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Barnaby Rudge

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Barnaby Rudge was written by Dickens in the spring and first flowing tide of his popularity; it came immediately after The Old Curiosity Shop, and only a short time after Pickwick. Dickens was one of those rare but often very sincere men in whom the high moment of success almost coincides with the high moment of youth. The calls upon him at this time were insistent and overwhelming; this necessarily happens at a certain stage of a successful writer's career. He was just successful enough to invite offers and not successful enough to reject them. At the beginning of his career he could throw himself into Pickwick because there was nothing else to throw himself into. At the end of his life he could throw himself into A Tale of Two Cities, because he refused to throw himself into anything else. But there was an intervening period, early in his life, when there was almost too much work for his imagination, and yet not quite enough work for his housekeeping. To this period Barnaby Rudge belongs. And it is a curious tribute to the quite curious greatness of Dickens that in this period of youthful strain we do not feel the strain but feel only the youth. His own amazing wish to write equalled or outstripped even his readers' amazing wish to read. Working too hard did not cure him of his abstract love of work. Unreasonable publishers asked him to write ten novels at once; but he wanted to write twenty novels at once. All this period is strangely full of his own sense at once of fertility and of futility; he did work which no one else could have done, and yet he could not be certain as yet that he was anybody.

Barnaby Rudge marks this epoch because it marks the fact that he is still confused about what kind of person he is going to be. He has already struck the note of the normal romance in Nicholas Nickleby; he has already created some of his highest comic characters in Pickwick and The Old Curiosity Shop, but here he betrays the fact that it is still a question what ultimate guide he shall follow. Barnaby Rudge is a romantic, historical novel. Its design reminds us of Scott; some parts of its fulfilment remind us, alas! of Harrison Ainsworth. It is a very fine romantic historical novel; Scott would have been proud of it. But it is still so far different from the general work of Dickens that it is permissible to wonder how far Dickens was proud of it. The book, effective as it is, is almost entirely devoted to dealings with a certain artistic element, which (in its mere isolation) Dickens did not commonly affect; an element which many men of infinitely less genius have often seemed to affect more successfully; I mean the element of the picturesque.

It is the custom in many quarters to speak somewhat sneeringly of that element which is broadly called the picturesque. It is always felt to be an inferior, a vulgar, and even an artificial form of art. Yet two things may be remarked about it. The first is that, with few exceptions, the greatest literary artists have been not only particularly clever at the picturesque, but particularly fond of it. Shakespeare, for instance, delighted in certain merely pictorial contrasts which are quite distinct from, even when they are akin to, the spiritual view involved. For instance, there is admirable satire in the idea of Touchstone teaching worldly wisdom and worldly honour to the woodland yokels. There is excellent philosophy in the idea of the fool being the representative of civilisation in the forest. But quite apart from this deeper meaning in the incident, the mere figure of the jester, in his bright motley and his cap and bells, against the green background of the forest and the rude forms of the shepherds, is a strong example of the purely picturesque. There is excellent tragic irony in the confrontation of the melancholy philosopher among the tombs with the cheerful digger of the graves. It sums up the essential point, that dead bodies can be comic; it is only dead souls that can be tragic. But quite apart from such irony, the mere picture of the grotesque gravedigger, the black-clad prince, and the skull is a picture in the strongest sense picturesque. Caliban and the two shipwrecked drunkards are an admirable symbol; but they are also an admirable scene. Bottom, with the ass's head, sitting in a ring of elves, is excellent moving comedy, but also excellent still life. Falstaff with his huge body, Bardolph with his burning nose, are masterpieces of the pen; but they would be fine sketches even for the pencil. King Lear, in the storm, is a landscape as well as a character study. There is something decorative even about the insistence on the swarthiness of Othello, or the deformity of Richard III. Shakespeare 's work is much more than picturesque; but it is picturesque. And the same which is said here of him by way of example is largely true of the highest class of literature. Dante's Divine Comedy is supremely important as a philosophy; but it is important merely as a panorama. Spenser's Faery Queen pleases us as an allegory; but it would please us even as a wall-paper. Stronger still is the case of Chaucer who loved the pure picturesque, which always includes something of what we commonly call the ugly. The huge stature and startling scarlet face of the Sompnour is in just the same spirit as Shakespeare's skulls and motley; the same spirit gave Chaucer's miller bagpipes, and clad his doctor in crimson. It is the spirit which, while making many other things, loves to make a picture.

Now the second thing to be remarked in apology for the picturesque is, that the very thing which makes it seem trivial ought really to make it seem important; I mean the fact that it consists necessarily of contrasts. It brings together types that stand out from their background, but are abruptly different from each other, like the clown among the fairies or the fool in the forest. And his audacious reconciliation is a mark not of frivolity but of extreme seriousness. A man who deals in harmonies, who only matches stars with angels or lambs with spring flowers, he indeed may be frivolous; for he is taking one mood at a time, and perhaps forgetting each mood as it passes. But a man who ventures to combine an angel and an octopus must have some serious view of the universe. The man who should write a dialogue between two early Christians might be a mere writer of dialogues. But a man who should write a dialogue between an early Christian and the Missing Link would have to be a philosopher. The more widely different the types talked of, the more serious and universal must be the philosophy which talks of them. The mark of the light and thoughtless writer is the harmony of his subject matter; the mark of the thoughtful writer is its apparent diversity. The most flippant lyric poet might write a pretty poem about lambs; but it requires something bolder and graver than a poet, it requires an ecstatic prophet, to talk about the lion lying down with the lamb.

