The Uncommercial Traveller - Charles Dickens (new books to read .TXT) 📗

out of the darkness, and a policeman. To this remarkable stick, I refer an air of mystery and magic which pervaded the whole of my perquisition among the traps that were set for Jack.

We began by diving into the obscurest streets and lanes of the port. Suddenly pausing in a flow of cheerful discourse, before a dead wall, apparently some ten miles long, Mr. Superintendent struck upon the ground, and the wall opened and shot out, with military salute of hand to temple, two policemen—not in the least surprised themselves, not in the least surprising Mr.

Superintendent.

‘All right, Sharpeye?’

‘All right, sir.’

‘All right, Trampfoot?’

‘All right, sir.’

‘Is Quickear there?’

‘Here am I, sir.’

‘Come with us.’

‘Yes, sir.’

So, Sharpeye went before, and Mr. Superintendent and I went next, and Trampfoot and Quickear marched as rear-guard. Sharpeye, I soon had occasion to remark, had a skilful and quite professional way of opening doors—touched latches delicately, as if they were keys of musical instruments—opened every door he touched, as if he were perfectly confident that there was stolen property behind it—

instantly insinuated himself, to prevent its being shut.

Sharpeye opened several doors of traps that were set for Jack, but Jack did not happen to be in any of them. They were all such miserable places that really, Jack, if I were you, I would give them a wider berth. In every trap, somebody was sitting over a fire, waiting for Jack. Now, it was a crouching old woman, like the picture of the Norwood Gipsy in the old sixpenny dream-books; now, it was a crimp of the male sex, in a checked shirt and without a coat, reading a newspaper; now, it was a man crimp and a woman crimp, who always introduced themselves as united in holy matrimony; now, it was Jack’s delight, his (un)lovely Nan; but they were all waiting for Jack, and were all frightfully disappointed to see us.

‘Who have you got up-stairs here?’ says Sharpeye, generally. (In the Move-on tone.)

‘Nobody, surr; sure not a blessed sowl!’ (Irish feminine reply.) ‘What do you mean by nobody? Didn’t I hear a woman’s step go up-stairs when my hand was on the latch?’

‘Ah! sure thin you’re right, surr, I forgot her! ‘Tis on’y Betsy White, surr. Ah! you know Betsy, surr. Come down, Betsy darlin’, and say the gintlemin.’

Generally, Betsy looks over the banisters (the steep staircase is in the room) with a forcible expression in her protesting face, of an intention to compensate herself for the present trial by grinding Jack finer than usual when he does come. Generally, Sharpeye turns to Mr. Superintendent, and says, as if the subjects of his remarks were waxwork:

‘One of the worst, sir, this house is. This woman has been indicted three times. This man’s a regular bad one likewise. His real name is Pegg. Gives himself out as Waterhouse.’

‘Never had sitch a name as Pegg near me back, thin, since I was in this house, bee the good Lard!’ says the woman.

Generally, the man says nothing at all, but becomes exceedingly round-shouldered, and pretends to read his paper with rapt attention. Generally, Sharpeye directs our observation with a look, to the prints and pictures that are invariably numerous on the walls. Always, Trampfoot and Quickear are taking notice on the doorstep. In default of Sharpeye being acquainted with the exact individuality of any gentleman encountered, one of these two is sure to proclaim from the outer air, like a gruff spectre, that Jackson is not Jackson, but knows himself to be Fogle; or that Canlon is Walker’s brother, against whom there was not sufficient evidence; or that the man who says he never was at sea since he was a boy, came ashore from a voyage last Thursday, or sails tomorrow morning. ‘And that is a bad class of man, you see,’ says Mr.

Superintendent, when he got out into the dark again, ‘and very difficult to deal with, who, when he has made this place too hot to hold him, enters himself for a voyage as steward or cook, and is out of knowledge for months, and then turns up again worse than ever.’

When we had gone into many such houses, and had come out (always leaving everybody relapsing into waiting for Jack), we started off to a singing-house where Jack was expected to muster strong.

