The Puzzle of Dickens's Last Plot [16]
Jasper into the vault, when he hears of its existence. (3) Next, Mr. Cuming Walters supposes Datchery to learn from Durdles, whom he is to visit, about the second hearing of the cry and the dog's howl. Deputy may have seen Jasper "carrying his burden" (Edwin) "towards the Sapsea vault." In fact, Jasper probably saved trouble by making the drugged Edwin walk into that receptacle. "Datchery would not think of the Sapsea vault unaided." No - unless Datchery was Drood ! "Now Durdles is useful again. Tapping with his hammer he would find a change . . . inquiry must be made." Why should Durdles tap the Sapsea monument? As Durdles had the key, he would simply walk into the vault, and find the quicklime. Now, Jasper also, we presume, had a key, made from a wax impression of the original. If he had any sense, he would have removed the quicklime as easily as he inserted it, for Mr. Sapsea was mortal: he might die any day, and be buried, and then the quicklime, lying where it ought not, would give rise to awkward inquiries.
Inquiry being made, in consequence of Durdles's tappings, the ring would be found, as Mr. Cuming Walters says. But even then, unless Deputy actually saw Jasper carry a man into the vault, nobody could prove Jasper's connection with the presence of the ring in the vault. Moreover, Deputy hated Jasper, and if he saw Jasper carrying the body of a man, on the night when a man disappeared, he was clever enough to lead Durdles to examine the vault, AT ONCE. Deputy had a great dislike of the Law and its officers, but here was a chance for him to distinguish himself, and conciliate them.
However these things may be, Mr. Cuming Walters supposes that Jasper, finding himself watched, re-enters the vault, perhaps, "to see that every trace of the crime had been removed." In the vault he finds - Datchery, that is, Helena Landless! Jasper certainly visited the vault and found somebody.
EVIDENCE OF COLLINS'S DRAWINGS
We now come to the evidence which Forster strangely overlooked, which Mr. Proctor and Mr. Archer correctly deciphered, and which Mr. Cuming Walters misinterprets. On December 22, 1869, Dickens wrote to Forster that two numbers of his romance were "now in type. Charles Collins has designed an excellent cover." Mr. C. A. Collins had married a daughter of Dickens. (4) He was an artist, a great friend of Dickens, and author of that charming book, "A Cruise on Wheels." His design of the paper cover of the story (it appeared in monthly numbers) contained, as usual, sketches which give an inkling of the events in the tale. Mr. Collins was to have illustrated the book; but, finally, Mr. (now Sir) Luke Fildes undertook the task. Mr. Collins died in 1873. It appears that Forster never asked him the meaning of his designs - a singular oversight.
The cover lies before the reader. In the left-hand top corner appears an allegorical female figure of joy, with flowers. The central top space contains the front of Cloisterham Cathedral, or rather, the nave. To the left walks Edwin, with hyacinthine locks, and a thoroughly classical type of face, and Grecian nose. LIKE DATCHERY, HE DOES NOT WEAR, BUT CARRIES HIS HAT; this means nothing, if they are in the nave. He seems bored. On his arm is Rosa; SHE seems bored; she trails her parasol, and looks away from Edwin, looks down, to her right. On the spectator's right march the surpliced men and boys of the Choir. Behind them is Jasper, black whiskers and all; he stares after Edwin and Rosa; his right hand hides his mouth. In the corner above him is an allegorical female, clasping a stiletto.
Beneath Edwin and Rosa is, first, an allegorical female figure, looking at a placard, headed "LOST," on a door. Under that, again, is a girl in a garden-chair; a young man, whiskerless, with wavy hair, kneels and kisses her hand. She looks rather unimpassioned. I conceive the man to be Landless, taking leave of Rosa after urging his hopeless suit, for which Helena, we learn, "seems to compassionate
Inquiry being made, in consequence of Durdles's tappings, the ring would be found, as Mr. Cuming Walters says. But even then, unless Deputy actually saw Jasper carry a man into the vault, nobody could prove Jasper's connection with the presence of the ring in the vault. Moreover, Deputy hated Jasper, and if he saw Jasper carrying the body of a man, on the night when a man disappeared, he was clever enough to lead Durdles to examine the vault, AT ONCE. Deputy had a great dislike of the Law and its officers, but here was a chance for him to distinguish himself, and conciliate them.
However these things may be, Mr. Cuming Walters supposes that Jasper, finding himself watched, re-enters the vault, perhaps, "to see that every trace of the crime had been removed." In the vault he finds - Datchery, that is, Helena Landless! Jasper certainly visited the vault and found somebody.
EVIDENCE OF COLLINS'S DRAWINGS
We now come to the evidence which Forster strangely overlooked, which Mr. Proctor and Mr. Archer correctly deciphered, and which Mr. Cuming Walters misinterprets. On December 22, 1869, Dickens wrote to Forster that two numbers of his romance were "now in type. Charles Collins has designed an excellent cover." Mr. C. A. Collins had married a daughter of Dickens. (4) He was an artist, a great friend of Dickens, and author of that charming book, "A Cruise on Wheels." His design of the paper cover of the story (it appeared in monthly numbers) contained, as usual, sketches which give an inkling of the events in the tale. Mr. Collins was to have illustrated the book; but, finally, Mr. (now Sir) Luke Fildes undertook the task. Mr. Collins died in 1873. It appears that Forster never asked him the meaning of his designs - a singular oversight.
The cover lies before the reader. In the left-hand top corner appears an allegorical female figure of joy, with flowers. The central top space contains the front of Cloisterham Cathedral, or rather, the nave. To the left walks Edwin, with hyacinthine locks, and a thoroughly classical type of face, and Grecian nose. LIKE DATCHERY, HE DOES NOT WEAR, BUT CARRIES HIS HAT; this means nothing, if they are in the nave. He seems bored. On his arm is Rosa; SHE seems bored; she trails her parasol, and looks away from Edwin, looks down, to her right. On the spectator's right march the surpliced men and boys of the Choir. Behind them is Jasper, black whiskers and all; he stares after Edwin and Rosa; his right hand hides his mouth. In the corner above him is an allegorical female, clasping a stiletto.
Beneath Edwin and Rosa is, first, an allegorical female figure, looking at a placard, headed "LOST," on a door. Under that, again, is a girl in a garden-chair; a young man, whiskerless, with wavy hair, kneels and kisses her hand. She looks rather unimpassioned. I conceive the man to be Landless, taking leave of Rosa after urging his hopeless suit, for which Helena, we learn, "seems to compassionate