Bleak House by Charles Dickens (best ebook reader for laptop .txt) 📕

has often heard, begins to collect in a basin various tributary streams of tea, from the bottoms of cups and saucers and from the bottom of the teapot for the little charwoman’s evening meal. In like manner she gets together, in the iron breadbasket, as many outside fragments and worn-down heels of loaves as the rigid economy of the house has left in existence.

“But your father and me were partners, Bart,” says the old gentleman, “and when I am gone, you and Judy will have all there is. It’s rare for you both that you went out early in life⁠—Judy to the flower business, and you to the law. You won’t want to spend it. You’ll get your living without it, and put more to it. When I am gone, Judy will go back to the flower business and you’ll still stick to the law.”

One might infer from Judy’s appearance that her business rather lay with the thorns than the flowers, but she has in her time been apprenticed to the art and mystery of artificial flower-making. A close observer might perhaps detect both in her eye and her brother’s, when their venerable grandsire anticipates his being gone, some little impatience to know when he may be going, and some resentful opinion that it is time he went.

“Now, if everybody has done,” says Judy, completing her preparations, “I’ll have that girl in to her tea. She would never leave off if she took it by herself in the kitchen.”

Charley is accordingly introduced, and under a heavy fire of eyes, sits down to her basin and a Druidical ruin of bread and butter. In the active superintendence of this young person, Judy Smallweed appears to attain a perfectly geological age and to date from the remotest periods. Her systematic manner of flying at her and pouncing on her, with or without pretence, whether or no, is wonderful, evincing an accomplishment in the art of girl-driving seldom reached by the oldest practitioners.

“Now, don’t stare about you all the afternoon,” cries Judy, shaking her head and stamping her foot as she happens to catch the glance which has been previously sounding the basin of tea, “but take your victuals and get back to your work.”

“Yes, miss,” says Charley.

“Don’t say yes,” returns Miss Smallweed, “for I know what you girls are. Do it without saying it, and then I may begin to believe you.”

Charley swallows a great gulp of tea in token of submission and so disperses the Druidical ruins that Miss Smallweed charges her not to gormandize, which “in you girls,” she observes, is disgusting. Charley might find some more difficulty in meeting her views on the general subject of girls but for a knock at the door.

“See who it is, and don’t chew when you open it!” cries Judy.

The object of her attentions withdrawing for the purpose, Miss Smallweed takes that opportunity of jumbling the remainder of the bread and butter together and launching two or three dirty teacups into the ebb-tide of the basin of tea as a hint that she considers the eating and drinking terminated.

“Now! Who is it, and what’s wanted?” says the snappish Judy.

It is one Mr. George, it appears. Without other announcement or ceremony, Mr. George walks in.

“Whew!” says Mr. George. “You are hot here. Always a fire, eh? Well! Perhaps you do right to get used to one.” Mr. George makes the latter remark to himself as he nods to Grandfather Smallweed.

“Ho! It’s you!” cries the old gentleman. “How de do? How de do?”

“Middling,” replies Mr. George, taking a chair. “Your granddaughter I have had the honour of seeing before; my service to you, miss.”

“This is my grandson,” says Grandfather Smallweed. “You ha’n’t seen him before. He is in the law and not much at home.”

“My service to him, too! He is like his sister. He is very like his sister. He is devilish like his sister,” says Mr. George, laying a great and not altogether complimentary stress on his last adjective.

“And how does the world use you, Mr. George?” Grandfather Smallweed inquires, slowly rubbing his legs.

“Pretty much as usual. Like a football.”

He is a swarthy brown man of fifty, well made, and good looking, with crisp dark hair, bright eyes, and a broad chest. His sinewy and powerful hands, as sunburnt as his face, have evidently been used to a pretty rough life. What is curious about him is that he sits forward on his chair as if he were, from long habit, allowing space for some dress or accoutrements that he has altogether laid aside. His step too is measured and heavy and would go well with a weighty clash and jingle of spurs. He is close-shaved now, but his mouth is set as if his upper lip had been for years familiar with a great moustache; and his manner of occasionally laying the open palm of his broad brown hand upon it is to the same effect. Altogether one might guess Mr. George to have been a trooper once upon a time.

A special contrast Mr. George makes to the Smallweed family. Trooper was never yet billeted upon a household more unlike him. It is a broadsword to an oyster-knife. His developed figure and their stunted forms, his large manner filling any amount of room and their little narrow pinched ways, his sounding voice and their sharp spare tones, are in the strongest and the strangest opposition. As he sits in the middle of the grim parlour, leaning a little forward, with his hands upon his thighs and his elbows squared, he looks as though, if he remained there long, he would absorb into himself the whole family and the whole four-roomed house, extra little back-kitchen and all.

“Do you rub your legs to rub life into ’em?” he asks of Grandfather Smallweed after looking round the room.

“Why, it’s partly a habit, Mr. George, and⁠—yes⁠—it partly helps the circulation,” he replies.

“The cir-cu-la-tion!” repeats Mr. George, folding his arms upon his chest and seeming to become two sizes larger. “Not much of that, I should think.”

“Truly I’m