The Solitary House (150 page)

She removes her hand, turns her pale face towards him as he walks silently to the door, and stops him once again as he is about to open it.

“Do you intend to remain in the house any time? I heard you were writing in the library. Are you going to return there?”

“Only for my hat. I am going home.”

She bows her eyes rather than her head, the movement is so slight and curious; and he withdraws. Clear of the room he looks at his watch, but is inclined to doubt it by a minute or thereabouts. There is a splendid clock upon the staircase, famous, as splendid clocks not often are, for its accuracy. “And what do
you
say,” Mr. Tulkinghorn inquires, referring to it. “What do you say?”

If it said now, “Don’t go home!” What a famous clock, hereafter, if it said tonight of all the nights that it has counted off, to this old man of all the young and old men who have ever stood before it, “Don’t go home!” With its sharp clear bell, it strikes three-quarters after seven, and ticks on again. “Why, you are worse than I thought you,” says Mr. Tulkinghorn, muttering reproof to his watch. “Two minutes wrong? At this rate you won’t last my time.” What a watch to return good for evil, if it ticked in answer “Don’t go home!”

He passes out into the streets, and walks on, with his hands behind him, under the shadow of the lofty houses, many of whose mysteries, difficulties, mortgages, delicate affairs of all kinds, are treasured up within his old black satin waistcoat. He is in the confidence of the very bricks and mortar. The high chimney-stacks telegraph family secrets to him. Yet there is not a voice in a mile of them to whisper “Don’t go home!”

Through the stir and motion of the commoner streets; through the roar and jar of many vehicles, many feet, many
voices; with the blazing shop-lights lighting him on, the west wind blowing him on, and the crowd pressing him on; he is pitilessly urged upon his way, and nothing meets him, murmuring “Don’t go home!” Arrived at last in his dull room, to light his candles, and look round and up, and see the Roman pointing from the ceiling, there is no new significance in the Roman’s hand tonight, or in the flutter of the attendant groups, to give him the late warning, “Don’t come here!”

It is a moonlight night; but the moon, being past the full, is only now rising over the great wilderness of London. The stars are shining as they shone above the turret-leads at Chesney Wold. This woman, as he has of late been so accustomed to call her, looks out upon them. Her soul is turbulent within her; she is sick at heart, and restless. The large rooms are too cramped and close. She cannot endure their restraint, and will walk alone in a neighbouring garden.

Too capricious and imperious in all she does, to be the cause of much surprise in those about her as to anything she does, this woman, loosely muffled, goes out into the moonlight. Mercury attends with the key. Having opened the garden-gate, he delivers the key into his Lady’s hands at her request, and is bidden to go back. She will walk there some time, to ease her aching head. She may be an hour; she may be more. She needs no further escort. The gate shuts upon its spring with a clash, and he leaves her, passing on into the dark shade of some trees.

A fine night, and a bright large moon, and multitudes of stars. Mr. Tulkinghorn, in repairing to his cellar, and in opening and shutting those resounding doors, has to cross a little prison-like yard. He looks up casually, thinking what a fine night, what a bright large moon, what multitudes of stars! A quiet night, too.

A very quiet night. When the moon shines very brilliantly, a solitude and stillness seem to proceed from her, that influence even crowded places full of life. Not only is it a still night on dusty high roads and on hill-summits, whence a wide expanse of country may be seen in repose, quieter and quieter as it spreads away into a fringe of trees against the sky, with the grey ghost of a bloom upon them; not only is it a still night in gardens
and in woods, and on the river where the water-meadows are fresh and green, and the stream sparkles on among pleasant islands, murmuring weirs, and whispering rushes; not only does the stillness attend it as it flows where houses cluster thick, where many bridges are reflected in it, where wharves and shipping make it black and awful, where it winds from these disfigurements through marshes whose grim beacons stand like skeletons washed ashore, where it expands through the bolder region of rising grounds, rich in cornfield, windmill and steeple, and where it mingles with the ever-heaving sea; not only is it a still night on the deep, and on the shore where the watcher stands to see the ship with her spread wings cross the path of light that appears to be presented to only him; but even on this stranger’s wilderness of London there is some rest. Its steeples and towers, and its one great dome, grow more ethereal; its smoky house-tops lose their grossness, in the pale effulgence; the noises that arise from the streets are fewer and are softened, and the footsteps on the pavements pass more tranquilly away. In these fields of Mr. Tulkinghorn’s inhabiting, where the shepherds play on Chancery pipes that have no stop, and keep their sheep in the fold by hook and by crook until they have shorn them exceeding close, every noise is merged, this moonlight night, into a distant ringing hum, as if the city were a vast glass, vibrating.

