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The Haunted Man and the Ghost's Bargain
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The Haunted Man and the Ghost's Bargain (hosted by Petra)
Redlaw and The Boy by Sol Eytinge Jr, 1867
"I'm not a-going to take you there. Let me be or I'll heave some fire at you" by Fred Barnard, 1948
The Exterior of the Old College by Clarkson Stanfield, 1848
The Haunted Man and the Woman on the Stairs by Charles Green, 1895
The illustrations add so much to my enjoyment of the story and my ability to visualize these characters. Thank you so much, Petra.It is very sad that Redlaw sees in the boys face exactly the lack of feeling and compassion that is in his own. Beauty has ceased to exist or to touch him and he connects to nothing (the music does not move him). But, he does have a spark left because he is able to connect the memories of the girl on the steps and her humanity and he passes without robbing her of them, despite the fact that she is in tears. Even Pandora's box contained Hope.
Yes, it gave me hope to see that spark in Redlaw. Otherwise, how sad to think of passing these scenes of death and beauty and music without being able to feel anything.And thank you so much for these illustrations, Petra. I love the Stanfield especially. It actually brought to mind the way I looked at pictures in books when I was a child. My imagination would have run wild with that one!
I am becoming quite fascinated with Redlaw's obsession with the poor waif. Two things come to mind:The first relates to our discussion of mesmerism during our reading of Nicholas Nickleby, and Jean's excellent revelation (at Message 234) of Dickens' struggles with his own Phantom. (view spoiler)
My second thought is that the waif reminds me of the two children, Want and Ignorance, that the Second Spirit showed to Scrooge in A Christmas Carol. But for Redlaw, the boy represents some other evil that Redlaw does not want to face.
In both cases, I feel that Redlaw did not see the waif as a real child, but as a representation of his darker self. How else to explain his revulsion for him and most importantly, his inhumanity to trudge this nearly naked, weak and sick child through the icy winter streets of London?
This story is such a page-turner... but I'm holding off, Petra. LOL
Sara and Kathleen, I enjoy all the illustrations as well. They add atmosphere to the story and give me visuals to go with the pictures Dickens paints in my mind. I quite like Sol Eytinge's illustration. It's wild and dark.
Shirley, interesting comparison between The Waif and Want & Ignorance. It's very likely that Dickens used this boy in the same way as he used those two in A Christmas Carol. They are examples of Man's weaknesses. I'm also curious about the Boy's aversion to Redlaw. He doesn't like to touch or get near Redlaw any more than Redlaw likes to touch or get near the boy. They have a mutual repulsion of each other.
Summary 10 - The Gift DiffusedOn the landing was a partially open door. A man with a candle came from within to shut it but upon seeing him called out his name with much emotion. Redlaw looked into the wan face trying to recognize it, when old Philip came out of the room and took his hand.
He said he knew Redlaw would come and help them, as was like him. Bewildered, Redlaw followed him into the room and saw William standing by the bed and a man lying on it. Redlaw went to the bed and saw a young man on the brink of death. It was Philip’s eldest son, George. He looked from Philip to the man at the door who had greeted him. The man was of the same age as himself. He didn’t recognize him but there was something about him that seemed familiar.
The man left the room. Redlaw asks William who the man is. He’s a gambler and is in bad times. He was travelling towards London with George and came upon the lodging house for the night. Being no doctor, he went to get Philip and William when George asked him to. They arrived to find George deadly ill. It was enough to kill poor Philip.
Recalling his reason for coming and the gift he carried with him, Redlaw considered whether to flee from the house or remain. He recalled how, just last night, he’d seen that Philip’s memories were connected to his troubles and sorrows. Are memories so important that to cause them to be forgotten were to bring fear upon him?
He stayed, but with fear, nonetheless. He stayed a distance from them, his face turned away from them and listened to what they were saying.
They spoke of the past, of memories of Philip’s wife, a cause of pain to Philip. Philip asks the boys to continue talking of their mother. That, while it brings him pain and sorrow, it also does him good and the heart is softened by recalling his wife’s love. With her last breath she forgave George and blessed & prayed for him.
George laments that he’s dying, too far gone and without hope. Philip replies that there is always hope where there’s a softening and a penitence. Only yesterday, he was thankful to remember George when he was innocent and young. There was comfort in knowing the even God remembered George at this time.
Redlaw covered his face with his hands and shrank into himself.
