Charles Dickens' Most Influential Works (Illustrated). Charles Dickens
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my Twemlow! Say, little feeble grey personage, what thoughts are in thy breast to-day, of the Fancy—so still to call her who bruised thy heart when it was green and thy head brown—and whether it be better or worse, more painful or less, to believe in the Fancy to this hour, than to know her for a greedy armour-plated crocodile, with no more capacity of imagining the delicate and sensitive and tender spot behind thy waistcoat, than of going straight at it with a knitting-needle. Say likewise, my Twemlow, whether it be the happier lot to be a poor relation of the great, or to stand in the wintry slush giving the hack horses to drink out of the shallow tub at the coach-stand, into which thou has so nearly set thy uncertain foot. Twemlow says nothing, and goes on.
As he approaches the Lammles’ door, drives up a little one-horse carriage, containing Tippins the divine. Tippins, letting down the window, playfully extols the vigilance of her cavalier in being in waiting there to hand her out. Twemlow hands her out with as much polite gravity as if she were anything real, and they proceed upstairs. Tippins all abroad about the legs, and seeking to express that those unsteady articles are only skipping in their native buoyancy.
And dear Mrs Lammle and dear Mr Lammle, how do you do, and when are you going down to what’s-its-name place—Guy, Earl of Warwick, you know—what is it?—Dun Cow—to claim the flitch of bacon? And Mortimer, whose name is for ever blotted out from my list of lovers, by reason first of fickleness and then of base desertion, how do you do, wretch? And Mr Wrayburn, you here! What can you come for, because we are all very sure before-hand that you are not going to talk! And Veneering, M.P., how are things going on down at the house, and when will you turn out those terrible people for us? And Mrs Veneering, my dear, can it positively be true that you go down to that stifling place night after night, to hear those men prose? Talking of which, Veneering, why don’t you prose, for you haven’t opened your lips there yet, and we are dying to hear what you have got to say to us! Miss Podsnap, charmed to see you. Pa, here? No! Ma, neither? Oh! Mr Boots! Delighted. Mr Brewer! This is a gathering of the clans. Thus Tippins, and surveys Fledgeby and outsiders through golden glass, murmuring as she turns about and about, in her innocent giddy way, Anybody else I know? No, I think not. Nobody there. Nobody there. Nobody anywhere!
Mr Lammle, all a-glitter, produces his friend Fledgeby, as dying for the honour of presentation to Lady Tippins. Fledgeby presented, has the air of going to say something, has the air of going to say nothing, has an air successively of meditation, of resignation, and of desolation, backs on Brewer, makes the tour of Boots, and fades into the extreme background, feeling for his whisker, as if it might have turned up since he was there five minutes ago.
But Lammle has him out again before he has so much as completely ascertained the bareness of the land. He would seem to be in a bad way, Fledgeby; for Lammle represents him as dying again. He is dying now, of want of presentation to Twemlow.
Twemlow offers his hand. Glad to see him. ‘Your mother, sir, was a connexion of mine.’
‘I believe so,’ says Fledgeby, ‘but my mother and her family were two.’
‘Are you staying in town?’ asks Twemlow.
‘I always am,’ says Fledgeby.
‘You like town,’ says Twemlow. But is felled flat by Fledgeby’s taking it quite ill, and replying, No, he don’t like town. Lammle tries to break the force of the fall, by remarking that some people do not like town. Fledgeby retorting that he never heard of any such case but his own, Twemlow goes down again heavily.
‘There is nothing new this morning, I suppose?’ says Twemlow, returning to the mark with great spirit.
Fledgeby has not heard of anything.
‘No, there’s not a word of news,’ says Lammle.
‘Not a particle,’ adds Boots.
‘Not an atom,’ chimes in Brewer.
Somehow the execution of this little concerted piece appears to raise the general spirits as with a sense of duty done, and sets the company a going. Everybody seems more equal than before, to the calamity of being in the society of everybody else. Even Eugene standing in a window, moodily swinging the tassel of a blind, gives it a smarter jerk now, as if he found himself in better case.
Breakfast announced. Everything on table showy and gaudy, but with a self-assertingly temporary and nomadic air on the decorations, as boasting that they will be much more showy and gaudy in the palatial residence. Mr Lammle’s own particular servant behind his chair; the Analytical behind Veneering’s chair; instances in point that such servants fall into two classes: one mistrusting the master’s acquaintances, and the other mistrusting the master. Mr Lammle’s servant, of the second class. Appearing to be lost in wonder and low spirits because the police are so long in coming to take his master up on some charge of the first magnitude.
Veneering, M.P., on the right of Mrs Lammle; Twemlow on her left; Mrs Veneering, W.M.P. (wife of Member of Parliament), and Lady Tippins on Mr Lammle’s right and left. But be sure that well within the fascination of Mr Lammle’s eye and smile sits little Georgiana. And be sure that close to little Georgiana, also under inspection by the same gingerous gentleman, sits Fledgeby.
Oftener than twice or thrice while breakfast is in progress, Mr Twemlow gives a little sudden turn towards Mrs Lammle, and then says to her, ‘I beg your pardon!’ This not being Twemlow’s usual way, why is it his way to-day? Why, the truth is, Twemlow repeatedly labours under the impression that Mrs Lammle is going to speak to him, and turning finds that it is not so, and mostly that she has her eyes upon Veneering. Strange that this impression so abides by Twemlow after being corrected, yet so it is.
Lady Tippins partaking plentifully of the fruits of the earth (including grape-juice in the category) becomes livelier, and applies herself to elicit sparks from Mortimer Lightwood. It is always understood among the initiated, that that faithless lover must be planted at table opposite to Lady Tippins, who will then strike conversational fire out of him. In a pause of mastication and deglutition, Lady Tippins, contemplating Mortimer, recalls that it was at our dear Veneerings, and in the presence of a party who are surely all here, that he told them his story of the man from somewhere, which afterwards became so horribly interesting and vulgarly popular.
‘Yes, Lady Tippins,’ assents Mortimer; ‘as they say on the stage, “Even so!”
‘Then we expect you,’ retorts the charmer, ‘to sustain your reputation, and tell us something else.’
‘Lady Tippins, I exhausted myself for life that day, and there is nothing more to be got out of me.’
Mortimer parries thus, with a sense upon him that elsewhere it is Eugene and not he who is the jester, and that in these circles where Eugene persists in being speechless, he, Mortimer, is but the double of the friend on whom he has founded himself.
‘But,’ quoth the fascinating Tippins, ‘I am resolved on getting something more out of you. Traitor! what is this I hear about another disappearance?’
‘As it is you who have heard it,’ returns Lightwood, ‘perhaps you’ll tell us.’
‘Monster, away!’ retorts Lady Tippins. ‘Your own Golden Dustman referred me to you.’
Mr Lammle, striking in here, proclaims aloud that there is a sequel to the story of the man from somewhere. Silence ensues upon the proclamation.
‘I assure you,’ says Lightwood, glancing round the table, ‘I have nothing to tell.’ But Eugene adding in a low voice, ‘There, tell it, tell it!’ he corrects himself with the addition, ‘Nothing worth mentioning.’
Boots and Brewer immediately perceive that it is immensely worth mentioning, and become politely clamorous. Veneering is also visited by a perception to the same effect. But it is understood that his attention is now rather used up, and difficult to hold, that being the tone of the House of Commons.
‘Pray don’t be at the trouble of composing yourselves to listen,’ says Mortimer Lightwood, ‘because I shall have finished long before you have fallen into comfortable