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On the road with Gerald Dickens

On the road with Gerald Dickens

Category Archives: Debt

Well, That Was Quite A Birthday! Part 3: A Home From Home

11 Friday Feb 2022

Posted by geralddickens in A Christmas Carol, Charles Dickens, Debt, Literature, London, Museum, One Man Theatre, Uncategorized

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A Christmas Carol, Charles Dickens, Mr Dickens is Coming!, Mr Micawber, The Charles Dickens Museum, The Pickwick Papers

My week celebrating the 210th birthday of Charles Dickens continued on Sunday 6th February in two homes – his and mine.

On Sunday evening a specially filmed version of my old show Mr Dickens is Coming was due to be streamed by The Charles Dickens Museum, which is based at 48 Doughty Street, the home that a young Charles moved into having enjoyed instant success with The Pickwick Papers.

Cindy Sughrue, the director of the museum, had approached me last year with the idea of my developing a version of the show that would utilise many of the rooms in the museum, meaning that I would have a wonderful backdrop for my performance whilst the museum could be shown in its best light. The original idea had been to film it before Christmas, but various issues with my tour, obtaining visas and some family concerns at the time meant that we decided to delay the project until early in the year, using the birthday as a suitable time to screen.

Monday 17th January was selected as a filming day, with the 18th being held as an extra. The advantage of these particular days being that the museum is closed on a Monday and Tuesday, thereby giving us full rein to use whichever rooms we needed, whenever we wanted without disturbing the paying public.

I arrived at around 10.30am, and was met by Jordan Evans who is the Marketing and Events manager at the House who was responsible for co-ordinating the entire project. We would be working with videographer Alex Hyndman who has filmed in the museum often, most particularly with actor Dominic Gerard who performs his brilliant A Christmas Carol from the house in December, and as I arrived Alex was setting up cameras and lights in readiness for the first takes.

I quickly changed into costume, which included one of my oldest waistcoats – a black one with shining golden embellishments, and bright patches of colour. I saw it back in the 1990’s hanging on a bargain rail outside a charity shop in the pouring rain. I had been looking for a garish waistcoat for the show, and this one seemed to be calling out to me: ‘buy me! buy me!’ And I did.

I had re-written my old script whilst taking the virtual tour of the museum, which is available on the Carles Dickens Museum website, and had tried to feature each room in a way appropriate to the part of the story I was telling. My opening shot would see me striding down the centre of Doughty Street towards the camera and then entering the famous red door to begin, and this, Jordan decided, would be the first scene to film. The best laid plans of mice and men oft go astray, as Rabbie Burns wrote, and on the morning of filming we discovered that it was bin collection day, so the elegant street was lined with piles of rubbish and recycling rendering our idea for the long view of Doughty Street impossible to capture. The three of us stood in the street pondering our next move and I realised that I was holding my hand up to shade my eyes against the low-in-the-sky sun shining along the street (which apparently runs East-West). ‘Guys,’ I said, ‘why don’t we use my shadow on the pavement?’ and so the show opens with a panning shot of a top-hatted shadow striding along, until the camera pans up to show me walking up to the door.

For the rest of the day we moved from room to room, planning how to shoot each scene and taking care not to touch the historic furniture and artefacts as we did. In the nursery on the top floor I performed the passage about John Dickens next to his bust, and then Alex was able to swing the camera round as I walked behind the original prison bars from The Marshalsea Prison, where the family had been sent for debt. At the end of the scene I moved out of shot, revealing a picture of Mr Micawber on the wall behind me.

We managed to get the whole show filmed in the single day, wrapping with a final shot in the little courtyard garden, and I drove home again, leaving Alex to cast his editing magic wand over the whole thing.

During the intervening weeks Jordan made sure that social media was covered with information about the screening, and Alex had made a short trailer for the film too, which meant by the 6 February we had a goodly number of viewers signed up. I would be watching the film, and then taking questions afterwards, from our new garden office, which we have yet to paint, so it would look rather as if I were sitting in a sauna. During the afternoon, after I had driven back from Sharnbrook, I went up into our loft and grabbed a large picture of Charles Dickens as a young man, one of Henry Fielding Dickens, my great grandfather, and one of me on stage, and hung them in such a way as if to suggest I was in a picture-lined study (I am sure that I didn’t fool anyone!).