Dickens, at any rate, strongly supports this conception: that great literary men as such do not despise the purely pictorial. No man's works have so much the quality of illustrating themselves. Few men's works have been more thoroughly and eagerly illustrated; few men's works can it have been better fun to illustrate. As a rule this fascinating quality in the mere fantastic figures of the tale was inseparable from their farcical quality in the tale. Stiggins's red nose is distinctly connected with the fact that he is a member of the Ebenezer Temperance Association; Quilp is little, because a little of him goes a long way. Mr. Carker smiles and smiles and is a villain; Mr. Chadband is fat because in his case to be fat is to be hated. The story is immeasurably more important than the picture; it is not mere indulgence in the picturesque. Generally it is an intellectual love of the comic; not a pure love of the grotesque.

But in one book Dickens suddenly confesses that he likes the grotesque even without the comic In one case he makes clear that he enjoys pure pictures with a pure love of the picturesque. That place is Barnaby Rudge. There had indeed been hints of it in many episodes in his books; notably, for example, in that fine scene of the death of Quilp -- a scene in which the dwarf remains fantastic long after he has ceased to be in any way funny. Still, the dwarf was meant to be funny. Humour of a horrible kind, but still humour, is the purpose of Quilp's existence and position in the book. Laughter is the object of all his oddities. But laughter is not the object of Barnaby Rudge's oddities. His i***t costume and his ugly raven are used for the purpose of the pure grotesque; solely to make a certain kind of Gothic sketch.

It is commonly this love of pictures that drives men back upon the historical novel. But it is very typical of Dickens's living interest in his own time, that though he wrote two historical novels they were neither of them of very ancient history. They were both, indeed, of very recent history; only they were those parts of recent history which were specially picturesque. I do not think that this was due to any mere consciousness on his part that he knew no history. Undoubtedly he knew no history; and he may or may not have been conscious of the fact. But the consciousness did not prevent him from writing a History of England. Nor did it prevent him from interlarding all or any of his works with tales of the pictorial past, such as the tale of the broken swords in Master Humphrey's Clock, or the indefensibly delightful nightmare of the lady in the stage-coach, which helps to soften the amiable end of Pickwick. Neither, worst of all, did it prevent him from dogmatising anywhere and everywhere about the past, of which he knew nothing; it did not prevent him from telling the bells to tell Trotty Veck that the Middle Ages were a failure, nor from solemnly declaring that the best thing that the medi*** monks ever did was to create the mean and snobbish quietude of a modern cathedral city. No, it was not historical reverence that held him back from dealing with the remote past; but rather something much better -- a living interest in the living century in which he was born. He would have thought himself quite intellectually capable of writing a novel about the Council of Trent or the First Crusade. He would have thought himself quite equal to analysing the psychology of Abelard or giving a bright, satiric sketch of St. Augustine. It must frankly be confessed that it was not a sense of his own unworthiness that held him back; I fear it was rather a sense of St. Augustine's unworthiness. He could not see the point of any history before the first slow swell of the French Revolution. He could understand the revolutions of the eighteenth century; all the other revolutions of history (so many and so splendid) were unmeaning to him. But the revolutions of the eighteenth century he did understand; and to them therefore he went back, as all historical novelists go back, in search of the picturesque. And from this fact an important result follows,

The result that follows is this: that his only two historical novels are both tales of revolutions -- of eighteenth-century revolutions. These two eighteenth-century revolutions may seem to differ, and perhaps do differ in everything except in being revolutions and of the eighteenth century. The French Revolution, which is the theme of A Tale of Two Cities, was a revolt in favour of all that is now called enlightenment and liberation. The great Gordon Riot, which is the theme of Barnaby Rudge, was a revolt in favour of something which would now be called mere ignorant and obscurantist Protestantism. Nevertheless both belonged more typically to the age out of which Dickens came -- the great sceptical and yet creative eighteenth century of Europe. Whether the mob rose on the right side or the wrong they both belonged to the time in which a mob could rise, in which a mob could conquer. No growth of intellectual science or of moral cowardice had made it impossible to fight in the streets, whether for the republic or for the Bible. If we wish to know what was the real link, existing actually in ultimate truth, existing unconsciously in Dickens's mind, which connected the Gordon Riots with the French Revolution, the link may be defined though not with any great adequacy. The nearest and truest way of stating it is that neither of the two could possibly happen in Fleet Street to-morrow evening.

