LITMIR.BIZ

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husband had been nearer on a level with her? If she had not had to look up quite so high, what might the stimulating action have been upon the liver?’

      Mr. Jasper says, with an appearance of having fallen into dreadfully low spirits, that he ‘supposes it was to be.’

      ‘We can only suppose so, sir,’ Mr. Sapsea coincides. ‘As I say, Man proposes, Heaven disposes. It may or may not be putting the same thought in another form; but that is the way I put it.’

      Mr. Jasper murmurs assent.

      ‘And now, Mr. Jasper,’ resumes the auctioneer, producing his scrap of manuscript, ‘Mrs. Sapsea’s monument having had full time to settle and dry, let me take your opinion, as a man of taste, on the inscription I have (as I before remarked, not without some little fever of the brow) drawn out for it. Take it in your own hand. The setting out of the lines requires to be followed with the eye, as well as the contents with the mind.’

      Mr. Jasper complying, sees and reads as follows:

ETHELINDA, Reverential Wife ofMR. THOMAS SAPSEA,AUCTIONEER, VALUER, ESTATE AGENT, &c., of this cityWhose Knowledge of the World,Though somewhat extensive,Never brought him acquainted withA SPIRITMore capable of looking up to himSTRANGER, PAUSEAnd ask thyself the Question,CANST THOU DO LIKEWISE?If Not,WITH A BLUSH RETIRE

      Mr. Sapsea having risen and stationed himself with his back to the fire, for the purpose of observing the effect of these lines on the countenance of a man of taste, consequently has his face towards the door, when his serving-maid, again appearing, announces, ‘Durdles is come, sir!’ He promptly draws forth and fills the third wineglass, as being now claimed, and replies, ‘Show Durdles in.’

      ‘Admirable!’ quoth Mr. Jasper, handing back the paper.

      ‘You approve, sir?’

      ‘Impossible not to approve. Striking, characteristic, and complete.’

      The auctioneer inclines his head, as one accepting his due and giving a receipt; and invites the entering Durdles to take off that glass of wine (handing the same), for it will warm him.

      Durdles is a stonemason; chiefly in the gravestone, tomb, and monument way, and wholly of their colour from head to foot. No man is better known in Cloisterham. He is the chartered libertine of the place. Fame trumpets him a wonderful workman – which, for aught that anybody knows, he may be (as he never works); and a wonderful sot – which everybody knows he is. With the Cathedral crypt he is better acquainted than any living authority; it may even be than any dead one. It is said that the intimacy of this acquaintance began in his habitually resorting to that secret place, to lock-out the Cloisterham boy-populace, and sleep off fumes of liquor: he having ready access to the Cathedral, as contractor for rough repairs. Be this as it may, he does know much about it, and, in the demolition of impedimental fragments of wall, buttress, and pavement, has seen strange sights. He often speaks of himself in the third person; perhaps, being a little misty as to his own identity, when he narrates; perhaps impartially adopting the Cloisterham nomenclature in reference to a character of acknowledged distinction. Thus he will say, touching his strange sights: ‘Durdles come upon the old chap,’ in reference to a buried magnate of ancient time and high degree, ‘by striking right into the coffin with his pick. The old chap gave Durdles a look with his open eyes, as much as to say, “Is your name Durdles? Why, my man, I’ve been waiting for you a devil of a time!” And then he turned to powder.’ With a two-foot rule always in his pocket, and a mason’s hammer all but always in his hand, Durdles goes continually sounding and tapping all about and about the Cathedral; and whenever he says to Tope: ‘Tope, here’s another old ’un in here!’ Tope announces it to the Dean as an established discovery.

      In a suit of coarse flannel with horn buttons, a yellow neckerchief with draggled ends, an old hat more russet-coloured than black, and laced boots of the hue of his stony calling, Durdles leads a hazy, gipsy sort of life, carrying his dinner about with him in a small bundle, and sitting on all manner of tombstones to dine. This dinner of Durdles’s has become quite a Cloisterham institution: not only because of his never appearing in public without it, but because of its having been, on certain renowned occasions, taken into custody along with Durdles (as drunk and incapable), and exhibited before the Bench of justices at the townhall. These occasions, however, have been few and far apart: Durdles being as seldom drunk as sober. For the rest, he is an old bachelor, and he lives in a little antiquated hole of a house that was never finished: supposed to be built, so far, of stones stolen from the city wall. To this abode there is an approach, ankle-deep in stone chips, resembling a petrified grove of tombstones, urns, draperies, and broken columns, in all stages of sculpture. Herein two journeymen incessantly chip, while other two journeymen, who face each other, incessantly saw stone; dipping as regularly in and out of their sheltering sentry-boxes, as if they were mechanical figures emblematical of Time and Death.

      To Durdles, when he had consumed his glass of port, Mr. Sapsea intrusts that precious effort of his Muse. Durdles unfeelingly takes out his two-foot rule, and measures the lines calmly, alloying them with stone-grit.

      ‘This is for the monument, is it, Mr. Sapsea?’

      ‘The Inscription. Yes.’ Mr. Sapsea waits for its effect on a common mind.

      ‘It’ll come in to a eighth of a inch,’ says Durdles. ‘Your servant, Mr. Jasper. Hope I see you well.’

      ‘How are you Durdles?’

      ‘I’ve got a touch of the Tombatism on me, Mr. Jasper, but that I must expect.’

      ‘You mean the Rheumatism,’ says Sapsea, in a sharp tone. (He is nettled by having his composition so mechanically received.)

      ‘No, I don’t. I mean, Mr. Sapsea, the Tombatism. It’s another sort from Rheumatism. Mr. Jasper knows what Durdles means. You get among them Tombs afore it’s well light on a winter morning, and keep on, as the Catechism says, a-walking in the same all the days of your life, and you’ll know what Durdles means.’

      ‘It is a bitter cold place,’ Mr. Jasper assents, with an antipathetic shiver.

      ‘And if it’s bitter cold for you, up in the chancel, with a lot of live breath smoking out about you, what the bitterness is to Durdles, down in the crypt among the earthy damps there, and the dead breath of the old ’uns,’ returns that individual, ‘Durdles leaves you to judge. – Is this to be put in hand at once, Mr. Sapsea?’

      Mr. Sapsea, with an Author’s anxiety to rush into publication, replies that it cannot be out of hand too soon.

      ‘You had better let me have the key then,’ says Durdles.

      ‘Why, man, it is not to be put inside the monument!’

      ‘Durdles knows where it’s to be put, Mr. Sapsea; no man better. Ask ’ere a man in Cloisterham whether Durdles knows his work.’

      Mr. Sapsea rises, takes a key from a drawer, unlocks an iron safe let into the wall, and takes from it another key.

      ‘When Durdles puts a touch or a finish upon his work, no matter where, inside or outside, Durdles likes to look at his work all round, and see that his work is a-doing him credit,’ Durdles explains, doggedly.

      The key proffered him by the bereaved widower being a large one, he slips his two-foot rule into a side-pocket of his flannel trousers made for it, and deliberately opens his flannel coat, and opens the mouth of a large breast-pocket within it before taking the key to place it in that repository.

      ‘Why, Durdles!’ exclaims Jasper, looking on amused, ‘you are undermined with pockets!’

      ‘And I carries weight in ’em too, Mr. Jasper. Feel those!’ producing two other large keys.

      ‘Hand me Mr. Sapsea’s likewise. Surely this is the heaviest of the three.’

      ‘You’ll find ’em much of a muchness, I expect,’ says Durdles. ‘They all belong to monuments. They all open Durdles’s work. Durdles keeps the keys of his work

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