I was scared watching, for I knew that many viewers would have highly academic backgrounds, and Mr Dickens is Coming was never written with that in mind: it was always a light-hearted script designed to entertain primarily and doesn’t really bear serious analysis, but Alex had done a great job with the editing, and it came across pretty well, I thought. We had viewers from Australia, Japan, America, Georgia, Malta and many other countries, such is the international influence of Charles Dickens.

When the final shot in the garden faded to black, Cindy Sughrue’s camera flicked into life, which was my cue to switch mine on as well. The comments in the chat room scrolled quickly as various viewers from around the globe congratulated me and asked many questions, which Cindy put to me to answer on screen. We spent around 30 minutes chatting until Cindy would the session up, and having said farewell, I logged off, leaving Charles Dickens’ home behind me and walked back down the dark garden towards the warm, welcoming glow of my own house.

A Christmas Carol at The Old Vic

09 Sunday Jan 2022

Posted by geralddickens in A Christmas Carol, Charity, Charles Dickens, Christmas, Debt, Literature, London, Theatre

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A Christmas Carol, Charles Dickens, Ebenezer Scrooge, FareShare Charity, London, Stephen Mangan, The Old Vic Theatre, The Royal Academy of Music

Call it a busman’s holiday, but when Liz asked me last year if I would like to go to theatre to see a production of A Christmas Carol as one of my Christmas presents, I leaped at the chance. I never tire of the story and any opportunity to see someone else’s vision of it is a privilege, and is also useful for the ongoing development of my own show as I always notices different ways of presenting a scene, or even just an alternative method of delivering a line.

The production that Liz had chosen was at The Old Vic Theatre which is situated near to the Waterloo railway station just south of the River Thames. The Old Vic is not in the heart of the West End theatre district, but has a reputation for imaginative and innovative programming. I remember being taken to the venue on a school trip to see the British actor Timothy West play Shylock in a production of The Merchant of Venice, which we were studying, and realising that seeing a play in its natural setting rather than grinding through it in an academic environment can teach a student so much.

Saturday January 8 was our performance day, and having dropped the girls off at a friend’s house, we drove to London in thick fog and heavy rain, it was a foul day to be travelling and a slightly tight timescale meant that we couldn’t dawdle. Our matinee was due to commence at 1pm, but we had to present ourselves at the theatre between 12 and 12.30 – in these days of Covid restrictions the management were trying to get blocks of audience seated at different times, to avoid everyone rolling up together at 12.45.

The traffic was heavy and fast moving, although the visibility was low, and the opportunities for catastrophe was high. Inevitably we were soon rolling to a standstill behind a long queue of stationary traffic, and away in the distance the thick cloud was pierced by flashing blue and red lights as a police car blocked the road, presumably to allow for an accident to be cleared. We sat and sat and sat, and the idea of making our time slot became more and more unlikely. Eventually the flashing lights were extinguished and we drove on once more.

We made good time for the rest of the journey and we wound around Buckingham Palace before crossing the river Thames and finding our parking space close to the the theatre (in the absence of any parking garages in the vicinity we had found a parking space available for rent on someone’s driveway and booked a four hour slot).

The rain was still falling as we walked to the theatre and joined the long line waiting to be admitted. In an attempt to expedite the process, one of the front of house staff made her way along the line scanning tickets, so that by the time we got to the door we could walk straight in….or so we thought.

The producers of the show had sent a detailed email the day before entitled ‘Everything You Need to Know About Your Visit’, and we had followed the instructions to the letter, however one may have supposed that in an email with such a title, they might have mentioned the need to take a Lateral Flow Test for Covid on the day of the show, rather than putting that instruction in a second email with the title ‘We Are Looking Forward to Your Visit’, which sat, unread, alongside many other similarly titled emails most of which were purely of a promotional nature.

So, when a second box office member walked the line asking to check on everyone’s LFT status Liz and I exchanged a look of horror, for we had no idea! The young man was sympathetic, but unmovable, there would be no entry to the theatre without proof of a negative test in the past few hours. However, he did offer to call his manager who may be able to explain. So we were asked to leave the queue and stand aside until the aforesaid manager appeared. He was equally sympathetic and equally intransigent until he produced a pair of test kits, as if they were Class A drugs, and secretively handed them over to us, suggesting that we find somewhere nearby to carry out a test (‘don’t do it in front of the others, ok?)