Philip recalls the innocent times when George was young; when he said his prayers and slept his guiltless sleep. Sorrowful as it was to watch him go bad into gambling and see their hopes for him broken, there was a comfort in knowing his past; in having known him as he was and not as he now was. May God take him back, as the person he once was. George placed his head on his father’s chest for comfort, as if he were the child that Philip recalled.
George’s time is nearing an end and he wants to clear his mind of a memory about the man who had left the room, then he sees Redlaw and asks him to approach the bed.
Redlaw, pale in face, approached and sat on the bed. George is so troubled at the thought of the sorrow and grief he brought onto his father. He wanted to make right the things he could make right. The man who had just left was penniless and without hope. He’d left to kill himself. George was asking Redlaw to go stop him from doing so. Did Redlaw not recognize the man?
Philip's Favorite Son in a Bad Way by Charles Green, 1912
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Bionic Jean, "Dickens Duchess"
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I want to thank you for providing all these illustrations, which adds so much. I think each has their own merits.
Shirley - Those are exactly the thoughts I have about this story too 🤔
Thanks, Jean. I'm loving the abundance of pictures, too. There's a surprising amount of them. This story sparked a lot of creative imagination.
The Green illustration today is perfect. You can see every person's facial expression and each fits that described by Dickens.There can be no doubt about what Dickens wants us to know and feel about the connection of memory, even sorrowful memory, to our well-being. George would lack comfort in his dying were he not able to look back to a time happier and purer than the one of his recent life. Likewise, Philip can only take comfort from remembering his son as a child, and the love that he felt then emerges now, causing him to pardon and forgive all that come between. Everything good in this room would be lost if no memories had come into play.
Of course, I have speculations about who the mysterious man is who is bent on suicide. It is imperative that Redlaw recover himself, because this man's life now depends upon it.
I am having some difficulty because Petra will not let me read ahead.😙 This is the hard point in the story when I always want to, but it is delicious to just uncover the tale a bit at a time.
Sara, I feel for you and having to restrain from reading ahead. If I hadn't read to prepare, I'd be chomping at the bit to read ahead now. This is quite a page-turner of a story! I'm glad, though, that you are reading along with us now. I love that tension to read onwards. Yes, the poor man's life now hinges on Redlaw and what happens to him. It's interesting that, in this section, he's watching and realizing (I think) the importance of memories, both good and bad. He seems to be really listening to the memories that are being recalled and the comfort they bring.
I think Redlaw looks gentler and kinder in Green's illustration than he has in some earlier illustrations. He's being careful, too, to keep his hands away from people so as not to touch them.
It's an interesting time for Redlaw's psyche.
Summary 11 - The Gift DiffusedThen George’s face was changing, getting hard and cold, and his hand came up and drew across his brow, then it lowered and George looked upon Redlaw. Angrily, he confronted Redlaw. He’d lived bold and had meant to die bold. Redlaw would not stop him doing that. He put his hands above his head and resolutely waited to die in indifference.
Philip returned to the bedside and, with resentment, he says that George is no child of his. His children wait upon him. It is his right.
William, grudgingly says that they would be better off without Philip, who is no good to them. There would be more pleasure without him in their lives.
They continue to bicker at each other. Philip tries to recall good times but the thread is breaking, and he finds he doesn’t care. While shaking his head, he puts his hands in his pockets and finds a piece of holly. He recalls something about walking with someone and the holly berries having good cheer. He deserves his share of good cheer.
He nibbles on the holly and spits the leaves out. William watches him with cold eyes, George lies on his bed hardened with sin.
Redlaw watched all this, then ran out of the house and back to the boy.
He commands the boy to take him back and to do so quickly, with no stops along the way.
The way back was more a flight than a walk. The boy had trouble keeping up to Redlaw’s pace. Keeping his cloak pulled tightly around him and keeping away from all they passed, Redlaw didn’t pause until he’d returned to the door they’d left by. He entered the house, with the boy, and they hurried to Redlaw’s rooms, where he locked the door and went to stand behind the table.
The boy wanted the rest of the promised money. Redlaw threw it on the floor and the boy threw himself on top of it. When he saw that Redlaw had sat down and wouldn’t be taking the money back, he picked it up, then went to sit by the fire. He took scraps of food from within his rags and began to eat, occasionally staring at his money, which was clenched in his hand.
Redlaw observed the boy in repugnance; this last companion to him on Earth. He sat watching the boy until the boy got up and ran to the door, calling that Milly was arriving. Just then she knocked on the door.