Another point of resemblance between the two books might be found in the fact that they both contain the sketch of the same kind of eighteenth-century aristocrat, if indeed that kind of aristocrat really existed in the eighteenth century. The diabolical dandy with the rapier and the sneer is at any rate a necessity of all normal plays and romances; hence Mr. Chester has a right to exist in this romance, and Foulon a right to exist in a page of history almost as cloudy and disputable as a romance. What Dickens and other romancers do probably omit from the picture of the eighteenth-century oligarch is probably his liberality. It must never be forgotten that even when he was a despot in practice he was generally a liberal in theory. Dickens and romancers make the pre-revolution tyrant a sincere believer in tyranny; generally he was not. He was a sceptic about everything, even about his own position. The romantic Foulon says of the people, "Let them eat grass," with bitter and deliberate contempt. The real Foulon (if he ever said it at all) probably said it as a sort of dreary joke because he could n't think of any other way out of the problem. Similarly Mr. Chester, a cynic as he is, believes seriously in the beauty of being a gentleman; a real man of that type probably disbelieved in that as in everything else. Dickens was too bracing, one may say too bouncing himself to understand the psychology of fatigue in a protected and leisured class. He could understand a tyrant like Quilp, a tyrant who is on his throne because he has climbed up into it, like a monkey. He could not understand a tyrant who is on his throne because he is too weary to get out of it. The old aristocrats were in a dead way quite good-natured. They were even humanitarians; which perhaps accounts for the extent to which they roused against themselves the healthy hatred of humanity. But they were tired humanitarians; tired with doing nothing. Figures like that of Mr. Chester, therefore, fail somewhat to give the true sense of something hopeless and helpless which led men to despair of the upper class. He has a boyish pleasure in play-acting; he has an interest in life; being a villain is his hobby. But the true man of that type had found all hobbies fail him He had wearied of himself as he had wearied of a hundred women. He was graceful and could not even admire himself in the glass. He was witty and could not even laugh at his own jokes. Dickens could never understand tedium.

There is no mark more strange and perhaps sinister of the interesting and not very sane condition of our modern literature, than the fact that tedium has been admirably described in it. Our best modern writers are never so exciting as they are about dulness. Mr. Rudyard Kipling is never so powerful as when he is painting yawning deserts, aching silences, sleepless nights, or infernal isolation. The excitement in one of the stories of Mr. Henry James becomes tense, thrilling, arid almost intolerable in all the half hours during which nothing whatever is said or done We are entering again into the mind, into the real mind of Foulon and Mr. Chester. We begin to understand the deep despair of those tyrants whom our fathers pulled down. But Dickens could never have understood that despair; it was not in his soul. And it is an interesting coincidence that here, in this book of Barnaby Rudge, there is a character meant to be wholly grotesque, who, nevertheless, expresses much of that element in Dickens which prevented him from being a true interpreter of the tired and sceptical aristocrat.

Sim Tappertit is a fool, but a perfectly honourable fool. It requires some sincerity to pose. Posing means that one has not dried up in oneself all the youthful and innocent vanities with the slow paralysis of mere pride. Posing means that one is still fresh enough to enjoy the good opinion of one's fellows. On the other hand, the true cynic has not enough truth in him to attempt affectation; he has never even seen the truth, far less tried to imitate it. Now we might very well take the type of Mr. Chester on the one hand, and of Sim Tappertit on the other, as marking the issue, the conflict, and the victory which really ushered in the nineteenth century. Dickens was very like Sim Tappertit. The Liberal Revolution was very like a Sim Tappertit revolution. It was vulgar, it was overdone, it was absurd, but it was alive. Dickens was vulgar, was absurd, overdid everything, but he was alive. The aristocrats were perfectly correct, but quite dead; dead long before they were guillotined. The classics and critics who lamented that Dickens was no gentleman were quite right, but quite dead. The revolution thought itself rational; but so did Sim Tappertit. It was really a huge revolt of romanticism against a reason which had grown sick even of itself. Sim Tappertit rose against Mr. Chester; and, thank God! he put his foot upon his neck.