We looked helplessly around us, until I noticed a tiny little tent in the square outside the main theatre entrance, which bore the legend: ‘NHS Mobile Testing Centre’ well, that seemed as good a place as any other, so we poked our heads in and asked if we could do our LFTs in the dry, ‘We don’t do Lateral Flow, only PCRs’ we were told, so we had to explain that we had the kits, we didn’t need to be given any, but just required a dry space and as they had no one in their tent at the present, could we huddle under the dripping canvas? They agreed, and we both undertook the least clinical and probably least hygienic tests imaginable. As we waited for the tell-tale line to appear, some more people arrived from the theatre queue, making the same request, but they were turned away. We were lucky.

Fortunately both tests were negative and soon we were back in line and were finally admitted to the theatre with 8 minutes to spare, rather than the 30 that we should have had. Liz had booked amazing tickets in the stalls and we were nestled close to the action, as a temporary circular stage had been built in the centre of the auditorium, meaning that the whole show was performed in the round, with extra seating having been installed on the traditional stage looking out through the proscenium arch and into the auditorium. As the audience gathered, so the cast (with the exception of Mr Scrooge) mingled on the stage, greeting us all with smiles and waves – they were all dressed in long black coats and top hats, but were in no way ‘in character’, they were simply welcoming us to their club, encouraging us to join them. Earlier on in the process they had been handing out mince pies and satsuma oranges, but at that time we had been taking our secret Covid tests, so missed out on the tasty treats. Bah, Humbug!

In the text of A Christmas Carol, Charles Dickens goes out of his way to make the reader feel as if they have company throughout the story, for example when Scrooge first encounters the Ghost of Christmas Past Dickens says: ‘The curtains of his bed were drawn aside; and Scrooge, starting up into a half-recumbent attitude, found himself face to face with the unearthly visitor who drew them: as close to it as I am now to you, and I am standing in the spirit at your elbow’. There is the storyteller, close at hand, looking after us.

As an audience we weren’t allowed to feel that the cast were one group and the audience another, in fact we were encouraged to believe that we were ‘really were fellow-passengers to the grave, and not another race of creatures bound on other journeys.’ and that would be a central theme to the entire performance.

At the centre of the stage a trio of musicians played country folk tunes on a fiddle, an accordion and a whistle, and then suddenly, imperceptibly, the story began, the music became louder, the audience began to clap in time and the cast began to sing, just like that: no announcement, no lowering of house lights, but we were off an running. During the first musical number the entire cast provided accompaniment on hand bells, which sounded sublime.

I wont give a detailed review of the show, for there are many available online, but I want to share our feelings of the adaptation and the performance: it was beautiful, it was intensely moving and it was very very clever. The set and staging was very simple, with little more than four doorframes (one at each compass-point of the stage) which rose up when Scrooge was in the reality of his office or home, but which tilted backwards and laid flat, recessed in the stage, when he was on his supernatural journeys.

Much of the narrative and dialogue was lifted directly from the original, but the writer Jack Thorne had not shrunk away from including his own changes and way of telling the story (for example the three spirits in no way resemble those written by Dickens, but were extremely effective nonetheless). Some scenes were moved around within the plot but settled into their new homes with ease, and the whole journey of Ebenezer was utterly believable and so moving. Much of Scrooge’s torment was shown to arise from his childhood fear of debt, and in these scenes there was a sense of Dickens’ own personality (when Charles was only 12 years old his father had been imprisoned for debt leaving a scar on the great man’s personality that would never heal).

There was a lovely moment when the young Scrooge was seen chatting to his little sister, Fan. Ebenezer had just been released from the lonely torment of his school but was now faced with the anger and abuse of their debt-ridden father. As Fan skipped onto the stage she held a violin in her hand and happily told her brother that she had been told she had talent and if she practiced hard she would become even better. In Dickens’ own childhood he had been sent to work in the squalor of a shoe blacking factory, whilst his little sister was sent to The Royal Academy of Music, where she had won a scholarship. The young Dickens never begrudged her successes and loved her dearly: her name was Fanny, or Fan.

