a Short Story
by Charles Dickens
Putting up for the night in one of the chiefest towns of Staffordshire, I find it to be by no means a lively town. In fact, it is as dull and dead a town as any one could desire not to see. It seems as if its whole population might be imprisoned in its Railway Station. The Refreshment Room at that Station is a vortex of dissipation compared with the extinct town-inn, the Dodo, in the dull High Street.
Why High Street? Why not rather Low Street, Flat Street, Low- Spirited Street, Used-up Street? Where are the people who belong to the High Street? Can they all be dispersed over the face of the country, seeking the unfortunate Strolling Manager who decamped from the mouldy little Theatre last week, in the beginning of his season (as his play-bills testify), repentantly resolved to bring him back, and feed him, and be entertained? Or, can they all be gathered to their fathers in the two old churchyards near to the High Street - retirement into which churchyards appears to be a mere ceremony, there is so very little life outside their confines, and such small discernible difference between being buried alive in the town, and buried dead in the town tombs? Over the way, opposite to the staring blank bow windows of the Dodo, are a little ironmonger's shop, a little tailor's shop (with a picture of the Fashions in the small window and a bandy-legged baby on the pavement staring at it) - a watchmakers shop, where all the clocks and watches must be stopped, I am sure, for they could never have the courage to go, with the town in general, and the Dodo in particular, looking at them. Shade of Miss Linwood, erst of Leicester Square, London, thou art welcome here, and thy retreat is fitly chosen! I myself was one of the last visitors to that awful storehouse of thy life's work, where an anchorite old man and woman took my shilling with a solemn wonder, and conducting me to a gloomy sepulchre of needlework dropping to pieces with dust and age and shrouded in twilight at high noon, left me there, chilled, frightened, and alone. And now, in ghostly letters on all the dead walls of this dead town, I read thy honoured name, and find that thy Last Supper, worked in Berlin Wool, invites inspection as a powerful excitement!
Where are the people who are bidden with so much cry to this feast of little wool? Where are they? Who are they? They are not the bandy-legged baby studying the fashions in the tailor's window. They are not the two earthy ploughmen lounging outside the saddler's shop, in the stiff square where the Town Hall stands, like a brick and mortar private on parade. They are not the landlady of the Dodo in the empty bar, whose eye had trouble in it and no welcome, when I asked for dinner. They are not the turnkeys of the Town Jail, looking out of the gateway in their uniforms, as if they had locked up all the balance (as my American friends would say) of the inhabitants, and could now rest a little. They are not the two dusty millers in the white mill down by the river, where the great water-wheel goes heavily round and round, like the monotonous days and nights in this forgotten place. Then who are they, for there is no one else? No; this deponent maketh oath and saith that there is no one else, save and except the waiter at the Dodo, now laying the cloth. I have paced the streets, and stared at the houses, and am come back to the blank bow window of the Dodo; and the town clocks strike seven, and the reluctant echoes seem to cry, 'Don't wake us!' and the bandy-legged baby has gone home to bed.
If the Dodo were only a gregarious bird - if he had only some confused idea of making a comfortable nest - I could hope to get through the hours between this and bed-time, without being consumed by devouring melancholy. But, the Dodo's habits are all wrong. It provides me with a trackless desert of sitting-room, with a chair for every day in the year, a table for every month, and a waste of sideboard where a lonely China vase pines in a corner for its mate long departed, and will never make a match with the candlestick in the opposite corner if it live till Doomsday. The Dodo has nothing in the larder. Even now, I behold the Boots returning with my sole in a piece of paper; and with that portion of my dinner, the Boots, perceiving me at the blank bow window, slaps his leg as he comes across the road, pretending it is something else. The Dodo excludes the outer air. When I mount up to my bedroom, a smell of closeness and flue gets lazily up my nose like sleepy snuff. The loose little bits of carpet writhe under my tread, and take wormy shapes. I don't know the ridiculous man in the looking-glass, beyond having met him once or twice in a dish-cover - and I can never shave HIM to-morrow morning! The Dodo is narrow-minded as to towels; expects me to wash on a freemason's apron without the trimming: when I asked for soap, gives me a stony-hearted something white, with no more lather in it than the Elgin marbles. The Dodo has seen better days, and possesses interminable stables at the back - silent, grass-grown, broken-windowed, horseless.
This mournful bird can fry a sole, however, which is much. Can cook a steak, too, which is more. I wonder where it gets its Sherry? If I were to send my pint of wine to some famous chemist to be analysed, what would it turn out to be made of? It tastes of pepper, sugar, bitter-almonds, vinegar, warm knives, any flat drinks, and a little brandy. Would it unman a Spanish exile by reminding him of his native land at all? I think not. If there really be any townspeople out of the churchyards, and if a caravan of them ever do dine, with a bottle of wine per man, in this desert of the Dodo, it must make good for the doctor next day!