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The Maypoleby which term from henceforth is meant the house, and not its signthe Maypole was an old building, with more gable ends than a lazy man would care to count on a sunny day; huge zig-zag chimneys, out of which it seemed as though even smoke could not choose but come in more than naturally fantastic shapes, imparted to it in its tortuous progress; and vast stables, gloomy, ruinous, and empty. The place was said to have been built in the days of King Henry the Eighth; and there was a legend, not only that Queen Elizabeth had slept there one night while upon a hunting excursion, to wit, in a certain oak-panelled room with a deep bay window, but that next morning, while standing on a mounting block before the door with one foot in the stirrup, the virgin monarch had then and there boxed and cuffed an unlucky page for some neglect of duty. The matter-of-fact and doubtful folks, of whom there were a few among the Maypole customers, as unluckily there always are in every little community, were inclined to look upon this tradition as rather apocryphal; but, whenever the landlord of that ancient hostelry appealed to the mounting block itself as evidence, and triumphantly pointed out that there it stood in the same place to that very day, the doubters never failed to be put down by a large majority, and all true believers exulted as in a victory. Whether these, and many other stories of the like nature, were true or untrue, the Maypole was really an old house, a very old house, perhaps as old as it claimed to be, and perhaps older, which will sometimes happen with houses of an uncertain, as with ladies of a certain, age. Its windows were old diamond-pane lattices, its floors were sunken and uneven, its ceilings blackened by the hand of time, and heavy with massive beams. Over the doorway was an ancient porch, quaintly and grotesquely carved; and here on summer evenings the more favoured customers smoked and drankAye, and sang many a good song too, sometimesreposing on two grim-looking high-backed settles, which, like the twin dragons of some fairy tale, guarded the entrance to the mansion. In the chimneys of the disused rooms, swallows had built their nests for many a long year, and from earliest spring to latest autumn whole colonies of sparrows chirped and twittered in the eaves. There were more pigeons about the dreary stable-yard and out-buildings than anybody but the landlord could reckon up. The wheeling and circling flights of runts, fantails, tumblers, and pouters, were perhaps not quite consistent with the grave and sober character of the building, but the monotonous cooing, which never ceased to be raised by some among them all day long, suited it exactly, and seemed to lull it to rest. With its overhanging stories, drowsy little panes of glass, and front bulging out and projecting over the pathway, the old house looked as if it were nodding in its sleep. Indeed, it needed no very great stretch of fancy to detect in it other resemblances to humanity. The bricks of which it was built had originally been a deep dark red, but had grown yellow and discoloured like an old mans skin; the sturdy timbers had decayed like teeth; and here and there the ivy, like a warm garment to comfort it in its age, wrapped its green leaves closely round the time-worn walls. It was a hale and hearty age though, still: and in the summer or autumn evenings, when the glow of the setting sun fell upon the oak and chestnut trees of the adjacent forest, the old house, partaking of its lustre, seemed their fit companion, and to have many good years of life in him yet. The evening with which we have to do, was neither a summer nor an autumn one, but the twilight of a day in March, when the wind howled dismally among the bare branches of the trees, and rumbling in the wide chimneys and driving the rain against the windows of the Maypole Inn, gave such of its frequenters as chanced to be there at the moment an undeniable reason for prolonging their stay, and caused the landlord to prophesy that the night would certainly clear at eleven oclock precisely,which by a remarkable coincidence was the hour at which he always closed his house. The name of him upon whom the spirit of prophecy thus descended was John Willet, a burly, large-headed man with a fat face, which betokened profound obstinacy and slowness of apprehension, combined with a very strong reliance upon his own merits. It was John Willets ordinary boast in his more placid moods that if he were slow he was sure; which assertion could, in one sense at least, be by no means gainsaid, seeing that he was in everything unquestionably the reverse of fast, and withal one of the most dogged and positive fellows in existencealways sure that what he thought or said or did was right, and holding it as a thing quite settled and ordained by the laws of nature and Providence, that anybody who said or did or thought otherwise must be inevitably and of necessity wrong. Mr Willet walked slowly up to the window, flattened his fat nose against the cold glass, and shading his eyes that his sight might not be affected by the ruddy glow of the fire, looked abroad. Then he walked slowly back to his old seat in the chimney-corner, and, composing himself in it with a slight shiver, such as a man might give way to and so acquire an additional relish for the warm blaze, said, looking round upon his guests, Itll clear at eleven oclock. No sooner and no later. Not before and not arterwards. How do you make out that? said a little man in the opposite corner. The moon is past the full, and she rises at nine. John looked sedately and solemnly at his questioner until he had brought his mind to bear upon the whole of his observation, and then made answer, in a tone which seemed to imply that the moon was peculiarly his business and nobody elses, Never you mind about the moon. Dont you trouble yourself about her. You let the moon alone, and Ill let you alone. No offence I hope? said the little man. Again John waited leisurely until the observation had thoroughly penetrated to his brain, and then replying, No offence as yet, applied a light to his pipe and smoked in placid silence; now and then casting a sidelong look at a man wrapped in a loose riding- coat with huge cuffs ornamented with tarnished silver lace and large metal