And what of Mr Scrooge himself? The role was played by the very popular actor Stephen Mangan who in recent years has enjoyed a stellar career as a television ‘personality’. Apart from his roles in both comedy and drama series he has also found a niche as a presenter, winning prime-time audiences over with his flashing smile and easy wit. When such personalities are cast in a leading theatrical role it is often to satiate the marketing department, and the performance is little more than an extension of their television persona, but Mangan is so much better than that. We were fortunate to have seen him in a previous theatrical role, and had been super impressed by his performance as Sidney Stratton in ‘The Man in the White Suit’, but his performance as Ebenezer Scrooge moved the bar up many levels. He played Scrooge as an angry man, tormented by his background and his fears. I have said before that I do not like versions of A Christmas Carol in which Scrooge is angry throughout and refuses to listen to the ghosts, and to some extent Mangan’s performance took this route, but you could tell that beneath the apparent rage the new Scrooge (or, more to the point, the old Scrooge) was struggling to burst forth. And when it DID burst forth, OH! What JOY! The tears of sheer elation poured down our cheeks and I am sure many others too. Suddenly the entire audience became part of the celebrations. The young boy who is sent to fetch the turkey from the poulterer’s shop became three young boys selected from the audience being sent to the bakers, from where hey nervously and proudly carried the largest, wobbliest, fruit jelly you have ever seen onto the stage and received a rousing round of applause and a cheer (we were all cheering and applauding everything by this time!) We all joined Fred’s party and took the feast to the Cratchit’s house where old Ebenezer and Tiny Tim connected in the most moving way imaginable. And it snowed! Throughout the auditorium it snowed on us all.

Among this finale of celebration there were moving scenes too, as Scrooge tried to make his peace with those he had wronged, and the meeting of him with Belle at her house door was a particularly effective moment. There was also a reminder from the three spirits that this was not a magical overnight conversion, but one that had to be continually worked at.

As the show ended, Liz and I were on our feet clapping and cheering loudly, and the entire cast looked deeply moved by the reception. Their emotions would have been heightened by the fact that this was the final day of their run and they now had only one more opportunity to present A Christmas Carol. Being a Ghost Story of Christmas

OK, I promised not to review it. Too late!

The performance, the experience, stayed with us during the walk back to the car, throughout the journey home and on into the evening. We both felt moved, uplifted and improved by being part of it and it will stay with us for a long time to come

It was a spectacular afternoon of live theatre and I thank the entire ensemble and production team for bringing it to us.

At the end of the show Mr Mangan made a short speech pointing out that Dickens was writing about the huge poverty gap in the 1840s and the sad fact is that the problem still exists, we were encouraged to donate to the FareShare charity, who raise money and campaign to bring food poverty and food waste to an end. It is a superb and appropriate cause and if you are able to support it then please visit the website and give what you can.

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The Broker’s Man

17 Wednesday Jun 2020

Posted by geralddickens in Charles Dickens, Debt, Sketches by Boz

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Boz, Charles Dickens, Debt, Dickens, London, Sketches

The thirteenth sketch, and the third of the ‘Our Parish’ followed on from the events of ‘The Election for Beadle’ thereby giving the readership a sense of continuity.  The subject matter was close to Dickens’ heart as it dealt with the topic of debt (the broker’s man of the title undertook the job of remaining in a home until a debt was repaid, or re-possession of goods could be carried out).  Despite the terrible memories of his own childhood the piece begins lightly, but by the end of what is a short sketch the tone has turned to utter tragedy.

It was a subject to which Dickens would return often.

 

The Broker’s Man was first published in The Evening Chronicle on July 28th, 1835

 