What’s that? Who fired a gun or pistol? Where was it?

The few foot-passengers start, stop, and stare about them. Some windows and doors are opened, and people come out to look. It was a loud report, and echoed and rattled heavily. It shook one house, or so a man says who was passing. It has aroused all the dogs in the neighbourhood, who bark vehemently. Terrified cats scamper across the road. While the dogs are yet barking and howling—there is one dog howling like a demon—the church-clocks, as if they were startled too, begin to strike. The hum from the streets, likewise, seems to swell into a shout. But it is soon over. Before the last clock begins to strike ten, there is a lull. When it has ceased, the fine night, the bright large moon, and multitudes of stars, are left at peace again.

Has Mr. Tulkinghorn been disturbed? His windows are dark
and quiet, and his door is shut. It must be something unusual indeed, to bring him out of his shell. Nothing is heard of him, nothing is seen of him. What power of cannon might it take to shake that rusty old man out of his immovable composure?

For many years the persistent Roman has been pointing, with no particular meaning, from that ceiling. It is not likely that he has any new meaning in him tonight. Once pointing, always pointing—like any Roman, or even Briton, with a single idea. There he is, no doubt, in his impossible attitude, pointing, unavailingly, all night long. Moonlight, darkness, dawn, sunrise, day. There he is still, eagerly pointing, and no one minds him.

But, a little after the coming of the day, come people to clean the rooms. And either the Roman has some new meaning in him, not expressed before, or the foremost of them goes wild; for, looking up at his outstretched hand, and looking down at what is below it, that person shrieks and flies. The others, looking in as the first one looked, shriek and fly too, and there is an alarm in the street.

What does it mean? No light is admitted into the darkened chamber, and people unaccustomed to it enter, and, treading softly, but heavily, carry a weight into the bedroom and lay it down. There is whispering and wondering all day, strict search of every corner, careful tracing of steps, and careful noting of the disposition of every article of furniture. All eyes look up at the Roman, and all voices murmur, “If he could only tell what he saw!”

He is pointing at a table, with a bottle (nearly full of wine) and a glass upon it, and two candles that were blown out suddenly, soon after being lighted. He is pointing at an empty chair, and at a stain upon the ground before it that might be almost covered with a hand. These objects lie directly within his range. An excited imagination might suppose that there was something in them so terrific, as to drive the rest of the composition, not only the attendant big-legged boys, but the clouds and flowers and pillars too—in short, the very body and soul of Allegory, and all the brains it has—stark mad. It happens surely, that every one who comes into the darkened room and looks at
these things, looks up at the Roman, and that he is invested in all eyes with mystery and awe, as if he were a paralysed dumb witness.

So, it shall happen surely, through many years to come, that ghostly stories shall be told of the stain upon the floor, so easy to be covered, so hard to be got out; and that the Roman, pointing from the ceiling, shall point, so long as dust and damp and spiders spare him, with far greater significance than he ever had in Mr. Tulkinghorn’s time, and with a deadly meaning. For, Mr. Tulkinghorn’s time is over for evermore; and the Roman pointed at the murderous hand uplifted against his life, and pointed helplessly at him, from night to morning, lying face downward on the floor, shot through the heart.

CHAPTER 49

DUTIFUL FRIENDSHIP

A
great annual occasion has come round in the establishment of Mr. Matthew Bagnet, otherwise Lignum Vitae, ex-artilleryman and present bassoon-player. An occasion of feasting and festival. The celebration of a birthday in the family.

