Little Dorrit by Charles Dickens (suggested reading .TXT) 📕

from head to foot, saving his shoes. When he had so done, he lay down upon his bed with some of its coverings over him, and his coat still tied round his neck, to get through the night.

When he started up, the Godfather Break of Day was peeping at its namesake. He rose, took his shoes in his hand, turned the key in the door with great caution, and crept downstairs. Nothing was astir there but the smell of coffee, wine, tobacco, and syrups; and madame’s little counter looked ghastly enough. But he had paid madame his little note at it over night, and wanted to see nobody⁠—wanted nothing but to get on his shoes and his knapsack, open the door, and run away.

He prospered in his object. No movement or voice was heard when he opened the door; no wicked head tied up in a ragged handkerchief looked out of the upper window. When the sun had raised his full disc above the flat line of the horizon, and was striking fire out of the long muddy vista of paved road with its weary avenue of little trees, a black speck moved along the road and splashed among the flaming pools of rainwater, which black speck was John Baptist Cavalletto running away from his patron.

XII Bleeding Heart Yard

In London itself, though in the old rustic road towards a suburb of note where in the days of William Shakespeare, author and stage-player, there were Royal hunting-seats⁠—howbeit no sport is left there now but for hunters of men⁠—Bleeding Heart Yard was to be found; a place much changed in feature and in fortune, yet with some relish of ancient greatness about it. Two or three mighty stacks of chimneys, and a few large dark rooms which had escaped being walled and subdivided out of the recognition of their old proportions, gave the Yard a character. It was inhabited by poor people, who set up their rest among its faded glories, as Arabs of the desert pitch their tents among the fallen stones of the Pyramids; but there was a family sentimental feeling prevalent in the Yard, that it had a character.

As if the aspiring city had become puffed up in the very ground on which it stood, the ground had so risen about Bleeding Heart Yard that you got into it down a flight of steps which formed no part of the original approach, and got out of it by a low gateway into a maze of shabby streets, which went about and about, tortuously ascending to the level again. At this end of the Yard and over the gateway, was the factory of Daniel Doyce, often heavily beating like a bleeding heart of iron, with the clink of metal upon metal.

The opinion of the Yard was divided respecting the derivation of its name. The more practical of its inmates abided by the tradition of a murder; the gentler and more imaginative inhabitants, including the whole of the tender sex, were loyal to the legend of a young lady of former times closely imprisoned in her chamber by a cruel father for remaining true to her own true love, and refusing to marry the suitor he chose for her. The legend related how that the young lady used to be seen up at her window behind the bars, murmuring a lovelorn song of which the burden was, “Bleeding Heart, Bleeding Heart, bleeding away,” until she died. It was objected by the murderous party that this Refrain was notoriously the invention of a tambour-worker, a spinster and romantic, still lodging in the Yard. But, forasmuch as all favourite legends must be associated with the affections, and as many more people fall in love than commit murder⁠—which it may be hoped, howsoever bad we are, will continue until the end of the world to be the dispensation under which we shall live⁠—the Bleeding Heart, Bleeding Heart, bleeding away story, carried the day by a great majority. Neither party would listen to the antiquaries who delivered learned lectures in the neighbourhood, showing the Bleeding Heart to have been the heraldic cognisance of the old family to whom the property had once belonged. And, considering that the hourglass they turned from year to year was filled with the earthiest and coarsest sand, the Bleeding Heart Yarders had reason enough for objecting to be despoiled of the one little golden grain of poetry that sparkled in it.

Down in to the Yard, by way of the steps, came Daniel Doyce, Mr. Meagles, and Clennam. Passing along the Yard, and between the open doors on either hand, all abundantly garnished with light children nursing heavy ones, they arrived at its opposite boundary, the gateway. Here Arthur Clennam stopped to look about him for the domicile of Plornish, plasterer, whose name, according to the custom of Londoners, Daniel Doyce had never seen or heard of to that hour.

It was plain enough, nevertheless, as Little Dorrit had said; over a lime-splashed gateway in the corner, within which Plornish kept a ladder and a barrel or two. The last house in Bleeding Heart Yard which she had described as his place of habitation, was a large house, let off to various tenants; but Plornish ingeniously hinted that he lived in the parlour, by means of a painted hand under his name, the forefinger of which hand (on which the artist had depicted a ring and a most elaborate nail of the genteelest form) referred all inquirers to that apartment.

Parting from his companions, after arranging another meeting with Mr. Meagles, Clennam went alone into the entry, and knocked with his knuckles at the parlour-door. It was opened presently by a woman with a child in her arms, whose unoccupied hand was hastily rearranging the upper part of her dress. This was Mrs. Plornish, and this maternal action was the action of Mrs. Plornish during a large part of her waking existence.

Was Mr. Plornish at home? “Well, sir,” said Mrs. Plornish, a civil woman, “not