The Broker’s Man

The excitement of the late election has subsided, and our parish being once again restored to a state of comparative tranquillity, we are enabled to devote our attention to those parishioners who take little share in our party contests or in the turmoil and bustle of public life. And we feel sincere pleasure in acknowledging here, that in collecting materials for this task we have been greatly assisted by Mr. Bung himself, who has imposed on us a debt of obligation which we fear we can never repay. The life of this gentleman has been one of a very chequered description: he has undergone transitions—not from grave to gay, for he never was grave—not from lively to severe, for severity forms no part of his disposition; his fluctuations have been between poverty in the extreme, and poverty modified, or, to use his own emphatic language, ‘between nothing to eat and just half enough.’ He is not, as he forcibly remarks, ‘one of those fortunate men who, if they were to dive under one side of a barge stark-naked, would come up on the other with a new suit of clothes on, and a ticket for soup in the waistcoat-pocket:’ neither is he one of those, whose spirit has been broken beyond redemption by misfortune and want. He is just one of the careless, good-for-nothing, happy fellows, who float, cork-like, on the surface, for the world to play at hockey with: knocked here, and there, and everywhere: now to the right, then to the left, again up in the air, and anon to the bottom, but always reappearing and bounding with the stream buoyantly and merrily along. Some few months before he was prevailed upon to stand a contested election for the office of beadle, necessity attached him to the service of a broker; and on the opportunities he here acquired of ascertaining the condition of most of the poorer inhabitants of the parish, his patron, the captain, first grounded his claims to public support. Chance threw the man in our way a short time since. We were, in the first instance, attracted by his prepossessing impudence at the election; we were not surprised, on further acquaintance, to find him a shrewd, knowing fellow, with no inconsiderable power of observation; and, after conversing with him a little, were somewhat struck (as we dare say our readers have frequently been in other cases) with the power some men seem to have, not only of sympathising with, but to all appearance of understanding feelings to which they themselves are entire strangers. We had been expressing to the new functionary our surprise that he should ever have served in the capacity to which we have just adverted, when we gradually led him into one or two professional anecdotes. As we are induced to think, on reflection, that they will tell better in nearly his own words, than with any attempted embellishments of ours, we will at once entitle them.

 
MR BUNG’S NARRATIVE.

 
‘It’s very true, as you say, sir,’ Mr. Bung commenced, ‘that a broker’s man’s is not a life to be envied; and in course you know as well as I do, though you don’t say it, that people hate and scout ’em because they’re the ministers of wretchedness, like, to poor people. But what could I do, sir? The thing was no worse because I did it, instead of somebody else; and if putting me in possession of a house would put me in possession of three and sixpence a day, and levying a distress on another man’s goods would relieve my distress and that of my family, it can’t be expected but what I’d take the job and go through with it. I never liked it, God knows; I always looked out for something else, and the moment I got other work to do, I left it. If there is anything wrong in being the agent in such matters—not the principal, mind you—I’m sure the business, to a beginner like I was, at all events, carries its own punishment along with it. I wished again and again that the people would only blow me up, or pitch into me—that I wouldn’t have minded, it’s all in my way; but it’s the being shut up by yourself in one room for five days, without so much as an old newspaper to look at, or anything to see out o’ the winder but the roofs and chimneys at the back of the house, or anything to listen to, but the ticking, perhaps, of an old Dutch clock, the sobbing of the missis, now and then, the low talking of friends in the next room, who speak in whispers, lest “the man” should overhear them, or perhaps the occasional opening of the door, as a child peeps in to look at you, and then runs half-frightened away—it’s all this, that makes you feel sneaking somehow, and ashamed of yourself; and then, if it’s wintertime, they just give you fire enough to make you think you’d like more, and bring in your grub as if they wished it ’ud choke you—as I dare say they do, for the matter of that, most heartily. If they’re very civil, they make you up a bed in the room at night, and if they don’t, your master sends one in for you; but there you are, without being washed or shaved all the time, shunned by everybody, and spoken to by no one, unless some one comes in at dinner-time, and asks you whether you want any more, in a tone as much to say, “I hope you don’t,” or, in the evening, to inquire whether you wouldn’t rather have a candle, after you’ve been sitting in the dark half the night. When I was left in this way, I used to sit, think, think, thinking, till I felt as lonesome as a kitten in a wash-house copper with the lid on; but I believe the old brokers’ men who are regularly trained to it, never think at all. I have heard some on ’em say, indeed, that they don’t know how!