Redlaw won’t let her in but asks what she wants. George is worse, says she, Philip has become childish and William is not himself. She needs help and advice from Redlaw. The man that he saw may kill himself, too. In his mutterings, George also says that Redlaw knew the man as a friend once, long ago. The man is the ruined father of a student of his, the one who has been ill. How is the man to be saved? Could Redlaw help her?
Throughout her pleading, Redlaw was holding the boy back from letting Milly in.
Redlaw cries out to the phantoms in the room to allow the glimmer of contrition that was in his mind to grow and let him show his misery. He has learned that good, evil, happiness and sorrow are all needed in this world and in the memories of mankind.
He gets no response but Milly’s “help me, help me” and the boy’s struggles to get to her.
Redlaw continues to call to the phantom. He would prefer to be haunted day and night but he would like the gift to be taken away. Or, if he must keep the gift, take away the ability to give it to others and undo what he has done to others. Leave him as he is but return the day to all the others that he’s touched. He won’t venture out again and will have no one in to help him, except for the boy.
Still, the only reply was the struggling boy and Milly’s ever increasing “help me, help me. He was your friend once. They are all changed. Help me.”.
The Boy Before the Fire by John Leech, 1848
The Haunted Man and the Waif with the Phantoms by Charles Green, 1895
"You speak to me of what is lying here," the Phantom interposed. by Fred Barnard, 1848
PetraI am a big fan of the illustrations as well. ‘The Ghost’s Bargain’ is such a treat. The first edition was lavishly illustrated by a wide variety of illustrators.
What I am thoroughly enjoying is the wide perspective of later illustrators as well. Today’s post is a perfect example. You offer us John Leech and then one by Barnard and Green. I have some familiarity with Barnard and like his work very much. As for Green, you are introducing me to someone who I was unaware of before our present study. At first, I could not warm up to Green’s work. Now, however, I am coming around to appreciating his interpretation of scenes and events. So, thank you for introducing me to Green.
One of the questions I have as I look at the illustrations is the extent to which an earlier illustrator has influenced later illustrators. For the illustrators of the first edition of ´The Ghost’s Bargain’ I am aware that they were all friends of Dickens, a neighbour of Dickens, or known to each other.
But what about the later illustrators? What are the different perspectives and influences of the later illustrators? How are the American illustrators similar to and different from their British counterparts? So many questions! What a wonderful study of the illustrations you are offering us.
I felt a chill down my back as this sweet family just disintegrated before my eyes. For George there is little or no time. If he dies in this hardened state it will be shameful and it will affect the others for a lifetime that they allowed him to go that way and did not offer the comfort and solace that they came to give. Any reversal could come too late if it does not come immediately.I feel, also, so sorry for Milly, who has no idea what is going on and is appealing to the very person who has brought this calamity to her. She must represent the deepest form of good, because she is the one person Redlaw insists on doing no damage to.
Sara wrote: "She must represent the deepest form of good, because she is the one person Redlaw insists on doing no damage to.."I feel this must be true, Sara. Every time Redlaw gets anywhere near Milly, I find myself wanting to shout "no! runaway". I feel very protective of her goodness, and while I don't want any of the characters to receive the gift, I feel strongest about Milly. As if all hope will be lost if she is contaminated.
My heart dropped when the family started to bicker between themselves. This is a time to be drawn together, not torn apart. They all need and deserve some peace in George's final hours. Redlaw is very protective towards Milly. I'm glad. It not only saves Milly but also shows that Redlaw has some feelings and concerns below The Gift. That's promising.
Peter, I agree that the illustrations are incredible for this story! I also look at the older illustrations looking for interpretations and impressions that perhaps were a product of another generation and viewpoint. It's a delight when we find a new viewpoint in the illustrations.
I'm really glad that you're enjoying them so much.
Chapter 3 Frontpage by John Tenniel, 1848
Summary 1 - The Gift ReversedRedlaw’s mind was dark with shadows. If a moment of light entered, dark waves of darkness overpowered it and made his mind darker yet.
After Milly’s cries had quieted, Redlaw’s dim room was silent. Before the dying fire, the boy slept while Redlaw sat without moving. He was like a man made of stone.
Then, Christmas music that he’d heard before in the graveyard, began to play again. Redlaw listened. The music wafted in on the night air, sweet and melancholy. Redlaw rose and outstretched his arms. He stood as if trying to touch something and not cause any harm. Slowly, his face started to become animated and looked wonderingly about. His eyes became teary. He covered them with is hands and bowed his head.