buttons, who sat apart from the regular frequenters of the house, and wearing a hat flapped over his face, which was still further shaded by the hand on which his forehead rested, looked unsociable enough. There was another guest, who sat, booted and spurred, at some distance from the fire also, and whose thoughtsto judge from his folded arms and knitted brows, and from the untasted liquor before himwere occupied with other matters than the topics under discussion or the persons who discussed them. This was a young man of about eight-and-twenty, rather above the middle height, and though of somewhat slight figure, gracefully and strongly made. He wore his own dark hair, and was accoutred in a riding dress, which together with his large boots (resembling in shape and fashion those worn by our Life Guardsmen at the present day), showed indisputable traces of the bad condition of the roads. But travel- stained though he was, he was well and even richly attired, and without being overdressed looked a gallant gentleman. Lying upon the table beside him, as he had carelessly thrown them down, were a heavy riding-whip and a slouched hat, the latter worn no doubt as being best suited to the inclemency of the weather. There, too, were a pair of pistols in a holster-case, and a short riding-cloak. Little of his face was visible, except the long dark lashes which concealed his downcast eyes, but an air of careless ease and natural gracefulness of demeanour pervaded the figure, and seemed to comprehend even those slight accessories, which were all handsome, and in good keeping. Towards this young gentleman the eyes of Mr Willet wandered but once, and then as if in mute inquiry whether he had observed his silent neighbour. It was plain that John and the young gentleman had often met before. Finding that his look was not returned, or indeed observed by the person to whom it was addressed, John gradually concentrated the whole power of his eyes into one focus, and brought it to bear upon the man in the flapped hat, at whom he came to stare in course of time with an intensity so remarkable, that it affected his fireside cronies, who all, as with one accord, took their pipes from their lips, and stared with open mouths at the stranger likewise. The sturdy landlord had a large pair of dull fish-like eyes, and the little man who had hazarded the remark about the moon (and who was the parish-clerk and bell-ringer of Chigwell, a village hard by) had little round black shiny eyes like beads; moreover this little man wore at the knees of his rusty black breeches, and on his rusty black coat, and all down his long flapped waistcoat, little queer buttons like nothing except his eyes; but so like them, that as they twinkled and glistened in the light of the fire, which shone too in his bright shoe-buckles, he seemed all eyes from head to foot, and to be gazing with every one of them at the unknown customer. No wonder that a man should grow restless under such an inspection as this, to say nothing of the eyes belonging to short Tom Cobb the general chandler and post-office keeper, and long Phil Parkes the ranger, both of whom, infected by the example of their companions, regarded him of the flapped hat no less attentively. The stranger became restless; perhaps from being exposed to this raking fire of eyes, perhaps from the nature of his previous meditationsmost probably from the latter cause, for as he changed his position and looked hastily round, he started to find himself the object of such keen regard, and darted an angry and suspicious glance at the fireside group. It had the effect of immediately diverting all eyes to the chimney, except those of John Willet, who finding himself as it were, caught in the fact, and not being (as has been already observed) of a very ready nature, remained staring at his guest in a particularly awkward and disconcerted manner. Well? said the stranger. Well. There was not much in well. It was not a long speech. I thought you gave an order, said the landlord, after a pause of two or three minutes for consideration. The stranger took off his hat, and disclosed the hard features of a man of sixty or thereabouts, much weather-beaten and worn by time, and the naturally harsh expression of which was not improved by a dark handkerchief which was bound tightly round his head, and, while it served the purpose of a wig, shaded his forehead, and almost hid his eyebrows. If it were intended to conceal or divert attention from a deep gash, now healed into an ugly seam, which when it was first inflicted must have laid bare his cheekbone, the object was but indifferently attained, for it could scarcely fail to be noted at a glance. His complexion was of a cadaverous hue, and he had a grizzly jagged beard of some three weeks date. Such was the figure (very meanly and poorly clad) that now rose from the seat, and stalking across the room sat down in a corner of the chimney, which the politeness or fears of the little clerk very readily assigned to him. A highwayman! whispered Tom Cobb to Parkes the ranger. Do you suppose highwaymen dont dress handsomer than that? replied Parkes. Its a better business than you think for, Tom, and highwaymen dont need or use to be shabby, take my word for it. Meanwhile the subject of their speculations had done due honour to the house by calling for some drink, which was promptly supplied by the landlords son Joe, a broad-shouldered strapping young fellow of twenty, whom it pleased his father still to consider a little boy, and to treat accordingly. Stretching out his hands to warm them by the blazing fire, the man turned his head towards the company, and after running his eye sharply over them, said in a voice well suited to his appearance, What house is that which stands a mile or so from here? Public-house? said the landlord, with his usual deliberation. Public-house, father! exclaimed Joe, wheres the public-house within a mile or so of the Maypole? He means the great housethe Warrennaturally and of course. The old red brick house, sir, that stands in its own grounds? Aye, said the stranger. And that fifteen or twenty years ago stood in a park five times as broad, which with other and richer property has bit by bit changed hands and dwindled awaymores the pity! pursued the young man. Maybe, was the reply. But my question related to the owner. What it has