It is not Mr. Bagnet’s birthday. Mr. Bagnet merely distinguishes that epoch in the musical instrument business, by kissing the children with an extra smack before breakfast, smoking an additional pipe after dinner, and wondering towards evening what his poor old mother is thinking about it—a subject of infinite speculation, and rendered so by his mother having departed this life, twenty years. Some men rarely revert to their father, but seem, in the bankbooks of their remembrance, to have transferred all the stock of filial affection into their mother’s name. Mr. Bagnet is one of these. Perhaps his exalted
appreciation of the merits of the old girl causes him usually to make the noun-substantive, goodness, of the feminine gender.

It is not the birthday of one of the three children. Those occasions are kept with some marks of distinction, but they rarely overleap the bounds of happy returns and a pudding. On young Woolwich’s last birthday, Mr. Bagnet certainly did, after observing on his growth and general advancement, proceed, in a moment of profound reflection on the changes wrought by time, to examine him in the catechism; accomplishing with extreme accuracy the questions number one and two, What is your name? and Who gave you that name? but there failing in the exact precision of his memory, and substituting for number three, the question And how do you like that name? which he propounded with a sense of its importance, in itself so edifying and improving, as to give it quite an orthodox air. This, however, was a specialty on that particular birthday, and not a general solemnity.

It is the old girl’s birthday; and that is the greatest holiday and reddest-letter day in Mr. Bagnet’s calendar. The auspicious event is always commemorated according to certain forms, settled and prescribed by Mr. Bagnet some years since. Mr. Bagnet being deeply convinced that to have a pair of fowls for dinner is to attain the highest pitch of imperial luxury, invariably goes forth himself very early in the morning of this day to buy a pair; he is, as invariably, taken in by the vendor, and installed in the possession of the oldest inhabitants of any coop in Europe. Returning with these triumphs of toughness tied up in a clean blue and white cotton handkerchief (essential to the arrangements), he in a casual manner invites Mrs. Bagnet to declare at breakfast what she would like for dinner. Mrs. Bagnet, by a coincidence never known to fail, replying Fowls, Mr. Bagnet instantly produces his bundle from a place of concealment, amidst general amazement and rejoicing. He further requires that the old girl shall do nothing all day long, but sit in her very best gown, and be served by himself and the young people. As he is not illustrious for his cookery, this may be supposed to be a matter of state rather than enjoyment on the old girl’s part; but she keeps her state with all imaginable cheerfulness.

On this present birthday, Mr. Bagnet has accomplished the
usual preliminaries. He has bought two specimens of poultry, which, if there be any truth in adages, were certainly not caught with chaff, to be prepared for the spit; he has amazed and rejoiced the family by their unlooked-for production; he is himself directing the roasting of the poultry; and Mrs. Bagnet, with her wholesome brown fingers itching to prevent what she sees going wrong, sits in her gown of ceremony, an honoured guest.

Quebec and Malta lay the cloth for dinner, while Woolwich, serving, as beseems him, under his father, keeps the fowls revolving. To these young scullions Mrs. Bagnet occasionally imparts a wink, or a shake of the head, or a crooked face, as they make mistakes.

“At half-after one,” says Mr. Bagnet. “To the minute. They’ll be done.”

Mrs. Bagnet with anguish beholds one of them at a standstill before the fire, and beginning to burn.

“You shall have a dinner, old girl,” says Mr. Bagnet. “Fit for a queen.”

Mrs. Bagnet shows her white teeth cheerfully, but to the perception of her son, betrays so much uneasiness of spirit, that he is impelled by the dictates of affection to ask her, with his eyes, what is the matter?—thus standing, with his eyes wide open, more oblivious of the fowls than before, and not affording the least hope of a return to consciousness. Fortunately, his elder sister perceives the cause of the agitation in Mrs. Bagnet’s breast, and with an admonitory poke recalls him. The stopped fowls going round again, Mrs. Bagnet closes her eyes, in the intensity of her relief.