Scenes of Clerical Life. Джордж ЭлиотЧитать онлайн книгу.
ourselves in the romance of a tallow-chandler, who mingles the image of his beloved with short dips and moulds.'
But in the first place, dear ladies, allow me to plead that gin-and-water, like obesity, or baldness, or the gout, does not exclude a vast amount of antecedent romance, any more than the neatly-executed 'fronts' which you may some day wear, will exclude your present possession of less expensive braids. Alas, alas! we poor mortals are often little better than wood-ashes—there is small sign of the sap, and the leafy freshness, and the bursting buds that were once there; but wherever we see wood-ashes, we know that all that early fullness of life must have been. I, at least, hardly ever look at a bent old man, or a wizened old woman, but I see also, with my mind's eye, that Past of which they are the shrunken remnant, and the unfinished romance of rosy cheeks and bright eyes seems sometimes of feeble interest and significance, compared with that drama of hope and love which has long ago reached its catastrophe, and left the poor soul, like a dim and dusty stage, with all its sweet garden-scenes and fair perspectives overturned and thrust out of sight.
In the second place, let me assure you that Mr. Gilfil's potations of gin-and-water were quite moderate. His nose was not rubicund; on the contrary, his white hair hung around a pale and venerable face. He drank it chiefly, I believe, because it was cheap; and here I find myself alighting on another of the Vicar's weaknesses, which, if I had cared to paint a flattering portrait rather than a faithful one, I might have chosen to suppress. It is undeniable that, as the years advanced, Mr. Gilfil became, as Mr. Hackit observed, more and more 'close-fisted', though the growing propensity showed itself rather in the parsimony of his personal habits, than in withholding help from the needy. He was saving—so he represented the matter to himself—for a nephew, the only son of a sister who had been the dearest object, all but one, in his life. 'The lad,' he thought, 'will have a nice little fortune to begin life with, and will bring his pretty young wife some day to see the spot where his old uncle lies. It will perhaps be all the better for his hearth that mine was lonely.'
Mr. Gilfil was a bachelor, then?
That is the conclusion to which you would probably have come if you had entered his sitting-room, where the bare tables, the large old-fashioned horse-hair chairs, and the threadbare Turkey carpet perpetually fumigated with tobacco, seemed to tell a story of wifeless existence that was contradicted by no portrait, no piece of embroidery, no faded bit of pretty triviality, hinting of taper-fingers and small feminine ambitions. And it was here that Mr. Gilfil passed his evenings, seldom with other society than that of Ponto, his old brown setter, who, stretched out at full length on the rug with his nose between his fore-paws, would wrinkle his brows and lift up his eyelids every now and then, to exchange a glance of mutual understanding with his master. But there was a chamber in Shepperton Vicarage which told a different story from that bare and cheerless dining-room—a chamber never entered by any one besides Mr. Gilfil and old Martha the housekeeper, who, with David her husband as groom and gardener, formed the Vicar's entire establishment. The blinds of this chamber were always down, except once a-quarter, when Martha entered that she might air and clean it. She always asked Mr. Gilfil for the key, which he kept locked up in his bureau, and returned it to him when she had finished her task.
It was a touching sight that the daylight streamed in upon, as Martha drew aside the blinds and thick curtains, and opened the Gothic casement of the oriel window! On the little dressing-table there was a dainty looking-glass in a carved and gilt frame; bits of wax-candle were still in the branched sockets at the sides, and on one of these branches hung a little black lace kerchief; a faded satin pin-cushion, with the pins rusted in it, a scent-bottle, and a large green fan, lay on the table; and on a dressing-box by the side of the glass was a work-basket, and an unfinished baby-cap, yellow with age, lying in it. Two gowns, of a fashion long forgotten, were hanging on nails against the door, and a pair of tiny red slippers, with a bit of tarnished silver embroidery on them, were standing at the foot of the bed. Two or three water-colour drawings, views of Naples, hung upon the walls; and over the mantelpiece, above some bits of rare old china, two miniatures in oval frames. One of these miniatures represented a young man about seven-and-twenty, with a sanguine complexion, full lips, and clear candid grey eyes. The other was the likeness of a girl probably not more than eighteen, with small features, thin cheeks, a pale southern-looking complexion, and large dark eyes. The gentleman wore powder; the lady had her dark hair gathered away from her face, and a little cap, with a cherry-coloured bow, set on the top of her head—a coquettish head-dress, but the eyes spoke of sadness rather than of coquetry.
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