been I dont care to know, and what it is I can see for myself. The heir-apparent to the Maypole pressed his finger on his lips, and glancing at the young gentleman already noticed, who had changed his attitude when the house was first mentioned, replied in a lower tone, The owners name is Haredale, Mr Geoffrey Haredale, andagain he glanced in the same direction as beforeand a worthy gentleman toohem! Paying as little regard to this admonitory cough, as to the significant gesture that had preceded it, the stranger pursued his questioning. I turned out of my way coming here, and took the footpath that crosses the grounds. Who was the young lady that I saw entering a carriage? His daughter? Why, how should I know, honest man? replied Joe, contriving in the course of some arrangements about the hearth, to advance close to his questioner and pluck him by the sleeve, I didnt see the young lady, you know. Whew! Theres the wind againand rain well it is a night! Rough weather indeed! observed the strange man. Youre used to it? said Joe, catching at anything which seemed to promise a diversion of the subject. Pretty well, returned the other. About the young ladyhas Mr Haredale a daughter? No, no, said the young fellow fretfully, hes a single gentlemanhesbe quiet, cant you, man? Dont you see this talk is not relished yonder? Regardless of this whispered remonstrance, and affecting not to hear it, his tormentor provokingly continued, Single men have had daughters before now. Perhaps she may be his daughter, though he is not married. What do you mean? said Joe, adding in an undertone as he approached him again, Youll come in for it presently, I know you will! I mean no harmreturned the traveller boldly, and have said none that I know of. I ask a few questionsas any stranger may, and not unnaturallyabout the inmates of a remarkable house in a neighbourhood which is new to me, and you are as aghast and disturbed as if I were talking treason against King George. Perhaps you can tell me why, sir, for (as I say) I am a stranger, and this is Greek to me? The latter observation was addressed to the obvious cause of Joe Willets discomposure, who had risen and was adjusting his riding- cloak preparatory to sallying abroad. Briefly replying that he could give him no information, the young man beckoned to Joe, and handing him a piece of money in payment of his reckoning, hurried out attended by young Willet himself, who taking up a candle followed to light him to the house-door. While Joe was absent on this errand, the elder Willet and his three companions continued to smoke with profound gravity, and in a deep silence, each having his eyes fixed on a huge copper boiler that was suspended over the fire. After some time John Willet slowly shook his head, and thereupon his friends slowly shook theirs; but no man withdrew his eyes from the boiler, or altered the solemn expression of his countenance in the slightest degree. At length Joe returnedvery talkative and conciliatory, as though with a strong presentiment that he was going to be found fault with. Such a thing as love is! he said, drawing a chair near the fire, and looking round for sympathy. He has set off to walk to London,all the way to London. His nag gone lame in riding out here this blessed afternoon, and comfortably littered down in our stable at this minute; and he giving up a good hot supper and our best bed, because Miss Haredale has gone to a masquerade up in town, and he has set his heart upon seeing her! I dont think I could persuade myself to do that, beautiful as she is,but then Im not in love (at least I dont think I am) and thats the whole difference. He is in love then? said the stranger. Rather, replied Joe. Hell never be more in love, and may very easily be less. Silence, sir! cried his father. What a chap you are, Joe! said Long Parkes. Such a inconsiderate lad! murmured Tom Cobb. Putting himself forward and wringing the very nose off his own fathers face! exclaimed the parish-clerk, metaphorically. What have I done? reasoned poor Joe. Silence, sir! returned his father, what do you mean by talking, when you see people that are more than two or three times your age, sitting still and silent and not dreaming of saying a word? Why thats the proper time for me to talk, isnt it? said Joe rebelliously. The proper time, sir! retorted his father, the proper times no time. Ah to be sure! muttered Parkes, nodding gravely to the other two who nodded likewise, observing under their breaths that that was the point. The proper times no time, sir, repeated John Willet; when I was your age I never talked, I never wanted to talk. I listened and improved myself thats what I did. And youd find your father rather a tough customer in argeyment, Joe, if anybody was to try and tackle him, said Parkes. For the matter o that, Phil! observed Mr Willet, blowing a long, thin, spiral cloud of smoke out of the corner of his mouth, and staring at it abstractedly as it floated away; For the matter o that, Phil, argeyment is a gift of Natur. If Natur has gifted a man with powers of argeyment, a man has a right to make the best of em, and has not a right to stand on false delicacy, and deny that he is so gifted; for that is a turning of his back on Natur, a flouting of her, a slighting of her precious caskets, and a proving of ones self to be a swine that isnt worth her scattering pearls before. The landlord pausing here for a very long time, Mr Parkes naturally concluded that he had brought his discourse to an end; and therefore, turning to the young man with some austerity, exclaimed, You hear what your father says, Joe? You wouldnt much like to tackle him in argeyment, Im thinking, sir. If, said John Willet, turning his eyes from the ceiling to the face of his interrupter, and uttering the monosyllable in capitals, to apprise him that he had put in his oar, as the vulgar say, with unbecoming and irreverent haste; If, sir, Natur has fixed upon me the gift of argeyment, why should I not own to it, and rather glory in the same? Yes, sir, I am a tough customer that way. You are right, sir. My toughness has been proved, sir, in this room many and many a time, as I think you know; and if you dont know, added John, putting his pipe in his mouth again, so much the better, for I ant proud and am not going to tell you. A general murmur from his three cronies, and a