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As they looked at her, I looked at her also. Although it was a warm day, she seemed to think of nothing but the fire. I fancied she was jealous even of the saucepan on it; and I have reason to know that she took its impressment into the service of boiling my egg and broiling my bacon, in dudgeon; for I saw her, with my own discomfited eyes, shake her fist at me once, when those culinary operations were going on, and no one else was looking. The sun streamed in at the little window, but she sat with her own back and the back of the large chair towards it, screening the fire as if she were sedulously keeping IT warm, instead of it keeping her warm, and watching it in a most distrustful manner. The completion of the preparations for my breakfast, by relieving the fire, gave her such extreme joy that she laughed aloud - and a very unmelodious laugh she had, I must say.
I sat down to my brown loaf, my egg, and my rasher of bacon, with a basin of milk besides, and made a most delicious meal. While I was yet in the full enjoyment of it, the old woman of the house said to the Master:
'Have you got your flute with you?'
'Yes,' he returned.
'Have a blow at it,' said the old woman, coaxingly. 'Do!'
The Master, upon this, put his hand underneath the skirts of his coat, and brought out his flute in three pieces, which he screwed together, and began immediately to play. My impression is, after many years of consideration, that there never can have been anybody in the world who played worse. He made the most dismal sounds I have ever heard produced by any means, natural or artificial. I don't know what the tunes were - if there were such things in the performance at all, which I doubt - but the influence of the strain upon me was, first, to make me think of all my sorrows until I could hardly keep my tears back; then to take away my appetite; and lastly, to make me so sleepy that I couldn't keep my eyes open. They begin to close again, and I begin to nod, as the recollection rises fresh upon me. Once more the little room, with its open corner cupboard, and its square-backed chairs, and its angular little staircase leading to the room above, and its three peacock's feathers displayed over the mantelpiece - I remember wondering when I first went in, what that peacock would have thought if he had known what his finery was doomed to come to - fades from before me, and I nod, and sleep. The flute becomes inaudible, the wheels of the coach are heard instead, and I am on my journey. The coach jolts, I wake with a start, and the flute has come back again, and the Master at Salem House is sitting with his legs crossed, playing it dolefully, while the old woman of the house looks on delighted. She fades in her turn, and he fades, and all fades, and there is no flute, no Master, no Salem House, no David Copperfield, no anything but heavy sleep.
I dreamed, I thought, that once while he was blowing into this dismal flute, the old woman of the house, who had gone nearer and nearer to him in her ecstatic admiration, leaned over the back of his chair and gave him an affectionate squeeze round the neck, which stopped his playing for a moment. I was in the middle state between sleeping and waking, either then or immediately afterwards; for, as he resumed - it was a real fact that he had stopped playing - I saw and heard the same old woman ask Mrs. Fibbitson if it wasn't delicious (meaning the flute), to which Mrs. Fibbitson replied, 'Ay, ay! yes!' and nodded at the fire: to which, I am persuaded, she gave the credit of the whole performance.
When I seemed to have been dozing a long while, the Master at Salem House unscrewed his flute into the three pieces, put them up as before, and took me away. We found the coach very near at hand, and got upon the roof; but I was so dead sleepy, that when we stopped on the road to take up somebody else, they put me inside where there were no passengers, and where I slept profoundly, until I found the coach going at a footpace up a steep hill among green leaves. Presently, it stopped, and had come to its destination.
A short walk brought us - I mean the Master and me - to Salem House, which was enclosed with a high brick wall, and looked very dull. Over a door in this wall was a board with SALEM HousE upon it; and through a grating in this door we were surveyed when we rang the bell by a surly face, which I found, on the door being opened, belonged to a stout man with a bull-neck, a wooden leg, overhanging temples, and his hair cut close all round his head.
'The new boy,' said the Master.
The man with the wooden leg eyed me all over - it didn't take long, for there was not much of me - and locked the gate behind us, and took out the key. We were going up to the house, among some dark heavy trees, when he called after my conductor. 'Hallo!'
We looked back, and he was standing at the door of a little lodge, where he lived, with a pair of boots in his hand.
'Here! The cobbler's been,' he said, 'since you've been out, Mr. Mell, and he says he can't mend 'em any more. He says there ain't a bit of the original boot left, and he wonders you expect it.'
With these words he threw the boots towards Mr. Mell, who went back a few paces to pick them up, and looked at them (very disconsolately, I was afraid), as we went on together. I observed then, for the first time, that the boots he had on were a good deal the worse for wear, and that his stocking was just breaking out in one place, like a bud.
Salem House was a square brick building with wings; of a bare and unfurnished appearance. All about it was so very quiet, that I said to Mr. Mell I supposed the boys were out; but he seemed surprised at my not knowing that it was holiday-time. That all the boys were at their several homes. That Mr. Creakle, the proprietor, was down by the sea-side with Mrs. and Miss Creakle; and that I was sent in holiday-time as a punishment for my misdoing, all of which he explained to me as we went along.
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David Copperfield - by Charles Dickens