 
‘I put in a good many distresses in my time (continued Mr. Bung), and in course I wasn’t long in finding, that some people are not as much to be pitied as others are, and that people with good incomes who get into difficulties, which they keep patching up day after day and week after week, get so used to these sort of things in time, that at last they come scarcely to feel them at all. I remember the very first place I was put in possession of, was a gentleman’s house in this parish here, that everybody would suppose couldn’t help having money if he tried. I went with old Fixem, my old master, ’bout half arter eight in the morning; rang the area-bell; servant in livery opened the door: “Governor at home?”—“Yes, he is,” says the man; “but he’s breakfasting just now.” “Never mind,” says Fixem, “just you tell him there’s a gentleman here, as wants to speak to him partickler.” So the servant he opens his eyes, and stares about him all ways—looking for the gentleman, as it struck me, for I don’t think anybody but a man as was stone-blind would mistake Fixem for one; and as for me, I was as seedy as a cheap cowcumber. Hows’ever, he turns round, and goes to the breakfast-parlour, which was a little snug sort of room at the end of the passage, and Fixem (as we always did in that profession), without waiting to be announced, walks in arter him, and before the servant could get out, “Please, sir, here’s a man as wants to speak to you,” looks in at the door as familiar and pleasant as may be. “Who the devil are you, and how dare you walk into a gentleman’s house without leave?” says the master, as fierce as a bull in fits. “My name,” says Fixem, winking to the master to send the servant away, and putting the warrant into his hands folded up like a note, “My name’s Smith,” says he, “and I called from Johnson’s about that business of Thompson’s.”—“Oh,” says the other, quite down on him directly, “How is Thompson?” says he; “Pray sit down, Mr. Smith: John, leave the room.” Out went the servant; and the gentleman and Fixem looked at one another till they couldn’t look any longer, and then they varied the amusements by looking at me, who had been standing on the mat all this time. “Hundred and fifty pounds, I see,” said the gentleman at last. “Hundred and fifty pound,” said Fixem, “besides cost of levy, sheriff’s poundage, and all other incidental expenses.”—“Um,” says the gentleman, “I shan’t be able to settle this before to-morrow afternoon.”—“Very sorry; but I shall be obliged to leave my man here till then,” replies Fixem, pretending to look very miserable over it. “That’s very unfort’nate,” says the gentleman, “for I have got a large party here to-night, and I’m ruined if those fellows of mine get an inkling of the matter—just step here, Mr. Smith,” says he, after a short pause. So Fixem walks with him up to the window, and after a good deal of whispering, and a little chinking of suverins, and looking at me, he comes back and says, “Bung, you’re a handy fellow, and very honest I know. This gentleman wants an assistant to clean the plate and wait at table to-day, and if you’re not particularly engaged,” says old Fixem, grinning like mad, and shoving a couple of suverins into my hand, “he’ll be very glad to avail himself of your services.” Well, I laughed: and the gentleman laughed, and we all laughed; and I went home and cleaned myself, leaving Fixem there, and when I went back, Fixem went away, and I polished up the plate, and waited at table, and gammoned the servants, and nobody had the least idea I was in possession, though it very nearly came out after all; for one of the last gentlemen who remained, came down-stairs into the hall where I was sitting pretty late at night, and putting half-a-crown into my hand, says, “Here, my man,” says he, “run and get me a coach, will you?” I thought it was a do, to get me out of the house, and was just going to say so, sulkily enough, when the gentleman (who was up to everything) came running down-stairs, as if he was in great anxiety. “Bung,” says he, pretending to be in a consuming passion. “Sir,” says I. “Why the devil an’t you looking after that plate?”—“I was just going to send him for a coach for me,” says the other gentleman. “And I was just a-going to say,” says I—“Anybody else, my dear fellow,” interrupts the master of the house, pushing me down the passage to get out of the way—“anybody else; but I have put this man in possession of all the plate and valuables, and I cannot allow him on any consideration whatever, to leave the house. Bung, you scoundrel, go and count those forks in the breakfast-parlour instantly.” You may be sure I went laughing pretty hearty when I found it was all right. The money was paid next day, with the addition of something else for myself, and that was the best job that I (and I suspect old Fixem too) ever got in that line.