Where was the waiter born? How did he come here? Has he any hope of getting away from here? Does he ever receive a letter, or take a ride upon the railway, or see anything but the Dodo? Perhaps he has seen the Berlin Wool. He appears to have a silent sorrow on him, and it may be that. He clears the table; draws the dingy curtains of the great bow window, which so unwillingly consent to meet, that they must be pinned together; leaves me by the fire with my pint decanter, and a little thin funnel-shaped wine-glass, and a plate of pale biscuits - in themselves engendering desperation.
No book, no newspaper! I left the Arabian Nights in the railway carriage, and have nothing to read but Bradshaw, and 'that way madness lies.' Remembering what prisoners and ship-wrecked mariners have done to exercise their minds in solitude, I repeat the multiplication table, the pence table, and the shilling table: which are all the tables I happen to know. What if I write something? The Dodo keeps no pens but steel pens; and those I always stick through the paper, and can turn to no other account.
What am I to do? Even if I could have the bandy-legged baby knocked up and brought here, I could offer him nothing but sherry, and that would be the death of him. He would never hold up his head again if he touched it. I can't go to bed, because I have conceived a mortal hatred for my bedroom; and I can't go away, because there is no train for my place of destination until morning. To burn the biscuits will be but a fleeting joy; still it is a temporary relief, and here they go on the fire! Shall I break the plate? First let me look at the back, and see who made it. COPELAND.
Copeland! Stop a moment. Was it yesterday I visited Copeland's works, and saw them making plates? In the confusion of travelling about, it might be yesterday or it might be yesterday month; but I think it was yesterday. I appeal to the plate. The plate says, decidedly, yesterday. I find the plate, as I look at it, growing into a companion.
Don't you remember (says the plate) how you steamed away, yesterday morning, in the bright sun and the east wind, along the valley of the sparkling Trent? Don't you recollect how many kilns you flew past, looking like the bowls of gigantic tobacco-pipes, cut short off from the stem and turned upside down? And the fires - and the smoke - and the roads made with bits of crockery, as if all the plates and dishes in the civilised world had been Macadamised, expressly for the laming of all the horses? Of course I do!
And don't you remember (says the plate) how you alighted at Stoke - a picturesque heap of houses, kilns, smoke, wharfs, canals, and river, lying (as was most appropriate) in a basin - and how, after climbing up the sides of the basin to look at the prospect, you trundled down again at a walking-match pace, and straight proceeded to my father's, Copeland's, where the whole of my family, high and low, rich and poor, are turned out upon the world from our nursery and seminary, covering some fourteen acres of ground? And don't you remember what we spring from:- heaps of lumps of clay, partially prepared and cleaned in Devonshire and Dorsetshire, whence said clay principally comes - and hills of flint, without which we should want our ringing sound, and should never be musical? And as to the flint, don't you recollect that it is first burnt in kilns, and is then laid under the four iron feet of a demon slave, subject to violent stamping fits, who, when they come on, stamps away insanely with his four iron legs, and would crush all the flint in the Isle of Thanet to powder, without leaving off? And as to the clay, don't you recollect how it is put into mills or teazers, and is sliced, and dug, and cut at, by endless knives, clogged and sticky, but persistent - and is pressed out of that machine through a square trough, whose form it takes - and is cut off in square lumps and thrown into a vat, and there mixed with water, and beaten to a pulp by paddle-wheels - and is then run into a rough house, all rugged beams and ladders splashed with white, - superintended by Grindoff the Miller in his working clothes, all splashed with white, - where it passes through no end of machinery- moved sieves all splashed with white, arranged in an ascending scale of fineness (some so fine, that three hundred silk threads cross each other in a single square inch of their surface), and all in a violent state of ague with their teeth for ever chattering, and their bodies for ever shivering! And as to the flint again, isn't it mashed and mollified and troubled and soothed, exactly as rags are in a paper-mill, until it is reduced to a pap so fine that it contains no atom of 'grit' perceptible to the nicest taste? And as to the flint and the clay together, are they not, after all this, mixed in the proportion of five of clay to one of flint, and isn't the compound - known as 'slip' - run into oblong troughs, where its superfluous moisture may evaporate; and finally, isn't it slapped and banged and beaten and patted and kneaded and wedged and knocked about like butter, until it becomes a beautiful grey dough, ready for the potter's use?
