Works of Charles Dickens - Charles Dickens [7352]
But, you see, it come to her through two hands, and of course it didn't come through the second hand for nothing. Why did it come through the second hand at all? Why, this way. The second hand took the risk of the given-out work, you see. If she had money enough to pay the security deposit,--call it two pound,--she could get the work from the first hand, and so the second would not have to be deducted for. But, having no money at all, the second hand come in and took its profit, and so the whole worked down to tenpence half-penny. Having explained all this with great intelligence, even with some little pride, and without a whine or murmur, she folded her work again, sat down by her husband's side at the washing-stool, and resumed her dinner of dry bread. Mean as the meal was, on the bare board, with its old gallipots for cups, and what not other sordid makeshifts; shabby as the woman was in dress, and toning done towards the Bosjesman colour, with want of nutriment and washing,--there was positively a dignity in her, as the family anchor just holding the poor ship-wrecked boilermaker's bark. When I left the room, the boiler-maker's eyes were slowly turned towards her, as if his last hope of ever again seeing that vanished boiler lay in her direction.
These people had never applied for parish relief but once; and that was when the husband met with a disabling accident at his work.
Not many doors from here, I went into a room on the first floor. The woman apologised for its being in 'an untidy mess.' The day was Saturday, and she was boiling the children's clothes in a saucepan on the hearth. There was nothing else into which she could have put them. There was no crockery, or tinware, or tub, or bucket. There was an old gallipot or two, and there was a broken bottle or so, and there were some broken boxes for seats. The last small scraping of coals left was raked together in a corner of the floor. There were some rags in an open cupboard, also on the floor. In a corner of the room was a crazy old French bed-stead, with a man lying on his back upon it in a ragged pilot jacket, and rough oil-skin fantail hat. The room was perfectly black. It was difficult to believe, at first, that it was not purposely coloured black, the walls were so begrimed.
As I stood opposite the woman boiling the children's clothes,--she had not even a piece of soap to wash them with,--and apologising for her occupation, I could take in all these things without appearing to notice them, and could even correct my inventory. I had missed, at the first glance, some half a pound of bread in the otherwise empty safe, an old red ragged crinoline hanging on the handle of the door by which I had entered, and certain fragments of rusty iron scattered on the floor, which looked like broken tools and a piece of stove-pipe. A child stood looking on. On the box nearest to the fire sat two younger children; one a delicate and pretty little creature, whom the other sometimes kissed.
This woman, like the last, was wofully shabby, and was degenerating to the Bosjesman complexion. But her figure, and the ghost of a certain vivacity about her, and the spectre of a dimple in her cheek, carried my memory strangely back to the old days of the Adelphi Theatre, London, when Mrs. Fitzwilliam was the friend of Victorine.
'May I ask you what your husband is?'
'He's a coal-porter, sir,'--with a glance and a sigh towards the bed.
'Is he out of work?'
'Oh, yes, sir! and work's at all times very, very scanty with him; and now he's laid up.'
'It's my legs,' said the man upon the bed. 'I'll