While his memory of sorrow, trouble and wrong had not returned to him, he could once again feel what was in the music, which told him of the value of what he had lost. He gratefully thanked Heaven for this ability.
As the music ended, he listened to the lingering vibrations. Behind the boy, standing silent and still, the Phantom watched Redlaw.
Redlaw observed that the Phantom didn’t look as cruel or relentless as before. Still, he trembled before it. The phantom was not alone; he held the hand of another. The figure looked like Milly, or a ghost of her. Her head was bent and looking down on the sleeping boy with pity. Her face was filled with a radiating light that did not touch the phantom, who’s face was dark, despite being close to her.
The beginning of Chapter 3 is so atmospheric with contrasts between the light and dark, with clouds and shadows also adding to the Gothic feel. It's symbolic of the good and evil in Redlaw's life.The wonderful thing about music is how it can bring up so many emotions and memories, and Redlaw is grateful that he is reacting emotionally to the music. Christmas music especially will pull up memories of warm events.
The goodness of Milly is having a softening, positive effect on the Phantom. I remember being told as a young child that we have a devil on one shoulder and a guardian angel on the other shoulder, and we should listen to the angel. I tend to think of the Phantom and Millie in the same way. Redlaw now wants to open himself to goodness and love, and deal with his sorrowful memories in a positive manner under Millie's guidance.
To go along wit our theme, Dickens has provide a chance for a theater reference. "Musick hath the charm to soothe the savage breast/beast" might have been in Dickens' mind when he wrote this but regardless, it is a chance to salute William Congreve for the quote. I am adding a link that helps explain why the misquote may have merit but I have not checked the validity of what is written. Note Congreve's quote is from a play, The Mourning Bride," not a poem. https://blog.ambient-mixer.com/sound/...
https://en.wikisource.org/wiki/The_Mo...
I have been quiet as this Christmas story has left me with questions. As has been said the story is very atmospheric and I think that partially explains the convoluted prose where Dickens seems to want to create a fog, shadow, and darkness shroud around the events giving the story more ambience, but I wonder that it sometimes becomes muddled. I have been wondering if Dickens might also giving us this murky prose to suggest the cloudiness of the knowledge of how our minds and emotions work? I admit I have no evidence, but have been looking for rationale on why this prose is written as it is.
I agree with Connie. I loved everything about this section--the way Dickens compares Redlaw to the state of twilight, seeming to say in darkness of night but there will be light; the analogy of the clouds sweep over the momentary light; the symbol of the smoldering fire; how his epiphany is kindled by music; the image of him reaching out his hands; and the emphasis on his gratitude.This is really gorgeous and stirring writing!
Cross-posted, Sam, but I think you're right that Dickens is drawing a comparison between nature and our emotions.
Connie - I like the image of a devil and an angel on our shoulders. Milly's good is a strong antidote to the darkness around Redlaw, but it is significant to me that her light cannot reach his face. (I am hoping this will change, as Redlaw seems to feel fully the impact of the bargain he has accepted). The musical element is inspired, because few things can reach our soul as deeply or as quickly as music.
I finally caught up to the group again, and I know it was in the prior installment . . . but I just feel so heartbroken for poor George. Recalling my prior comment regarding the connection between memory and forgiveness, it occurs to me now that forgiveness is not only something we grant others but also something we can grant ourselves. I think forgiving ourselves can often be infinitely harder than forgiving others that have harmed us, especially when we know we have done wrong. Even when others have already forgiven us, we can refuse to forgive ourselves. And I feel so sad for George that he might pass without any of the consolations of redemption or even of human connection. It's like Fagin's fate in Oliver Twist, but here George would have been capable of remorse; he has just been momentarily blocked from it at the worst possible time.
Connie wrote: "The beginning of Chapter 3 is so atmospheric with contrasts between the light and dark, with clouds and shadows also adding to the Gothic feel. It's symbolic of the good and evil in Redlaw's life...."
Connie, you bring up so many good points.
When our lives are in turmoil, it does feel as if clouds and shadow surround us. We don't see the light for that time that we're "down". Dickens gives us that feeling seamlessly with his brilliant writing. One can feel the darkness closing in. It's brilliantly done.
I love that Redlaw is feeling. Period. Just feeling. Something has gotten past The Gift and that something is music, the very thing that soothes the Soul. Just what Redlaw needs in this chaotic time.