 
‘But this is the bright side of the picture, sir, after all,’ resumed Mr. Bung, laying aside the knowing look and flash air, with which he had repeated the previous anecdote—‘and I’m sorry to say, it’s the side one sees very, very seldom, in comparison with the dark one. The civility which money will purchase, is rarely extended to those who have none; and there’s a consolation even in being able to patch up one difficulty, to make way for another, to which very poor people are strangers. I was once put into a house down George’s-yard—that little dirty court at the back of the gas-works; and I never shall forget the misery of them people, dear me! It was a distress for half a year’s rent—two pound ten, I think. There was only two rooms in the house, and as there was no passage, the lodgers up-stairs always went through the room of the people of the house, as they passed in and out; and every time they did so—which, on the average, was about four times every quarter of an hour—they blowed up quite frightful: for their things had been seized too, and included in the inventory. There was a little piece of enclosed dust in front of the house, with a cinder-path leading up to the door, and an open rain-water butt on one side. A dirty striped curtain, on a very slack string, hung in the window, and a little triangular bit of broken looking-glass rested on the sill inside. I suppose it was meant for the people’s use, but their appearance was so wretched, and so miserable, that I’m certain they never could have plucked up courage to look themselves in the face a second time, if they survived the fright of doing so once. There was two or three chairs, that might have been worth, in their best days, from eightpence to a shilling a-piece; a small deal table, an old corner cupboard with nothing in it, and one of those bedsteads which turn up half way, and leave the bottom legs sticking out for you to knock your head against, or hang your hat upon; no bed, no bedding. There was an old sack, by way of rug, before the fireplace, and four or five children were grovelling about, among the sand on the floor. The execution was only put in, to get ’em out of the house, for there was nothing to take to pay the expenses; and here I stopped for three days, though that was a mere form too: for, in course, I knew, and we all knew, they could never pay the money. In one of the chairs, by the side of the place where the fire ought to have been, was an old ’ooman—the ugliest and dirtiest I ever see—who sat rocking herself backwards and forwards, backwards and forwards, without once stopping, except for an instant now and then, to clasp together the withered hands which, with these exceptions, she kept constantly rubbing upon her knees, just raising and depressing her fingers convulsively, in time to the rocking of the chair. On the other side sat the mother with an infant in her arms, which cried till it cried itself to sleep, and when it ’woke, cried till it cried itself off again. The old ’ooman’s voice I never heard: she seemed completely stupefied; and as to the mother’s, it would have been better if she had been so too, for misery had changed her to a devil. If you had heard how she cursed the little naked children as was rolling on the floor, and seen how savagely she struck the infant when it cried with hunger, you’d have shuddered as much as I did. There they remained all the time: the children ate a morsel of bread once or twice, and I gave ’em best part of the dinners my missis brought me, but the woman ate nothing; they never even laid on the bedstead, nor was the room swept or cleaned all the time. The neighbours were all too poor themselves to take any notice of ’em, but from what I could make out from the abuse of the woman up-stairs, it seemed the husband had been transported a few weeks before. When the time was up, the landlord and old Fixem too, got rather frightened about the family, and so they made a stir about it, and had ’em taken to the workhouse. They sent the sick couch for the old ’ooman, and Simmons took the children away at night. The old ’ooman went into the infirmary, and very soon died. The children are all in the house to this day, and very comfortable they are in comparison. As to the mother, there was no taming her at all. She had been a quiet, hard-working woman, I believe, but her misery had actually drove her wild; so after she had been sent to the house of correction half-a-dozen times, for throwing inkstands at the overseers, blaspheming the churchwardens, and smashing everybody as come near her, she burst a blood-vessel one mornin’, and died too; and a happy release it was, both for herself and the old paupers, male and female, which she used to tip over in all directions, as if they were so many skittles, and she the ball.

 
‘Now this was bad enough,’ resumed Mr. Bung, taking a half-step towards the door, as if to intimate that he had nearly concluded. ‘This was bad enough, but there was a sort of quiet misery—if you understand what I mean by that, sir—about a lady at one house I was put into, as touched me a good deal more. It doesn’t matter where it was exactly: indeed, I’d rather not say, but it was the same sort o’ job. I went with Fixem in the usual way—there was a year’s rent in arrear; a very small servant-girl opened the door, and three or four fine-looking little children was in the front parlour we were shown into, which was very clean, but very scantily furnished, much like the children themselves. “Bung,” says Fixem to me, in a low voice, when we were left alone for a minute, “I know something about this here family, and my opinion is, it’s no go.” “Do you think they can’t settle?” says I, quite anxiously; for I liked the looks of them children. Fixem shook his head, and was just about to reply, when the door opened, and in come a lady, as white as ever I see any one in my days, except about the eyes, which were red with crying. She walked in, as firm as I could have done; shut the door carefully after her, and sat herself down with a face as composed as if it was made of stone. “What is the matter, gentlemen?” says she, in a surprisin’ steady voice. “Is this an execution?” “It is, mum,” says Fixem. The lady looked at him as steady as ever: she didn’t seem to have understood him. “It is, mum,” says Fixem again; “this is my warrant of distress, mum,” says he, handing it over as polite as if it was a newspaper which had been bespoke arter the next gentleman.

