Works of Charles Dickens - Charles Dickens [62]
The corpulent black fiddler, and his friend who plays the tambourine, stamp upon the boarding of the small raised orchestra in which they sit, and play a lively measure. Five or six couple come upon the floor, marshalled by a lively young negro, who is the wit of the assembly, and the greatest dancer known. He never leaves off making queer faces, and is the delight of all the rest, who grin from ear to ear incessantly. Among the dancers are two young mulatto girls, with large, black, drooping eyes, and head- gear after the fashion of the hostess, who are as shy, or feign to be, as though they never danced before, and so look down before the visitors, that their partners can see nothing but the long fringed lashes.
But the dance commences. Every gentleman sets as long as he likes to the opposite lady, and the opposite lady to him, and all are so long about it that the sport begins to languish, when suddenly the lively hero dashes in to the rescue. Instantly the fiddler grins, and goes at it tooth and nail; there is new energy in the tambourine; new laughter in the dancers; new smiles in the landlady; new confidence in the landlord; new brightness in the very candles.
Single shuffle, double shuffle, cut and cross-cut; snapping his fingers, rolling his eyes, turning in his knees, presenting the backs of his legs in front, spinning about on his toes and heels like nothing but the man's fingers on the tambourine; dancing with two left legs, two right legs, two wooden legs, two wire legs, two spring legs - all sorts of legs and no legs - what is this to him? And in what walk of life, or dance of life, does man ever get such stimulating applause as thunders about him, when, having danced his partner off her feet, and himself too, he finishes by leaping gloriously on the bar-counter, and calling for something to drink, with the chuckle of a million of counterfeit Jim Crows, in one inimitable sound!
The air, even in these distempered parts, is fresh after the stifling atmosphere of the houses; and now, as we emerge into a broader street, it blows upon us with a purer breath, and the stars look bright again. Here are The Tombs once more. The city watch- house is a part of the building. It follows naturally on the sights we have just left. Let us see that, and then to bed.
What! do you thrust your common offenders against the police discipline of the town, into such holes as these? Do men and women, against whom no crime is proved, lie here all night in perfect darkness, surrounded by the noisome vapours which encircle that flagging lamp you light us with, and breathing this filthy and offensive stench! Why, such indecent and disgusting dungeons as these cells, would bring disgrace upon the most despotic empire in the world! Look at them, man - you, who see them every night, and keep the keys. Do you see what they are? Do you know how drains are made below the streets, and wherein these human sewers differ, except in being always stagnant?
Well, he don't know. He has had five-and-twenty young women locked up in this very cell at one time, and you'd hardly realise what handsome faces there were among 'em.
In God's name! shut the door upon the wretched creature who is in it now, and put its screen before a place, quite unsurpassed in all the vice, neglect, and devilry, of the worst old town in Europe.
Are people really left all night, untried, in those black sties? - Every night. The watch is set at seven in the evening. The magistrate opens his court at five in the morning. That is the earliest hour at which the first prisoner can be released; and if an officer appear against him, he is not taken out till nine o'clock or ten. - But if any one among them die in the interval, as one man did, not long ago? Then he is half-eaten by the rats in an hour's time; as that man was; and there an end.
What is this intolerable