It's interesting that Milly and her goodness can soften even the Phantom. Her goodness spreads out from herself into the World bringing lightness and happiness along the way.
Sam wrote: "To go along wit our theme, Dickens has provide a chance for a theater reference. "Musick hath the charm to soothe the savage breast/beast" might have been in Dickens' mind when he wrote this but re..."Sam, thank you for the link.
I like the full quote a lot:
"Musick has Charms to sooth a savage Breast, To soften Rocks, or bend a knotted Oak"
That's powerful!
"No one really knows when part of the phrase was changed from breast to beast," ...... I wonder if it was a mistake in transcription. That's happened a lot in history. Imagine that one of our most recognized sayings was a "boo boo" while copying. LOL!
If Dickens is muddying the clear waters with convoluted writing, he's incredibly gifted (which we all know he was). I wouldn't put it past him to make our way a bit confusing to get his point across. As I said in the other post, it's brilliant that he can do this and keep our attention, imagination and interest throughout.
Kathleen wrote: "This is really gorgeous and stirring writing!..."
It truly is, Kathleen. I am amazed at the emotion and feeling Dickens gets into this story.
Sara wrote: "Milly's good is a strong antidote to the darkness around Redlaw, but it is significant to me that her light cannot reach his face...."Redlaw has changed. In the beginning, he was thinking only of himself and his woes, not taking responsibility for his sadness (not moving on, I mean).
Now, he's accepting, fully, the consequences of the Gift, but begs that others be released from it. He takes full responsibility for he losses with the Gift but wants to save others.
He realizes his losses but will live with the consequences of his bad decision. That's a big step in personal responsibility.
Greg wrote: "it occurs to me now that forgiveness is not only something we grant others but also something we can grant ourselves. I think forgiving ourselves can often be infinitely harder than forgiving others that have harmed us, especially when we know we have done wrong. ..."So very true. Forgiving ourselves is one of the most difficult things one can do.
I like your comparison of George with Fagin (but George isn't as hard or unreachable). They do share some of the same paths into the seedier side of Life but George didn't (it seems) enter that world completely as Fagin did.
I hope George finds his peace. This is the worst time for the Gift to take hold of him and his family.
"I think forgiving ourselves can often be infinitely harder than forgiving others that have harmed us" . What a heartfelt thought, Greg. And so true!I can also relate a little to what Sam is saying about "muddled" prose. As I started this section, I read through to the second paragraph, and thought "wait, what is happening?" So, I went back to the beginning and started again, reading more slowly this time, letting the images form completely in my mind before reading on, and on this second reading I found the writing beautiful. Comparing the struggling moon light, with the dimming light inside of Redlaw was moving for me. Referring to the "solitary ships at sea", reminded me of lines from A Christmas Carol (I think the section with the ghost of the future). But usually, the images come to me more quickly when reading Dickens.
When Sam commented that "Dickens might also giving us this murky prose to suggest the cloudiness of the knowledge of how our minds and emotions work" that also made me think of Dickens beliefs in mesmerism, which strikes me as a belief in the "murky" and "cloudless" areas of the mind. Perhaps that influenced the writing of this story.
The story has been so powerful the past couple of days, with the Swidger family being torn apart by the Gift. I can't help but feel that the Phantom intentionally left the "Spark" in Redlaw because he knew the Chemist's heart and left it as a means of redemption. I found the scene where Redlaw locks himself and the waif up in his room so heartbreaking! Oh, the agonies he must have gone through hoping and praying it wasn't too late, and the Phantom would take the Gift away.I love everyone's comments about the path to Redlaw's redemption (the non-threatening way music can soothe and soften us), and forgiveness of others and harder still, of self. I'm sure Redlaw knows that the stranger is the best friend who broke his sister's heart and ran away with his love. Part of his redemption will be to stop nursing his years' long grudge, forgive his friend, and forgive himself for not letting go. That's a high bar Dickens has set for Redlaw!
Shirley (stampartiste) wrote: "I can't help but feel that the Phantom intentionally left the "Spark" in Redlaw because he knew the Chemist's heart and left it as a means of redemption..."Interesting theory, Shirley. That would imply that the Phantom means to teach Redlaw a lesson......something I hadn't considered until you mentioned this.
I was going on the premise that the Phantom "gift"ed Redlaw but that Redlaw had within him a "spark" that, with understanding and enlightenment, would/could lead to overcoming the gift.
