Rudyard Kipling: 440+ Short Stories in One Edition (Illustrated). Редьярд Джозеф Киплинг
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But the out-workings were very far off, and word could not be passed quickly, though the heads of the gangs and the Assistant shouted and swore and tramped and stumbled. The Manager kept one eye on the great troubled pool behind the embankment, and prayed that the culvert would give way and let the water through in time. With the other eye he watched the cages come up and saw the headmen counting the roll of the gangs. With all his heart and soul he swore at the winder who controlled the iron drum that wound up the wire rope on which hung the cages.
In a little time there was a down-draw in the water behind the embankment—a sucking whirlpool, all yellow and yeasty. The water had smashed through the skin of the earth and was pouring into the old shallow workings of Twenty-Two.
Deep down below, a rush of black water caught the last gang waiting for the cage, and as they clambered in, the whirl was about their waists. The cage reached the pit-bank, and the Manager called the roll. The gangs were all safe except Gang Janki, Gang Mogul, and Gang Rahim, eighteen men, with perhaps ten basket-women who loaded the coal into the little iron carriages that ran on the tramways of the main galleries. These gangs were in the out-workings, three-quarters of a mile away, on the extreme fringe of the mine. Once more the cage went down, but with only two Englishmen in it, and dropped into a swirling, roaring current that had almost touched the roof of some of the lower side-galleries. One of the wooden balks with which they had propped the old workings shot past on the current, just missing the cage.
'If we don't want our ribs knocked out, we'd better go,' said the Manager. 'We can't even save the Company's props.'
The cage drew out of the water with a splash, and a few minutes later, it was officially reported that there were at least ten feet of water in the pit's eye. Now ten feet of water there meant that all other places in the mine were flooded except such galleries as were more than ten feet above the level of the bottom of the shaft. The deep workings would be full, the main galleries would be full, but in the high workings reached by inclines from the main roads, there would be a certain amount of air cut off, so to speak, by the water and squeezed up by it. The little science-primers explain how water behaves when you pour it down test-tubes. The flooding of Twenty-Two was an illustration on a large scale.
'By the Holy Grove, what has happened to the air!' It was a Sonthal gangman of Gang Mogul in Number Nine gallery, and he was driving a six-foot way through the coal. Then there was a rush from the other galleries, and Gang Janki and Gang Rahim stumbled up with their basket-women.
'Water has come in the mine,' they said, 'and there is no way of getting out.'
'I went down,' said Janki—'down the slope of my gallery, and I felt the water.'
'There has been no water in the cutting in our time,' clamoured the women. 'Why cannot we go away?'
'Be silent!' said Janki. 'Long ago, when my father was here, water came to Ten—no, Eleven—cutting, and there was great trouble. Let us get away to where the air is better.'
The three gangs and the basket-women left Number Nine gallery and went further up Number Sixteen. At one turn of the road they could see the pitchy black water lapping on the coal. It had touched the roof of a gallery that they knew well—a gallery where they used to smoke their huqas and manage their flirtations. Seeing this, they called aloud upon their Gods, and the Meahs, who are thrice bastered Muhammadans, strove to recollect the name of the Prophet. They came to a great open square whence nearly all the coal had been extracted. It was the end of the out-workings, and the end of the mine.
Far away down the gallery a small pumping-engine, used for keeping dry a deep working and fed with steam from above, was throbbing faithfully. They heard it cease.
'They have cut off the steam,' said Kundoo hopefully. 'They have given the order to use all the steam for the pit-bank pumps. They will clear out the water.'
'If the water has reached the smoking-gallery,' said Janki, 'all the Company's pumps can do nothing for three days.'
'It is very hot,' moaned Jasoda, the Meah basket-woman. 'There is a very bad air here because of the lamps.'
'Put them out,' said Janki; 'why do you want lamps?' The lamps were put out and the company sat still in the utter dark. Somebody rose quietly and began walking over the coals. It was Janki, who was touching the walls with his hands. 'Where is the ledge?' he murmured to himself.
'Sit, sit!' said Kundoo. 'If we die, we die. The air is very bad.'
But Janki still stumbled and crept and tapped with his pick upon the walls. The women rose to their feet.
'Stay all where you are. Without the lamps you cannot see, and I—I am always seeing,' said Janki. Then he paused, and called out: 'Oh, you who have been in the cutting more than ten years, what is the name of this open place? I am an old man and I have forgotten.'
'Bullia's Room,' answered the Sonthal who had complained of the vileness of the air.
'Again,' said Janki.
'Bullia's Room.'
'Then I have found it,' said Janki. 'The name only had slipped my memory. Tibu's gang's gallery is here.'
'A lie,' said Kundoo. 'There have been no galleries in this place since my day.'
'Three paces was the depth of the ledge,' muttered Janki without heeding—'and—oh, my poor bones!—I have found it! It is here, up this ledge. Come all you, one by one, to the place of my voice, and I will count you.'
There was a rush in the dark, and Janki felt the first man's face hit his knees as the Sonthal scrambled up the ledge.
'Who?' cried Janki.
'I, Sunua Manji.'
'Sit you down,' said Janki. 'Who next?'
One by one the women and the men crawled up the ledge which ran along one side of 'Bullia's Room.' Degraded Muhammadan, pig-eating Musahr and wild Sonthal, Janki ran his hand over them all.
'Now follow after,' said he, 'catching hold of my heel, and the women catching the men's clothes.' He did not ask whether the men had brought their picks with them. A miner, black or white, does not drop his pick. One by one, Janki leading, they crept into the old gallery—a six-foot way with a scant four feet from hill to roof.
'The air is better here,' said Jasoda. They could hear her heart beating in thick, sick bumps.
'Slowly, slowly,' said Janki. 'I am an old man, and I forget many things. This is Tibu's gallery, but where are the four bricks where they used to put their huqa fire on when the Sahibs never saw? Slowly, slowly, O you people behind.'
They heard his hands disturbing the small coal on the floor of the gallery and then a dull sound. 'This is one unbaked brick, and this is another and another. Kundoo is a young man—let him come forward. Put a knee upon this brick and strike here. When Tibu's gang were at dinner on the last day before the good coal ended, they heard the men of Five on the other side, and Five worked their gallery two Sundays later—or it may have been one. Strike there, Kundoo, but give me room to go back.'
Kundoo, doubting, drove the pick, but the first soft crush of the coal was a call to him. He was fighting for his life and for Unda—pretty little Unda with rings on all her toes—for Unda and the forty rupees. The women sang the Song of the Pick—the terrible, slow, swinging melody with the muttered chorus that repeats the sliding of the loosened coal, and, to each cadence, Kundoo smote in the black dark. When he could do no more, Sunua Manji took the pick, and struck for his life and his wife, and his village beyond the blue hills over the Tarachunda River. An hour the men worked, and then the women cleared away the coal.
'It is farther than I thought,' said Janki. 'The air is very bad; but strike, Kundoo, strike hard.'
For the fifth time Kundoo took up the pick as the Sonthal crawled back. The song had scarcely recommenced when it was broken by a yell from Kundoo that echoed down the gallery: 'Par hua! Par hua! We are through, we are through!' The imprisoned air in the mine shot through the opening, and the women at the far end of the gallery