In regard of the potter, popularly so called (says the plate), you don't mean to say you have forgotten that a workman called a Thrower is the man under whose hand this grey dough takes the shapes of the simpler household vessels as quickly as the eye can follow? You don't mean to say you cannot call him up before you, sitting, with his attendant woman, at his potter's wheel - a disc about the size of a dinner-plate, revolving on two drums slowly or quickly as he wills - who made you a complete breakfast-set for a bachelor, as a good-humoured little off-hand joke? You remember how he took up as much dough as he wanted, and, throwing it on his wheel, in a moment fashioned it into a teacup - caught up more clay and made a saucer - a larger dab and whirled it into a teapot - winked at a smaller dab and converted it into the lid of the teapot, accurately fitting by the measurement of his eye alone - coaxed a middle-sized dab for two seconds, broke it, turned it over at the rim, and made a milkpot - laughed, and turned out a slop- basin - coughed, and provided for the sugar? Neither, I think, are you oblivious of the newer mode of making various articles, but especially basins, according to which improvement a mould revolves instead of a disc? For you MUST remember (says the plate) how you saw the mould of a little basin spinning round and round, and how the workmen smoothed and pressed a handful of dough upon it, and how with an instrument called a profile (a piece of wood, representing the profile of a basin's foot) he cleverly scraped and carved the ring which makes the base of any such basin, and then took the basin off the lathe like a doughy skull-cap to be dried, and afterwards (in what is called a green state) to be put into a second lathe, there to be finished and burnished with a steel burnisher? And as to moulding in general (says the plate), it can't be necessary for me to remind you that all ornamental articles, and indeed all articles not quite circular, are made in moulds. For you must remember how you saw the vegetable dishes, for example, being made in moulds; and how the handles of teacups, and the spouts of teapots, and the feet of tureens, and so forth, are all made in little separate moulds, and are each stuck on to the body corporate, of which it is destined to form a part, with a stuff called 'slag,' as quickly as you can recollect it. Further, you learnt - you know you did - in the same visit, how the beautiful sculptures in the delicate new material called Parian, are all constructed in moulds; how, into that material, animal bones are ground up, because the phosphate of lime contained in bones makes it translucent; how everything is moulded, before going into the fire, one-fourth larger than it is intended to come out of the fire, because it shrinks in that proportion in the intense heat; how, when a figure shrinks unequally, it is spoiled - emerging from the furnace a misshapen birth; a big head and a little body, or a little head and a big body, or a Quasimodo with long arms and short legs, or a Miss Biffin with neither legs nor arms worth mentioning.
And as to the Kilns, in which the firing takes place, and in which some of the more precious articles are burnt repeatedly, in various stages of their process towards completion, - as to the Kilns (says the plate, warming with the recollection), if you don't remember THEM with a horrible interest, what did you ever go to Copeland's for? When you stood inside of one of those inverted bowls of a Pre-Adamite tobacco-pipe, looking up at the blue sky through the open top far off, as you might have looked up from a well, sunk under the centre of the pavement of the Pantheon at Rome, had you the least idea where you were? And when you found yourself surrounded, in that dome-shaped cavern, by innumerable columns of an unearthly order of architecture, supporting nothing, and squeezed close together as if a Pre-Adamite Samson had taken a vast Hall in his arms and crushed it into the smallest possible space, had you the least idea what they were? No (says the plate), of course not! And when you found that each of those pillars was a pile of ingeniously made vessels of coarse clay - called Saggers - looking, when separate, like raised-pies for the table of the mighty Giant Blunderbore, and now all full of various articles of pottery ranged in them in baking order, the bottom of each vessel serving for the cover of the one below, and the whole Kiln rapidly filling with these, tier upon tier, until the last workman should have barely room to crawl out, before the closing of the jagged aperture in the wall and the kindling of the gradual fire; did you not stand amazed to think that all the year round these dread chambers are heating, white hot - and cooling - and filling - and emptying - and being bricked up - and broken open - humanly speaking, for ever and ever? To be sure you did! And standing in one of those Kilns nearly full, and seeing a free crow shoot across the aperture a-top, and learning how the fire would wax hotter and hotter by slow degrees, and would cool similarly through a space of from forty to sixty hours, did no remembrance of the days when human clay was burnt oppress you? Yes. I think so! I suspect that some fancy of a fiery haze and a shortening breath, and a growing heat, and a gasping prayer; and a figure in black interposing between you and the sky (as figures in black are very apt to do), and looking down, before it grew too hot to look and live, upon the Heretic in his edifying agony - I say I suspect (says the plate) that some such fancy was pretty strong upon you when you went out into the air, and blessed God for the bright spring day and the degenerate times!