I like your theory. It fits the story well.
Summary 2 - The Gift ReversedThe Phantom tells him that this was but a shadow of Milly, but when the sun arose, he was to seek out the real Milly. Just seek her out.
The Chemist felt a quick hope but found that the damage he had done could not be undone. He argues that his situation was self-imposed but the others had no such wish; they had been cursed without foreknowledge. Could not someone remove the curse from them, if he could not?
The phantom stared at him for a moment, then looked at the shadow of Milly. He let go of her hand and she started to move or melt away.
Redlaw implored her not to leave. He had felt a change while listening to the music. Could he approach the shadow of Milly and not harm her?
The phantom looked upon the shadow of Milly but gave no answer. He tells Redlaw that she has no power to undo the damage he’s done but the he should seek her out. Then the shadow of Milly slowly vanished.
They looked at each other intently, with the boy sleeping on the floor between them.
Redlaw sinks to his knees and beseeches to follow the phantom’s command, without question, in the hope that his wish will be heard and those he’s injured will be spared. But he has one request….he wants to know why the boy is immune to his curse and why there is a connection between the two of them.
The phantom says that the boy is the last human who was completely without memory. He contained no remembrance of trouble, sorrow or wrong. He’s never experienced a moment of human touch. He is a creature in a barren wilderness.
From every evil seed in the boy a field of evil is reaped. It must be gathered and then sown again all over the World, until evil is everywhere.
I love the emphasis at the end that the guilt is in the toleration.The third ghost in a Christmas Carol was silent, making Scrooge come to realizations on his own, and it's fun to watch this ghost doing something similar with Redlaw.
Dickens! Just when I think I know what he’s doing with his stories, he takes it up a notch and makes it just a bit deeper. The verse “Be not overcome of evil, but overcome evil with good” comes to mind.
The wild boy really calls to mind Want and Ignorance from A Christmas Carol, as Jean and others have already pointed out. But it's especially apparent now as the phantom warns about the massive cost of allowing a boy to be raised in such a condition, the tremendous evil that spreads as a cost of it. The boy seems to represent all of those children who are neglected and who grow without experiencing love.
I am struck with the goodness in Redlaw that makes him pray for the release of the others, even if he can never be released himself. "Misery loves company" often makes people wish to see others hurt when they, themselves are hurting. I am not sure where Dickens is going to take this, since the phantom has stated that Milly does not have the power to reverse the curse. Perhaps that power lies within Redlaw exclusively and he just hasn't discovered it yet.
The fact that the evil in the boy, that springs from his neglect and ill-treatment, is sure to spread is a very important theme in Dickens. There is no containing evil, except with good. And, often we see, in Dickens, characters who have so succumbed to it that they no longer wish to be redeemed. (Ralph)
I have a couple favorite Dickens quotes I've collected over the years. Two of them are from "A Tale of Two Cities", and the reading today reminded me of them. When the phantom talks about the evil in the boy sowing seeds that must be reaped by mankind in the future, I thought of this quote about the violent mobs of the French Revolution:
"Crush humanity out of shape once more, under similar hammers, and it will twist itself into the same tortured forms."
And where I think the story is headed (though like Sara I have no idea how!) is towards this quote from the same book:
"the vigorous tenacity of love, always so much stronger than hate"
Love these insights!My heart goes out to the boy, who hasn't felt love or comfort ever. What a cruel, hard world this poor boy lives in.
I'm not sure I see the evil in the boy....more the evil in how he's neglected and mistreated. The poor child is a victim of his circumstances with no help from society.
I think this kind of treatment breeds hatred in children and that takes the shape of cruelty and evil when they become adults. The child is not evil, but the path he has been set upon definitely leads to evil. The only truly kind person he has ever encountered is Milly, but Redlaw could do something for him if he is able to recover his own sense of compassion. Meanwhile, I am very concerned for the student, who is now trying to survive without the help and kindness Milly was showing him, and his father, who might take his own life in despair.
Summary 3 - The Gift ReversedThe phantom looked down at the boy. Redlaw also looked down on the boy with a new emotion.
There is no one in the streets, not a country on the Earth, on which the boy could not bring the curse. There is no religion he could not deny and no people he could not shame. The boy was, in fact, the perfect example of what Redlaw wanted to be. There was a connection between the two because Redlaw had gone down to his level, as a polar opposite. The boy is man’s indifference; Redlaw is man’s presumption. They are drawn together.
