Reprinted Pieces, Charles Dickens [little red riding hood read aloud .TXT] 📗

I never could, by my uttermost efforts, for some weeks, present the outside of that prison to myself (which the terrible impression I had received continually obliged me to do) without presenting it with the two figures still hanging in the morning air. Until, strolling past the gloomy place one night, when the street was deserted and quiet, and actually seeing that the bodies were not there, my fancy was persuaded, as it were, to take them down and bury them within the precincts of the jail, where they have lain ever since.

 

The balloon ascents of last season. Let me reckon them up. There were the horse, the bull, the parachute, - and the tumbler hanging on - chiefly by his toes, I believe - below the car. Very wrong, indeed, and decidedly to be stopped. But, in connexion with these and similar dangerous exhibitions, it strikes me that that portion of the public whom they entertain, is unjustly reproached. Their pleasure is in the difficulty overcome. They are a public of great faith, and are quite confident that the gentleman will not fall off the horse, or the lady off the bull or out of the parachute, and that the tumbler has a firm hold with his toes. They do not go to see the adventurer vanquished, but triumphant. There is no parallel in public combats between men and beasts, because nobody can answer for the particular beast - unless it were always the same beast, in which case it would be a mere stage-show, which the same public would go in the same state of mind to see, entirely believing in the brute being beforehand safely subdued by the man.

That they are not accustomed to calculate hazards and dangers with any nicety, we may know from their rash exposure of themselves in overcrowded steamboats, and unsafe conveyances and places of all kinds. And I cannot help thinking that instead of railing, and attributing savage motives to a people naturally well disposed and humane, it is better to teach them, and lead them argumentatively and reasonably - for they are very reasonable, if you will discuss a matter with them - to more considerate and wise conclusions.

 

This is a disagreeable intrusion! Here is a man with his throat cut, dashing towards me as I lie awake! A recollection of an old story of a kinsman of mine, who, going home one foggy winter night to Hampstead, when London was much smaller and the road lonesome, suddenly encountered such a figure rushing past him, and presently two keepers from a madhouse in pursuit. A very unpleasant creature indeed, to come into my mind unbidden, as I lie awake.

 

- The balloon ascents of last season. I must return to the balloons. Why did the bleeding man start out of them? Never mind; if I inquire, he will be back again. The balloons. This particular public have inherently a great pleasure in the contemplation of physical difficulties overcome; mainly, as I take it, because the lives of a large majority of them are exceedingly monotonous and real, and further, are a struggle against continual difficulties, and further still, because anything in the form of accidental injury, or any kind of illness or disability is so very serious in their own sphere. I will explain this seeming paradox of mine. Take the case of a Christmas Pantomime. Surely nobody supposes that the young mother in the pit who falls into fits of laughter when the baby is boiled or sat upon, would be at all diverted by such an occurrence off the stage. Nor is the decent workman in the gallery, who is transported beyond the ignorant present by the delight with which he sees a stout gentleman pushed out of a two pair of stairs window, to be slandered by the suspicion that he would be in the least entertained by such a spectacle in any street in London, Paris, or New York. It always appears to me that the secret of this enjoyment lies in the temporary superiority to the common hazards and mischances of life; in seeing casualties, attended when they really occur with bodily and mental suffering, tears, and poverty, happen through a very rough sort of poetry without the least harm being done to any one -

the pretence of distress in a pantomime being so broadly humorous as to be no pretence at all. Much as in the comic fiction I can understand the mother with a very vulnerable baby at home, greatly relishing the invulnerable baby on the stage, so in the Cremorne reality I can understand the mason who is always liable to fall off a scaffold in his working jacket and to be carried to the hospital, having an infinite admiration of the radiant personage in spangles who goes into the clouds upon a bull, or upside down, and who, he takes it for granted - not reflecting upon the thing - has, by uncommon skill and dexterity, conquered such mischances as those to which he and his acquaintance are continually exposed.

 

I wish the Morgue in Paris would not come here as I lie awake, with its ghastly beds, and the swollen saturated clothes hanging up, and the water dripping, dripping all day long, upon that other swollen saturated something in the corner, like a heap of crushed over-ripe figs that I have seen in Italy! And this detestable Morgue comes back again at the head of a procession of forgotten ghost stories.

This will never do. I must think of something else as I lie awake; or, like that sagacious animal in the United States who recognised the colonel who was such a dead shot, I am a gone ‘Coon. What shall I think of? The late brutal assaults. Very good subject.

