Doctor were to do the handsome thing and give up the business, why, there they are--provided for. He says it's his opinion that when a man has made a handsome sum by his business, he is bound to give it up; and that Cornelia would be an assistance in it which any man might be proud of. Mr Toots replies by launching wildly out into Miss Dombey's praises, and by insinuations that sometimes he thinks he should like to blow his brains out. Mr Feeder strongly urges that it would be a rash attempt, and shows him, as a reconcilement to existence, Cornelia's portrait, spectacles and all.

Thus these quiet spirits pass the evening; and when it has yielded place to night, Mr Toots walks home with Mr Feeder, and parts with him at Doctor Blimber's door. But Mr Feeder only goes up the steps, and when Mr Toots is gone, comes down again, to stroll upon the beach alone, and think about his prospects. Mr Feeder plainly hears the waves informing him, as he loiters along, that Doctor Blimber will give up the business; and he feels a soft romantic pleasure in looking at the outside of the house, and thinking that the Doctor will first paint it, and put it into thorough repair.

Mr Toots is likewise roaming up and down, outside the casket that contains his jewel; and in a deplorable condition of mind, and not unsuspected by the police, gazes at a window where he sees a light, and which he has no doubt is Florence's. But it is not, for that is Mrs Skewton's room; and while Florence, sleeping in another chamber, dreams lovingly, in the midst of the old scenes, and their old associations live again, the figure which in grim reality is substituted for the patient boy's on the same theatre, once more to connect it--but how differently!--with decay and death, is stretched there, wakeful and complaining. Ugly and haggard it lies upon its bed of unrest; and by it, in the terror of her unimpassioned loveliness--for it has terror in the sufferer's failing eyes--sits Edith. What do the waves say, in the stillness of the night, to them?

'Edith, what is that stone arm raised to strike me? Don't you see it?'

There is nothing, mother, but your fancy.'

'But my fancy! Everything is my fancy. Look! Is it possible that you don't see it?'

'Indeed, mother, there is nothing. Should I sit unmoved, if there were any such thing there?'

'Unmoved?' looking wildly at her--'it's gone now--and why are you so unmoved? That is not my fancy, Edith. It turns me cold to see you sitting at my side.'

'I am sorry, mother.'

'Sorry! You seem always sorry. But it is not for me!'

With that, she cries; and tossing her restless head from side to side upon her pillow, runs on about neglect, and the mother she has been, and the mother the good old creature was, whom they met, and the cold return the daughters of such mothers make. In the midst of her incoherence, she stops, looks at her daughter, cries out that her wits are going, and hides her face upon the bed.

Edith, in compassion, bends over her and speaks to her. The sick old woman clutches her round the neck, and says, with a look of horror,

'Edith! we are going home soon; going back. You mean that I shall go home again?'

'Yes, mother, yes.'

'And what he said--what's-his-name, I never could remember names--Major--that dreadful word, when we came away--it's not true? Edith!' with a shriek and a stare, 'it's not that that is the matter with me.'

Night after night, the lights burn in the window, and the figure lies upon the bed, and Edith sits beside it, and the restless waves are calling to them both the whole night long. Night after night, the waves are hoarse with repetition of their mystery; the dust lies piled upon the shore; the sea-birds soar and hover; the winds and clouds are on their trackless flight; the white arms beckon, in the moonlight, to the invisible country far away.

And still the sick old woman looks into the corner, where the stone arm--part of a figure of some tomb, she says--is raised to strike her. At last it falls; and then a dumb old woman lies upon the the bed, and she is crooked and shrunk up, and half of her is dead.

Such is the figure, painted and patched for the sun to mock, that is drawn slowly through the crowd from day to day; looking, as it goes, for the good old creature who was such a mother, and making mouths as it peers among the crowd in vain. Such is the figure that is often wheeled down to the margin of the sea, and stationed there; but on which no wind can blow freshness, and for which the murmur of the ocean has no soothing word. She lies and listens to it by the hour; but its speech is dark and gloomy to her, and a dread is on her face, and when her eyes wander over the expanse, they see but a broad stretch of desolation between earth and heaven.

Florence she seldom sees, and when she does, is angry with and mows at. Edith is beside her always, and keeps Florence away; and Florence, in her bed at night, trembles at the thought of death in such a shape, and often wakes and listens, thinking it has come. No one attends on her but Edith. It is better that few eyes should see her; and her daughter watches alone by the bedside.

A shadow even on that shadowed face, a sharpening even of the sharpened features, and a thickening of the veil before the eyes into a pall that shuts out the dim world, is come. Her wandering hands upon the coverlet join feebly palm to palm, and move towards her daughter; and a voice not like hers, not like any voice that speaks our mortal language--says, 'For I nursed you!'

Edith, without a tear, kneels down to bring her voice closer to the sinking head, and answers:

'Mother, can you hear me?'

Staring wide, she tries to nod in answer.

'Can you recollect the night before I married?'

The head is motionless, but it expresses somehow that she does.

'I told you then that I forgave your part in it, and prayed God to forgive my own. I told you that time past was at an end between us. I say so now, again. Kiss me, mother.'

Edith touches the white lips, and for a moment all is still. A moment afterwards, her mother, with her girlish laugh, and the skeleton of the Cleopatra manner, rises in her bed.

Draw the rose-coloured curtains. There is something else upon its flight besides the wind and clouds. Draw the rose-coloured curtains close!