 
‘The lady’s lip trembled as she took the printed paper. She cast her eye over it, and old Fixem began to explain the form, but saw she wasn’t reading it, plain enough, poor thing. “Oh, my God!” says she, suddenly a-bursting out crying, letting the warrant fall, and hiding her face in her hands. “Oh, my God! what will become of us!” The noise she made, brought in a young lady of about nineteen or twenty, who, I suppose, had been a-listening at the door, and who had got a little boy in her arms: she sat him down in the lady’s lap, without speaking, and she hugged the poor little fellow to her bosom, and cried over him, till even old Fixem put on his blue spectacles to hide the two tears, that was a-trickling down, one on each side of his dirty face. “Now, dear ma,” says the young lady, “you know how much you have borne. For all our sakes—for pa’s sake,” says she, “don’t give way to this!”—“No, no, I won’t!” says the lady, gathering herself up, hastily, and drying her eyes; “I am very foolish, but I’m better now—much better.” And then she roused herself up, went with us into every room while we took the inventory, opened all the drawers of her own accord, sorted the children’s little clothes to make the work easier; and, except doing everything in a strange sort of hurry, seemed as calm and composed as if nothing had happened. When we came down-stairs again, she hesitated a minute or two, and at last says, “Gentlemen,” says she, “I am afraid I have done wrong, and perhaps it may bring you into trouble. I secreted just now,” she says, “the only trinket I have left in the world—here it is.” So she lays down on the table a little miniature mounted in gold. “It’s a miniature,” she says, “of my poor dear father! I little thought once, that I should ever thank God for depriving me of the original, but I do, and have done for years back, most fervently. Take it away, sir,” she says, “it’s a face that never turned from me in sickness and distress, and I can hardly bear to turn from it now, when, God knows, I suffer both in no ordinary degree.” I couldn’t say nothing, but I raised my head from the inventory which I was filling up, and looked at Fixem; the old fellow nodded to me significantly, so I ran my pen through the “Mini” I had just written, and left the miniature on the table.

 
‘Well, sir, to make short of a long story, I was left in possession, and in possession I remained; and though I was an ignorant man, and the master of the house a clever one, I saw what he never did, but what he would give worlds now (if he had ’em) to have seen in time. I saw, sir, that his wife was wasting away, beneath cares of which she never complained, and griefs she never told. I saw that she was dying before his eyes; I knew that one exertion from him might have saved her, but he never made it. I don’t blame him: I don’t think he could rouse himself. She had so long anticipated all his wishes, and acted for him, that he was a lost man when left to himself. I used to think when I caught sight of her, in the clothes she used to wear, which looked shabby even upon her, and would have been scarcely decent on any one else, that if I was a gentleman it would wring my very heart to see the woman that was a smart and merry girl when I courted her, so altered through her love for me. Bitter cold and damp weather it was, yet, though her dress was thin, and her shoes none of the best, during the whole three days, from morning to night, she was out of doors running about to try and raise the money. The money was raised and the execution was paid out. The whole family crowded into the room where I was, when the money arrived. The father was quite happy as the inconvenience was removed—I dare say he didn’t know how; the children looked merry and cheerful again; the eldest girl was bustling about, making preparations for the first comfortable meal they had had since the distress was put in; and the mother looked pleased to see them all so. But if ever I saw death in a woman’s face, I saw it in hers that night.

 
‘I was right, sir,’ continued Mr. Bung, hurriedly passing his coat-sleeve over his face; ‘the family grew more prosperous, and good fortune arrived. But it was too late. Those children are motherless now, and their father would give up all he has since gained—house, home, goods, money: all that he has, or ever can have, to restore the wife he has lost.’

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