Redlaw stooped to the ground and gently covered the boy. He was no longer filled with abhorrence towards him.
_________
Dawn started on the horizon, and the sun rose in the sky.
__________
The Tetterbys were going about their business. Mr. Tetterby took down the shutters of the shop, Adolphus was out selling his papers, five little Tetterlys were having their morning wash, Johnny staggered up and down the room carrying the baby.
The tempers of the Tetterbys was different. Usually they were good natured, but today they fighting. Even patient Johnny slapped the baby.
Johnny and The Moloch by John Leech, 1848
Dickensians!
Books mentioned in this topic
American Notes for General Circulation (other topics)No Thoroughfare (other topics)
The Haunted Man and the Ghost's Bargain (other topics)
The Haunted Man and the Ghost's Bargain (other topics)
The Cricket on the Hearth (other topics)
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Authors mentioned in this topic
Charles Dickens (other topics)Michael Kitchen (other topics)
Alan Bleasdale (other topics)
Fred Barnard (other topics)
Sol Eytinge Jr (other topics)
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The boy insists that he’s to walk along and not be touched by Redlaw, and he wants some money before they leave. Redlaw gives him some coins. The boy has no place to put the money, so he puts the coins in his mouth.
Redlaw puts a note on the table letting Milly know that the boy is with him and they leave the room.
They left by another way as the Chemist had come in on. He didn’t want to run into Milly. When they reached the street, Redlaw asked the boy if he knew where he was. The boy looked around, then nodded and pointed in the direction to take. Redlaw went that way and the boy followed him, removing the money from his mouth, into his hand, then back into his mouth, rubbing it bright against his rags as they moved along.
Three times they were side by side and three times they came to a stop while being side by side. Three time Redlaw looked down on the boy’s face and shuddered.
The first time was when they were crossing an old churchyard and Redlaw stopped amongst the graves.
The second time was when the moon came out and he stopped to look and see it in its full beauty, surrounded by stars. But he felt nothing and saw nothing special when he looked upon the sight.
The third time was when he stopped to listen to some plaintiff music. But he heard only the noises made by the instruments and felt no stirring of feeling from hearing it.
Each time he noticed, with horror, that the boy’s face bore the same expression of indifference as his face did.
They walked a long time. Sometimes Redlaw thought he’d lost the boy but he was always there in his shadow. They walked until they came to some ruined, old houses and the boy touched him and stopped.
He pointed to one house with a dim lantern in the hallway and the words “Lodgings for Travellers” painted on it.
Redlaw looked around at the dilapidated housed, to the waste land they sat on. He observed the sluggish ditch that surrounded them, then to the second last which was a kennel for a dog and the very last which was a pile of bricks, then he looked back at the boy, who was also looking at the houses and with the same expression as on his face. He started back at the sight.
The boy pointed to the house again and said he’d wait outside. Redlaw was to say that he was a doctor; there were many ill within the house. Redlaw reflected that such a house contained lots of sorrow, wrong and trouble that would not be missed if forgotten. He pushed back the door and entered the house.
There was a woman on the stairs, her head bent down on her hands and knees. He couldn’t pass her, so he touched her on the shoulder. Looking up, he saw that she had a young face but one that was haggard, not fresh looking. She moved aside to let him pass.
He stopped and looked into her face again. He saw the ruined person, so young. He felt a feeling of almost compassion. True compassion had been stopped within himself but he felt a twinge of feeling very close to it that had not been quite extinguished inside him.
There was a softness in his voice when he told her that he could give her some relief and asked whether a wrong had been done to her. She frowned, then laughed, then sighed and again dropped her head, running her fingers through her hair.
Thinking of her life, she recalled her father, a gardener in the country. He was now dead to her. All such things are dead to her. Then she looked up at Redlaw and laughed again.
Again he asked her whether a wrong had been done to her. Was there not a time that was a misery for her to recall.
She burst into tears. He was amazed. As she recalled the wrong done to her, traces of her humanity and tenderness returned to her. He stepped back in amazement and noticed that her arms and bosom were bruised and her face cut. When asked, she said she’d one these injuries to herself when throwing herself down the stairs. “He” hadn’t touched her. Looking at her, through this lie, he saw a thread of goodness still living within her. He was stricken with remorse at having neared her. Sorrow, wrong and trouble were her connection to her past. Afraid to touch her and break the last connection to Heaven, he slid by her and went upstairs.