The Letters of Charles Dickens. Vol. 1, 1833-1856 . Чарльз ДиккенсЧитать онлайн книгу.

      P.S. – The writer hereof may be heerd on by personal enquiry at No. 9, Osnaburgh Terrace, New Road.

      My dear Sir,

      Many thanks for your proof, and for your truly gratifying mention of my name. I think the subject excellently chosen, the introduction exactly what it should be, the allusion to the International Copyright question most honourable and manly, and the whole scheme full of the highest interest. I had already seen your prospectus, and if I can be of the feeblest use in advancing a project so intimately connected with an end on which my heart is set – the liberal education of the people – I shall be sincerely glad. All good wishes and success attend you!

      Dear Sir,

      Mrs. Harris, being in that delicate state (just confined, and "made comfortable," in fact), hears some sounds below, which she fancies may be the owls (or howls) of the husband to whom she is devoted. They ease her mind by informing her that these sounds are only organs. By "they" I mean the gossips and attendants. By "organs" I mean instrumental boxes with barrels in them, which are commonly played by foreigners under the windows of people of sedentary pursuits, on a speculation of being bribed to leave the street. Mrs. Harris, being of a confiding nature, believed in this pious fraud, and was fully satisfied "that his owls was organs."

      My Dear Sir,

      I have been out yachting for two or three days; and consequently could not answer your letter in due course.

      I cannot, consistently with the opinion I hold and have always held, in reference to the principle of adapting novels for the stage, give you a prologue to "Chuzzlewit." But believe me to be quite sincere in saying that if I felt I could reasonably do such a thing for anyone, I would do it for you.

      I start for Italy on Monday next, but if you have the piece on the stage, and rehearse on Friday, I will gladly come down at any time you may appoint on that morning, and go through it with you all. If you be not in a sufficiently forward state to render this proposal convenient to you, or likely to assist your preparations, do not take the trouble to answer this note.

      I presume Mrs. Keeley will do Ruth Pinch. If so, I feel secure about her, and of Mrs. Gamp I am certain. But a queer sensation begins in my legs, and comes upward to my forehead, when I think of Tom.

      My very dear Mac,

      I address you with something of the lofty spirit of an exile – a banished commoner – a sort of Anglo-Pole. I don't exactly know what I have done for my country in coming away from it; but I feel it is something – something great – something virtuous and heroic. Lofty emotions rise within me, when I see the sun set on the blue Mediterranean. I am the limpet on the rock. My father's name is Turner and my boots are green.

      Apropos of blue. In a certain picture, called "The Serenade," you painted a sky. If you ever have occasion to paint the Mediterranean, let it be exactly of that colour. It lies before me now, as deeply and intensely blue. But no such colour is above me. Nothing like it. In the South of France – at Avignon, at Aix, at Marseilles – I saw deep blue skies (not so deep though – oh Lord, no!), and also in America; but the sky above me is familiar to my sight. Is it heresy to say that I have seen its twin-brother shining through the window of Jack Straw's – that down in Devonshire I have seen a better sky? I daresay it is; but like a great many other heresies, it is true.

      But such green – green – green – as flutters in the vineyard down below the windows, that I never saw; nor yet such lilac, and such purple as float between me and the distant hills; nor yet – in anything – picture, book, or verbal boredom – such awful, solemn, impenetrable blue, as is that same sea. It has such an absorbing, silent, deep, profound effect, that I can't help thinking it suggested the idea of Styx. It looks as if a draught of it – only so much as you could scoop up on the beach, in the hollow of your hand – would wash out everything else, and make a great blue blank of your intellect.

      When the sun sets clearly, then, by Heaven, it is majestic! From any one of eleven windows here, or from a terrace overgrown with grapes, you may behold the broad sea; villas, houses, mountains, forts, strewn with rose leaves – strewn with thorns – stifled in thorns! Dyed through and through and through. For a moment. No more. The sun is impatient and fierce, like everything else in these parts, and goes down headlong. Run to fetch your hat – and it's night. Wink at the right time of black night – and it's morning. Everything is in extremes. There is an insect here (I forget its name, and Fletcher and Roche are both out) that chirps all day. There is one outside the window now. The chirp is very loud, something like a Brobdingnagian grasshopper. The creature is born to chirp – to progress in chirping – to chirp louder, louder, louder – till it gives one tremendous chirp, and bursts itself. That is its life and death. Everything "is in a concatenation accordingly." The day gets brighter, brighter, brighter, till it's night. The summer gets hotter, hotter, hotter, till it bursts. The fruit gets riper, riper, riper, till it tumbles down and rots.

      Ask me a question or two about fresco – will you be so good? All the houses are painted in fresco hereabout – the outside walls I mean; the fronts, and backs, and sides – and all the colour has run into damp and green seediness, and the very design has struggled away into the component atoms of the plaster. Sometimes (but not often) I can make out a Virgin with a mildewed glory round her head; holding nothing, in an indiscernible lap, with invisible arms; and occasionally the leg or arms of a cherub, but it is very melancholy and dim. There are two old fresco-painted vases outside my own gate – one on either hand – which are so faint, that I never saw them till last night; and only then because I was looking over the wall after a lizard, who had come upon me while I was smoking a cigar above, and crawled over one of these embellishments to his retreat. There is a church here – the Church of the Annunciation – which they are now (by "they" I mean certain noble families) restoring at a vast expense, as a work of piety. It is a large church, with a great many little chapels in it, and a very high dome. Every inch of this edifice is painted, and every design is set in a great gold frame or border elaborately wrought. You can imagine nothing so splendid. It is worth coming the whole distance to see. But every sort of splendour is in perpetual enactment through the means of these churches. Gorgeous processions in the streets, illuminations of windows on festa nights; lighting up of lamps and clustering of flowers before the shrines of saints; all manner of show and display. The doors of the churches stand wide open; and in this hot weather great red curtains flutter and wave in their palaces; and if you go and sit in one of these to get out of the sun, you see the queerest figures kneeling against pillars, and the strangest people passing in and out, and vast streams of women in veils (they don't wear bonnets), with great fans in their hands, coming and going, that you are never tired of looking on. Except in the churches, you would suppose the city (at this time of year) to be deserted, the people keep so close within doors. Indeed it is next to impossible to go out into the heat. I have only been into Genoa twice myself. We are deliciously cool here, by comparison; being high, and having the sea breeze. There is always some shade in the vineyard, too; and underneath the rocks on the sea-shore, so if I choose to saunter I can do it easily, even in the hot time of the day. I am as lazy, however, as – as you are, and do little but eat and drink and read.

      As I am going to transmit regular accounts of all sight-seeings and journeyings to Forster, who will show them to you, I will not bore you with descriptions, however. I hardly think you allow enough for the great brightness and brilliancy of colour which is commonly achieved on the Continent, in that same fresco painting. I saw some – by a French artist and his pupil – in progress at the cathedral at Avignon, which was as bright and airy as anything can be, – nothing dull or dead about it; and I have observed quite fierce and glaring