The late brutal assaults.

 

(Though whether, supposing I should see, here before me as I lie awake, the awful phantom described in one of those ghost stories, who, with a head-dress of shroud, was always seen looking in through a certain glass door at a certain dead hour - whether, in such a case it would be the least consolation to me to know on philosophical grounds that it was merely my imagination, is a question I can’t help asking myself by the way.) The late brutal assaults. I strongly question the expediency of advocating the revival of whipping for those crimes. It is a natural and generous impulse to be indignant at the perpetration of inconceivable brutality, but I doubt the whipping panacea gravely.

Not in the least regard or pity for the criminal, whom I hold in far lower estimation than a mad wolf, but in consideration for the general tone and feeling, which is very much improved since the whipping times. It is bad for a people to be familiarised with such punishments. When the whip went out of Bridewell, and ceased to be flourished at the carts tail and at the whipping-post, it began to fade out of madhouses, and workhouses, and schools and families, and to give place to a better system everywhere, than cruel driving. It would be hasty, because a few brutes may be inadequately punished, to revive, in any aspect, what, in so many aspects, society is hardly yet happily rid of. The whip is a very contagious kind of thing, and difficult to confine within one set of bounds. Utterly abolish punishment by fine - a barbarous device, quite as much out of date as wager by battle, but particularly connected in the vulgar mind with this class of offence - at least quadruple the term of imprisonment for aggravated assaults - and above all let us, in such cases, have no Pet Prisoning, vain glorifying, strong soup, and roasted meats, but hard work, and one unchanging and uncompromising dietary of bread and water, well or ill; and we shall do much better than by going down into the dark to grope for the whip among the rusty fragments of the rack, and the branding iron, and the chains and gibbet from the public roads, and the weights that pressed men to death in the cells of Newgate.

 

I had proceeded thus far, when I found I had been lying awake so long that the very dead began to wake too, and to crowd into my thoughts most sorrowfully. Therefore, I resolved to lie awake no more, but to get up and go out for a night walk - which resolution was an acceptable relief to me, as I dare say it may prove now to a great many more.

THE GHOST OF ART

I AM a bachelor, residing in rather a dreary set of chambers in the Temple. They are situated in a square court of high houses, which would be a complete well, but for the want of water and the absence of a bucket. I live at the top of the house, among the tiles and sparrows. Like the little man in the nursery-story, I live by myself, and all the bread and cheese I get - which is not much - I put upon a shelf. I need scarcely add, perhaps, that I am in love, and that the father of my charming Julia objects to our union.

 

I mention these little particulars as I might deliver a letter of introduction. The reader is now acquainted with me, and perhaps will condescend to listen to my narrative.

 

I am naturally of a dreamy turn of mind; and my abundant leisure -

for I am called to the Bar - coupled with much lonely listening to the twittering of sparrows, and the pattering of rain, has encouraged that disposition. In my ‘top set’ I hear the wind howl on a winter night, when the man on the ground floor believes it is perfectly still weather. The dim lamps with which our Honourable Society (supposed to be as yet unconscious of the new discovery called Gas) make the horrors of the staircase visible, deepen the gloom which generally settles on my soul when I go home at night.

 

I am in the Law, but not of it. I can’t exactly make out what it means. I sit in Westminster Hall sometimes (in character) from ten to four; and when I go out of Court, I don’t know whether I am standing on my wig or my boots.

 

It appears to me (I mention this in confidence) as if there were too much talk and too much law - as if some grains of truth were started overboard into a tempestuous sea of chaff.

 

All this may make me mystical. Still, I am confident that what I am going to describe myself as having seen and heard, I actually did see and hear.

 

It is necessary that I should observe that I have a great delight in pictures. I am no painter myself, but I have studied pictures and written about them. I have seen all the most famous pictures in the world; my education and reading have been sufficiently general to possess me beforehand with a knowledge of most of the subjects to which a Painter is likely to have recourse; and, although I might be in some doubt as to the rightful fashion of the scabbard of King Lear’s sword, for instance, I think I should know King Lear tolerably well, if I happened to meet with him.

 

I go to all the Modern Exhibitions every season, and of course I revere the Royal Academy. I stand by its forty Academical articles almost as firmly as I stand by the thirty-nine Articles of the Church of England. I am convinced that in neither case could there be, by any rightful possibility, one article more or less.

 

It is now exactly three years - three years ago, this very month