Читать книгу Blade-O'-Grass. Golden Grain. and Bread and Cheese and Kisses - B. L. Farjeon - Страница 20

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Seven years have passed, and the curtain rises upon a high gloomy stone wall. Grouped about the pavement which skirts the wall are nearly a score of persons, waiting in a state of painful expectancy. They are waiting for friends and relatives; and this gloomy stone wall encloses a prison.

Although it is broad day, the aspect of the scene is inexpressibly depressing. It is September; but the treacherous month has crept upon November, and stolen one of its cheerless days, when dull sky and dull atmosphere conspire to send the spirits down to zero. Not that these unhappy mortals require any outward influence to render them miserable; their countenances and attitude show that clearly enough. There are among them young women, almost children, and they stand about the prison with pale faces and clasped hands, with eyes cast down to the earth. They exchange but few words; they have sufficient special occupation in their thoughts to render them indisposed for conversation. They are poorly clad, and some of them shiver as the damp wind steals round the massive wall which shuts out hope.

Near to the prison door are a young and an old woman--one seventeen years of age on her last birthday, the other seventy. The young woman has no covering on her head; the old woman wears an ancient bonnet, which was the fashion once upon a time. Her little wrinkled face is almost hidden in the bonnet, and her ancient cotton dress falls in such straight lines about her, that, but for the pale wrinkled face and the shrivelled hands that peep from out the folds of a faded shawl, it might reasonably have been supposed it covers the limbs of a child. The bonnet has moved several times in the direction of the girl-woman, as if its owner were curious about her companion; but the girl takes no notice. At length, a piping voice asks, 'Are you waiting for some one, my dear?'

The girl answers 'Yes,' but does not look at the questioner.

'Who for, my dear?'

No answer.

'You needn't mind me,' pipes the old woman; 'I don't mean any harm; and it does my old heart good to talk. Perhaps you've got a mother of your own.'

'Mother!' echoes the girl, somewhat bitterly, and yet with a certain plaintiveness. 'No, I've got no mother; I never 'ad one as I knows of.'

'Poor dear, poor dear! Come, my dear, talk kindly to an old woman who might be your grandmother. Ay, I might, my dear. I'm seventy-one come the 10th of November, and I'm waiting for my daughter. You've got a long time before you, my dear, before you come to my age.'

'Seventy-one!' exclaims the girl, 'I shall never be seventy-one. I shouldn't like to be. What's your daughter in for? How old is she? She must be older than me.'

'She's thirty, my dear, and she's in for begging. What's yours in for?'

'My what in for?' sharply and sullenly.

'Your friend. You needn't be so sharp with an old woman like me. You may be a mother yourself one day, poor dear!'

The girl turns with a gasp--it may be of joy or pain--and takes the old woman's hand and begs her pardon.

Her friend is in for worse than beggin', the girl says, and relapses into silence, retaining the old woman's hand in hers, however, for a little while.

Many persons pass this way and that, but few bestow a second glance upon the group; and even if pity enters the heart of one and another, it does not take practical shape, and in its passive aspect it is, as is well known, but cold charity. One man, however, lingers in passing, walks a few steps, and hesitates. He has caught a glimpse of a face that he recognises, and it is evident that he is distressed by it. He turns boldly, and pauses before the forms of the old woman and the girl.

'Blade-o'-Grass!' he exclaims.

She raises her head, and looks him in the face. No shame, no fear, no consciousness of degradation, is in her gaze. She drops him a curtsey, and turns her face towards the prison doors.

Girl as she is, she is a woman, and well-looking. Her dress is of the poorest, and she is not too tidy; but the grace of youth is upon her. It is not upon all who are brought up as she has been. But she has this charm, and good looks as well; and she is grateful for them, for she likes to be called pretty. Remember that, at that momentous period in the life of Blade-o'-Grass when her future hung on a chance, Mrs. Manning 'kept the prettiest one, the one with the dimple.'

What is it that causes the gravest of expressions to pass into the countenance of Mr. Merrywhistle as Blade-o'-Grass looks up? He does not say; but the grave expression remains upon his face during the interview. He has not seen her since the spring. Somehow or other, he lost sight of her. Years ago, when Tom Beadle 'set her up' as a flower-girl, he had a strong inclination to do some substantial good for her--to remove her from the associations by which she was surrounded, and which dragged her down to the lowest level. But, in the first place, he could ill afford it; and, in the second, when he had spoken of his wish to Jimmy Virtue, that worthy had asked him if he thought he could take all the world's work upon his one pair of shoulders. 'And after all,' Jimmy Virtue had said, 'isn't the gal gettin' a honest livin'?'

The old woman peers into Mr. Merrywhistle's face, and as her ancient bonnet goes up in the air, it seems capacious enough to bury her whole body in. Mr. Merrywhistle gives her a kind look, and addresses himself to Blade-o'-Grass.

'This is not a fit place for you--' he is about to add, 'my poor child,' but her womanly appearance checks him.

'Ain't it?' she replies, with a smile on her lips that is not pleasant to see. 'What is then?'

He is surprised at her reckless manner. 'Have you business here? Are you waiting for any one?

'Yes.'

'For whom?'

'Ah, that's what I asked her,' pipes the old woman; 'but she wouldn't tell me.'

'I'm waitin' for Tom,' she says, answering him.

'Tom Beadle?'

'Yes, Tom Beadle.'

'Is he in prison, then?' he asks, very gently.

'Yes; he's been doin' a month.'

'What for?'

'What does it matter? Priggin'--anythin'.'

Perceiving that Blade-o'-Grass does not wish to pursue the conversation, Mr. Merrywhistle steps aside, sad at heart; but lingers, looking pityingly at Blade-o'-Grass. As he does so, a clock strikes the hour, and the eyes of the expectant group turn eagerly to the prison door, which presently opens. Six or seven persons walk out. The women blink their eyes as they come into the light; the men shake themselves like dogs; some raise their hands to their brows, and look about them as Gulliver might have done when he found himself in a strange land. The little old woman hastens to her daughter, a patient-looking woman, and for a moment two faces are hidden in the ancient bonnet. One man, who has seven or eight friends waiting for him, shakes his fist at the prison, and kicks the stone wall savagely.

'That's how I'd like to serve the guvner of that there cussed hole!' he exclaims. 'Give me something to drink, or I shall choke!'

Another man looks around with a vacant stare: there is no one to meet him. With something like a sigh his head sinks into his shoulders, and he slinks away, hugging the wall as he goes.

The last to come out is Tom Beadle. Blade-o'-Grass is by his side in an instant.

'Come along, Tom,' she says, clinging fondly to his arm, and pulling his face down to hers and kissing it; 'I've got something nice to eat at home.'

'You're a good sort, Bladergrass,' says the thief. 'Let's get away from this place quick, and go home.'

Home! Yes, to Stoney-alley, not twenty yards from where her mother had died. A room in an attic, which had been thoroughly cleaned and made tidy for the return of the prodigal. No furniture to speak of; a fire, and a saucepan on the hob; a mug of beer, a flat bottle with gin in it; one chair and a stool, and a table; a bed in the corner.

Tom surveys the room with satisfaction beaming in his eyes. Blade-o'-Grass looks at him, and joy breaks like sunlight over her face because he is pleased.

'Drink some beer, Tom.'

He takes a deep draught, puts the jug down, heaves a long breath, and repeats,

'You're a real good sort, Bladergrass. Give us another kiss, old gal!'