general shaking of heads at the copper boiler, assured John Willet that they had had good experience of his powers and needed no further evidence to assure them of his superiority. John smoked with a little more dignity and surveyed them in silence. Its all very fine talking, muttered Joe, who had been fidgeting in his chair with divers uneasy gestures. But if you mean to tell me that Im never to open my lips Silence, sir! roared his father. No, you never are. When your opinions wanted, you give it. When youre spoke to, you speak. When your opinions not wanted and youre not spoke to, dont you give an opinion and dont you speak. The worlds undergone a nice alteration since my time, certainly. My belief is that there ant any boys leftthat there isnt such a thing as a boythat theres nothing now between a male baby and a manand that all the boys went out with his blessed Majesty King George the Second. Thats a very true observation, always excepting the young princes, said the parish-clerk, who, as the representative of church and state in that company, held himself bound to the nicest loyalty. If its godly and righteous for boys, being of the ages of boys, to behave themselves like boys, then the young princes must be boys and cannot be otherwise. Did you ever hear tell of mermaids, sir? said Mr Willet. Certainly I have, replied the clerk. Very good, said Mr Willet. According to the constitution of mermaids, so much of a mermaid as is not a woman must be a fish. According to the constitution of young princes, so much of a young prince (if anything) as is not actually an angel, must be godly and righteous. Therefore if its becoming and godly and righteous in the young princes (as it is at their ages) that they should be boys, they are and must be boys, and cannot by possibility be anything else. This elucidation of a knotty point being received with such marks of approval as to put John Willet into a good humour, he contented himself with repeating to his son his command of silence, and addressing the stranger, said, If you had asked your questions of a grown-up personof me or any of these gentlemenyoud have had some satisfaction, and wouldnt have wasted breath. Miss Haredale is Mr Geoffrey Haredales niece. Is her father alive? said the man, carelessly. No, rejoined the landlord, he is not alive, and he is not dead Not dead! cried the other. Not dead in a common sort of way, said the landlord. The cronies nodded to each other, and Mr Parkes remarked in an undertone, shaking his head meanwhile as who should say, let no man contradict me, for I wont believe him, that John Willet was in amazing force to-night, and fit to tackle a Chief Justice. The stranger suffered a short pause to elapse, and then asked abruptly, What do you mean? More than you think for, friend, returned John Willet. Perhaps theres more meaning in them words than you suspect. Perhaps there is, said the strange man, gruffly; but what the devil do you speak in such mysteries for? You tell me, first, that a man is not alive, nor yet deadthen, that hes not dead in a common sort of waythen, that you mean a great deal more than I think for. To tell you the truth, you may do that easily; for so far as I can make out, you mean nothing. What do you mean, I ask again? That, returned the landlord, a little brought down from his dignity by the strangers surliness, is a Maypole story, and has been any time these four-and-twenty years. That story is Solomon Daisys story. It belongs to the house; and nobody but Solomon Daisy has ever told it under this roof, or ever shallthats more. The man glanced at the parish-clerk, whose air of consciousness and importance plainly betokened him to be the person referred to, and, observing that he had taken his pipe from his lips, after a very long whiff to keep it alight, and was evidently about to tell his story without further solicitation, gathered his large coat about him, and shrinking further back was almost lost in the gloom of the spacious chimney-corner, except when the flame, struggling from under a great faggot, whose weight almost crushed it for the time, shot upward with a strong and sudden glare, and illumining his figure for a moment, seemed afterwards to cast it into deeper obscurity than before. By this flickering light, which made the old room, with its heavy timbers and panelled walls, look as if it were built of polished ebonythe wind roaring and howling without, now rattling the latch and creaking the hinges of the stout oaken door, and now driving at the casement as though it would beat it inby this light, and under circumstances so auspicious, Solomon Daisy began his tale: It was Mr Reuben Haredale, Mr Geoffreys elder brother Here he came to a dead stop, and made so long a pause that even John Willet grew impatient and asked why he did not proceed. Cobb, said Solomon Daisy, dropping his voice and appealing to the post-office keeper; what day of the month is this? The nineteenth. Of March, said the clerk, bending forward, the nineteenth of March; thats very strange. In a low voice they all acquiesced, and Solomon went on, It was Mr Reuben Haredale, Mr Geoffreys elder brother, that twenty-two years ago was the owner of the Warren, which, as Joe has saidnot that you remember it, Joe, for a boy like you cant do that, but because you have often heard me say sowas then a much larger and better place, and a much more valuable property than it is now. His lady was lately dead, and he was left with one childthe Miss Haredale you have been inquiring aboutwho was then scarcely a year old. Although the speaker addressed himself to the man who had shown so much curiosity about this same family, and made a pause here as if expecting some exclamation of surprise or encouragement, the latter made no remark, nor gave any indication that he heard or was interested in what was said. Solomon therefore turned to his old companions, whose noses were brightly illuminated by the deep red glow from the bowls of their pipes; assured, by long experience, of their attention, and resolved to show his sense of such indecent behaviour. Mr Haredale, said Solomon, turning his back upon the strange man, left this place when his lady died, feeling it lonely like, and went up to London, where he stopped some months; but finding that place as lonely as thisas I suppose and have always heard sayhe suddenly came