After that, I needn't remind you what a relief it was to see the simplest process of ornamenting this 'biscuit' (as it is called when baked) with brown circles and blue trees - converting it into the common crockery-ware that is exported to Africa, and used in cottages at home. For (says the plate) I am well persuaded that you bear in mind how those particular jugs and mugs were once more set upon a lathe and put in motion; and how a man blew the brown colour (having a strong natural affinity with the material in that condition) on them from a blowpipe as they twirled; and how his daughter, with a common brush, dropped blotches of blue upon them in the right places; and how, tilting the blotches upside down, she made them run into rude images of trees, and there an end.
And didn't you see (says the plate) planted upon my own brother that astounding blue willow, with knobbed and gnarled trunk, and foliage of blue ostrich feathers, which gives our family the title of 'willow pattern'? And didn't you observe, transferred upon him at the same time, that blue bridge which spans nothing, growing out from the roots of the willow; and the three blue Chinese going over it into a blue temple, which has a fine crop of blue bushes sprouting out of the roof; and a blue boat sailing above them, the mast of which is burglariously sticking itself into the foundations of a blue villa, suspended sky-high, surmounted by a lump of blue rock, sky-higher, and a couple of billing blue birds, sky-highest - together with the rest of that amusing blue landscape, which has, in deference to our revered ancestors of the Cerulean Empire, and in defiance of every known law of perspective, adorned millions of our family ever since the days of platters? Didn't you inspect the copper-plate on which my pattern was deeply engraved? Didn't you perceive an impression of it taken in cobalt colour at a cylindrical press, upon a leaf of thin paper, streaming from a plunge-bath of soap and water? Wasn't the paper impression daintily spread, by a light-fingered damsel (you KNOW you admired her!), over the surface of the plate, and the back of the paper rubbed prodigiously hard - with a long tight roll of flannel, tied up like a round of hung beef - without so much as ruffling the paper, wet as it was? Then (says the plate), was not the paper washed away with a sponge, and didn't there appear, set off upon the plate, THIS identical piece of Pre-Raphaelite blue distemper which you now behold? Not to be denied! I had seen all this - and more. I had been shown, at Copeland's, patterns of beautiful design, in faultless perspective, which are causing the ugly old willow to wither out of public favour; and which, being quite as cheap, insinuate good wholesome natural art into the humblest households. When Mr. and Mrs. Sprat have satisfied their material tastes by that equal division of fat and lean which has made their MENAGE immortal; and have, after the elegant tradition, 'licked the platter clean,' they can - thanks to modern artists in clay - feast their intellectual tastes upon excellent delineations of natural objects.
This reflection prompts me to transfer my attention from the blue plate to the forlorn but cheerfully painted vase on the sideboard. And surely (says the plate) you have not forgotten how the outlines of such groups of flowers as you see there, are printed, just as I was printed, and are afterwards shaded and filled in with metallic colours by women and girls? As to the aristocracy of our order, made of the finer clay-porcelain peers and peeresses; - the slabs, and panels, and table-tops, and tazze; the endless nobility and gentry of dessert, breakfast, and tea services; the gemmed perfume bottles, and scarlet and gold salvers; you saw that they were painted by artists, with metallic colours laid on with camel-hair pencils, and afterwards burnt in.
And talking of burning in (says the plate), didn't you find that every subject, from the willow pattern to the landscape after Turner - having been framed upon clay or porcelain biscuit - has to be glazed? Of course, you saw the glaze - composed of various vitreous materials - laid over every article; and of course you witnessed the close imprisonment of each piece in saggers upon the separate system rigidly enforced by means of fine-pointed earthenware stilts placed between the articles to prevent the slightest communication or contact. We had in my time - and I suppose it is the same now - fourteen hours' firing to fix the glaze and to make it 'run' all over us equally, so as to put a good shiny and unscratchable surface upon us. Doubtless, you observed that one sort of glaze - called printing-body - is burnt into the better sort of ware BEFORE it is printed. Upon this you saw some of the finest steel engravings transferred, to be fixed by an after glazing - didn't you? Why, of course you did!
Of course I did. I had seen and enjoyed everything that the plate recalled to me, and had beheld with admiration how the rotatory motion which keeps this ball of ours in its place in the great scheme, with all its busy mites upon it, was necessary throughout the process, and could only be dispensed with in the fire. So, listening to the plate's reminders, and musing upon them, I got through the evening after all, and went to bed. I made but one sleep of it - for which I have no doubt I am also indebted to the plate - and left the lonely Dodo in the morning, quite at peace with it, before the bandy-legged baby was up.
|This work is in the Public Domain worldwide because the author died at least 100 years ago.|
This work is provided to you 'AS-IS' WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. All text is as found, with no additions or ommissions, to preserve the integrity of the author's works.
Content is available under the GNU Free Documentation License
Public Domain; Copyright Policy; Disclaimers;
More Great Authors