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The Complete Short Stories of Charles Dickens: 190+ Titles in One Volume (Illustrated Edition). Чарльз Диккенс
Читать онлайн.Название The Complete Short Stories of Charles Dickens: 190+ Titles in One Volume (Illustrated Edition)
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isbn 9788027225064
Автор произведения Чарльз Диккенс
Жанр Языкознание
Издательство Bookwire
‘Poor dear!’ said Mrs. Williamson again.
‘Now, boys, put ’em along,’ cried the mayor, pushing Trott in and slamming the door. ‘Off with you, as quick as you can, and stop for nothing till you come to the next stage—all right!’
‘Horses are paid, Tom,’ screamed Mrs. Williamson; and away went the chaise, at the rate of fourteen miles an hour, with Mr. Alexander Trott and Miss Julia Manners carefully shut up in the inside.
Mr. Alexander Trott remained coiled up in one corner of the chaise, and his mysterious companion in the other, for the first two or three miles; Mr. Trott edging more and more into his corner, as he felt his companion gradually edging more and more from hers; and vainly endeavouring in the darkness to catch a glimpse of the furious face of the supposed Horace Hunter.
‘We may speak now,’ said his fellow-traveller, at length; ‘the post-boys can neither see nor hear us.’
‘That’s not Hunter’s voice!’—thought Alexander, astonished.
‘Dear Lord Peter!’ said Miss Julia, most winningly: putting her arm on Mr. Trott’s shoulder. ‘Dear Lord Peter. Not a word?’
‘Why, it’s a woman!’ exclaimed Mr. Trott, in a low tone of excessive wonder.
‘Ah! Whose voice is that?’ said Julia; ‘’tis not Lord Peter’s.’
‘No,—it’s mine,’ replied Mr. Trott.
‘Yours!’ ejaculated Miss Julia Manners; ‘a strange man! Gracious heaven! How came you here!’
‘Whoever you are, you might have known that I came against my will, ma’am,’ replied Alexander, ‘for I made noise enough when I got in.’
‘Do you come from Lord Peter?’ inquired Miss Manners.
‘Confound Lord Peter,’ replied Trott pettishly. ‘I don’t know any Lord Peter. I never heard of him before to-night, when I’ve been Lord Peter’d by one and Lord Peter’d by another, till I verily believe I’m mad, or dreaming—’
‘Whither are we going?’ inquired the lady tragically.
‘How should I know, ma’am?’ replied Trott with singular coolness; for the events of the evening had completely hardened him.
‘Stop stop!’ cried the lady, letting down the front glasses of the chaise.
‘Stay, my dear ma’am!’ said Mr. Trott, pulling the glasses up again with one hand, and gently squeezing Miss Julia’s waist with the other. ‘There is some mistake here; give me till the end of this stage to explain my share of it. We must go so far; you cannot be set down here alone, at this hour of the night.’
The lady consented; the mistake was mutually explained. Mr. Trott was a young man, had highly promising whiskers, an undeniable tailor, and an insinuating address—he wanted nothing but valour, and who wants that with three thousand a-year? The lady had this, and more; she wanted a young husband, and the only course open to Mr. Trott to retrieve his disgrace was a rich wife. So, they came to the conclusion that it would be a pity to have all this trouble and expense for nothing; and that as they were so far on the road already, they had better go to Gretna Green, and marry each other; and they did so. And the very next preceding entry in the Blacksmith’s book, was an entry of the marriage of Emily Brown with Horace Hunter. Mr. Hunter took his wife home, and begged pardon, and was pardoned; and Mr. Trott took his wife home, begged pardon too, and was pardoned also. And Lord Peter, who had been detained beyond his time by drinking champagne and riding a steeple-chase, went back to the Honourable Augustus Flair’s, and drank more champagne, and rode another steeple-chase, and was thrown and killed. And Horace Hunter took great credit to himself for practising on the cowardice of Alexander Trott; and all these circumstances were discovered in time, and carefully noted down; and if you ever stop a week at the Winglebury Arms, they will give you just this account of The Great Winglebury Duel.
Chapter IX.
Mrs. Joseph Porter
Most extensive were the preparations at Rose Villa, Clapham Rise, in the occupation of Mr. Gattleton (a stock-broker in especially comfortable circumstances), and great was the anxiety of Mr. Gattleton’s interesting family, as the day fixed for the representation of the Private Play which had been ‘many months in preparation,’ approached. The whole family was infected with the mania for Private Theatricals; the house, usually so clean and tidy, was, to use Mr. Gattleton’s expressive description, ‘regularly turned out o’ windows;’ the large dining-room, dismantled of its furniture, and ornaments, presented a strange jumble of flats, flies, wings, lamps, bridges, clouds, thunder and lightning, festoons and flowers, daggers and foil, and various other messes in theatrical slang included under the comprehensive name of ‘properties.’ The bedrooms were crowded with scenery, the kitchen was occupied by carpenters. Rehearsals took place every other night in the drawing-room, and every sofa in the house was more or less damaged by the perseverance and spirit with which Mr. Sempronius Gattleton, and Miss Lucina, rehearsed the smothering scene in ‘Othello’—it having been determined that that tragedy should form the first portion of the evening’s entertainments.
‘When we’re a leetle more perfect, I think it will go admirably,’ said Mr. Sempronius, addressing his corps dramatique, at the conclusion of the hundred and fiftieth rehearsal. In consideration of his sustaining the trifling inconvenience of bearing all the expenses of the play, Mr. Sempronius had been, in the most handsome manner, unanimously elected stage-manager. ‘Evans,’ continued Mr. Gattleton, the younger, addressing a tall, thin, pale young gentleman, with extensive whiskers—‘Evans, you play Roderigo beautifully.’
‘Beautifully,’ echoed the three Miss Gattletons; for Mr. Evans was pronounced by all his lady friends to be ‘quite a dear.’ He looked so interesting, and had such lovely whiskers: to say nothing of his talent for writing verses in albums and playing the flute! Roderigo simpered and bowed.
‘But I think,’ added the manager, ‘you are hardly perfect in the—fall—in the fencing-scene, where you are—you understand?’
‘It’s very difficult,’ said Mr. Evans, thoughtfully; ‘I’ve fallen about, a good deal, in our counting-house lately, for practice, only I find it hurts one so. Being obliged to fall backward you see, it bruises one’s head a good deal.’
‘But you must take care you don’t knock a wing down,’ said Mr. Gattleton, the elder, who had been appointed prompter, and who took as much interest in the play as the youngest of the company. ‘The stage is very narrow, you know.’
‘Oh! don’t be afraid,’ said Mr. Evans, with a very self-satisfied air; ‘I shall fall with my head “off,” and then I can’t do any harm.’
‘But, egad,’ said the manager, rubbing his hands, ‘we shall make a decided hit in “Masaniello.” Harleigh sings that music admirably.’
Everybody echoed the sentiment. Mr. Harleigh smiled, and looked foolish—not an unusual thing with him—hummed’ Behold how brightly breaks the morning,’ and blushed as red as the fisherman’s nightcap he was trying on.
‘Let’s see,’ resumed the manager, telling the number on his fingers, ‘we shall have three dancing female peasants, besides Fenella, and four fishermen. Then, there’s our man Tom; he can have a pair of ducks of mine, and a check shirt of Bob’s, and a red nightcap, and he’ll do for another—that’s five. In the choruses, of course, we can sing at the sides; and in the market-scene we can walk about in cloaks and things. When the revolt takes place, Tom must keep rushing in on one side and out on the other, with a pickaxe, as fast as he can. The effect will be electrical;