back again with his little girl to the Warren, bringing with him besides, that day, only two women servants, and his steward, and a gardener. Mr Daisy stopped to take a whiff at his pipe, which was going out, and then proceededat first in a snuffling tone, occasioned by keen enjoyment of the tobacco and strong pulling at the pipe, and afterwards with increasing distinctness, Bringing with him two women servants, and his steward, and a gardener. The rest stopped behind up in London, and were to follow next day. It happened that that night, an old gentleman who lived at Chigwell Row, and had long been poorly, deceased, and an order came to me at half after twelve oclock at night to go and toll the passing-bell. There was a movement in the little group of listeners, sufficiently indicative of the strong repugnance any one of them would have felt to have turned out at such a time upon such an errand. The clerk felt and understood it, and pursued his theme accordingly. It was a dreary thing, especially as the grave-digger was laid up in his bed, from long working in a damp soil and sitting down to take his dinner on cold tombstones, and I was consequently under obligation to go alone, for it was too late to hope to get any other companion. However, I wasnt unprepared for it; as the old gentleman had often made it a request that the bell should be tolled as soon as possible after the breath was out of his body, and he had been expected to go for some days. I put as good a face upon it as I could, and muffling myself up (for it was mortal cold), started out with a lighted lantern in one hand and the key of the church in the other. At this point of the narrative, the dress of the strange man rustled as if he had turned himself to hear more distinctly. Slightly pointing over his shoulder, Solomon elevated his eyebrows and nodded a silent inquiry to Joe whether this was the case. Joe shaded his eyes with his hand and peered into the corner, but could make out nothing, and so shook his head. It was just such a night as this; blowing a hurricane, raining heavily, and very darkI often think now, darker than I ever saw it before or since; that may be my fancy, but the houses were all close shut and the folks in doors, and perhaps there is only one other man who knows how dark it really was. I got into the church, chained the door back so that it should keep ajarfor, to tell the truth, I didnt like to be shut in there aloneand putting my lantern on the stone seat in the little corner where the bell-rope is, sat down beside it to trim the candle. I sat down to trim the candle, and when I had done so I could not persuade myself to get up again, and go about my work. I dont know how it was, but I thought of all the ghost stories I had ever heard, even those that I had heard when I was a boy at school, and had forgotten long ago; and they didnt come into my mind one after another, but all crowding at once, like. I recollected one story there was in the village, how that on a certain night in the year (it might be that very night for anything I knew), all the dead people came out of the ground and sat at the heads of their own graves till morning. This made me think how many people I had known, were buried between the church-door and the churchyard gate, and what a dreadful thing it would be to have to pass among them and know them again, so earthy and unlike themselves. I had known all the niches and arches in the church from a child; still, I couldnt persuade myself that those were their natural shadows which I saw on the pavement, but felt sure there were some ugly figures hiding among em and peeping out. Thinking on in this way, I began to think of the old gentleman who was just dead, and I could have sworn, as I looked up the dark chancel, that I saw him in his usual place, wrapping his shroud about him and shivering as if he felt it cold. All this time I sat listening and listening, and hardly dared to breathe. At length I started up and took the bell-rope in my hands. At that minute there rangnot that bell, for I had hardly touched the ropebut another! I heard the ringing of another bell, and a deep bell too, plainly. It was only for an instant, and even then the wind carried the sound away, but I heard it. I listened for a long time, but it rang no more. I had heard of corpse candles, and at last I persuaded myself that this must be a corpse bell tolling of itself at midnight for the dead. I tolled my bellhow, or how long, I dont knowand ran home to bed as fast as I could touch the ground. I was up early next morning after a restless night, and told the story to my neighbours. Some were serious and some made light of it; I dont think anybody believed it real. But, that morning, Mr Reuben Haredale was found murdered in his bedchamber; and in his hand was a piece of the cord attached to an alarm-bell outside the roof, which hung in his room and had been cut asunder, no doubt by the murderer, when he seized it. That was the bell I heard. A bureau was found opened, and a cash-box, which Mr Haredale had brought down that day, and was supposed to contain a large sum of money, was gone. The steward and gardener were both missing and both suspected for a long time, but they were never found, though hunted far and wide. And far enough they might have looked for poor Mr Rudge the steward, whose bodyscarcely to be recognised by his clothes and the watch and ring he worewas found, months afterwards, at the bottom of a piece of water in the grounds, with a deep gash in the breast where he had been stabbed with a knife. He was only partly dressed; and people all agreed that he had been sitting up reading in his own room, where there were many traces of blood, and was suddenly fallen upon and killed before his master. Everybody now knew that the gardener must be the murderer, and though he has never been heard of from that day to this, he will be, mark my words. The crime was committed this day two-and-twenty yearson the nineteenth of March, one thousand seven hundred and fifty-three. On the nineteenth of March in some yearno matter whenI know it, I am sure of it, for we have always, in some strange way or other, been brought back to the subject on that day ever sinceon the nineteenth of March in some year, sooner or later, that man will be discovered.

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