The vocalisation was taking place in a long low room up-stairs; at one end, an orchestra of two performers, and a small platform; across the room, a series of open pews for Jack, with an aisle down the middle; at the other end a larger pew than the rest, entitled SNUG, and reserved for mates and similar good company. About the room, some amazing coffee-coloured pictures varnished an inch deep, and some stuffed creatures in cases; dotted among the audience, in Sung and out of Snug, the ‘Professionals;’ among them, the celebrated comic favourite Mr. Banjo Bones, looking very hideous with his blackened face and limp sugar-loaf hat; beside him, sipping rum-and-water, Mrs. Banjo Bones, in her natural colours—a little heightened.

It was a Friday night, and Friday night was considered not a good night for Jack. At any rate, Jack did not show in very great force even here, though the house was one to which he much resorts, and where a good deal of money is taken. There was British Jack, a little maudlin and sleepy, lolling over his empty glass, as if he were trying to read his fortune at the bottom; there was Loafing Jack of the Stars and Stripes, rather an unpromising customer, with his long nose, lank cheek, high cheek-bones, and nothing soft about him but his cabbage-leaf hat; there was Spanish Jack, with curls of black hair, rings in his ears, and a knife not far from his hand, if you got into trouble with him; there were Maltese Jack, and Jack of Sweden, and Jack the Finn, looming through the smoke of their pipes, and turning faces that looked as if they were carved out of dark wood, towards the young lady dancing the hornpipe: who found the platform so exceedingly small for it, that I had a nervous expectation of seeing her, in the backward steps, disappear through the window. Still, if all hands had been got together, they would not have more than half-filled the room. Observe, however, said Mr. Licensed Victualler, the host, that it was Friday night, and, besides, it was getting on for twelve, and Jack had gone aboard. A sharp and watchful man, Mr. Licensed Victualler, the host, with tight lips and a complete edition of Cocker’s arithmetic in each eye. Attended to his business himself, he said. Always on the spot. When he heard of talent, trusted nobody’s account of it, but went off by rail to see it. If true talent, engaged it. Pounds a week for talent—four pound—five pound. Banjo Bones was undoubted talent. Hear this instrument that was going to play—it was real talent! In truth it was very good; a kind of piano-accordion, played by a young girl of a delicate prettiness of face, figure, and dress, that made the audience look coarser. She sang to the instrument, too; first, a song about village bells, and how they chimed; then a song about how I went to sea; winding up with an imitation of the bagpipes, which Mercantile Jack seemed to understand much the best. A good girl, said Mr. Licensed Victualler. Kept herself select. Sat in Snug, not listening to the blandishments of Mates. Lived with mother. Father dead. Once a merchant well to do, but over-speculated himself. On delicate inquiry as to salary paid for item of talent under consideration, Mr. Victualler’s pounds dropped suddenly to shillings—still it was a very comfortable thing for a young person like that, you know; she only went on six times a night, and was only required to be there from six at night to twelve. What was more conclusive was, Mr. Victualler’s assurance that he ‘never allowed any language, and never suffered any disturbance.’ Sharpeye confirmed the statement, and the order that prevailed was the best proof of it that could have been cited. So, I came to the conclusion that poor Mercantile Jack might do (as I am afraid he does) much worse than trust himself to Mr. Victualler, and pass his evenings here.

But we had not yet looked, Mr. Superintendent—said Trampfoot, receiving us in the street again with military salute—for Dark Jack. True, Trampfoot. Ring the wonderful stick, rub the wonderful lantern, and cause the spirits of the stick and lantern to convey us to the Darkies.

There was no disappointment in the matter of Dark Jack; HE was producible. The Genii set us down in the little first floor of a little public-house, and there, in a stiflingly close atmosphere, were Dark Jack, and Dark Jack’s delight, his WHITE unlovely Nan, sitting against the wall all round the room. More than that: Dark Jack’s delight was the least unlovely Nan, both morally and physically, that I saw that night.

As a fiddle and tambourine band were sitting among the company, Quickear suggested why not strike up? ‘Ah, la’ads!’ said a negro sitting by the door, ‘gib the jebblem a darnse. Tak’ yah pardlers, jebblem, for ‘um QUAD-rill.’

This was the landlord, in a Greek cap, and a dress half Greek and half English. As master of the ceremonies, he called all the figures, and occasionally addressed himself parenthetically—after this manner. When he was very loud, I use capitals.

‘Now den! Hoy! ONE. Right and left. (Put a steam on, gib ‘um powder.) LA-dies’ chail. BALloon say. Lemonade! TWO. AD-warnse and go back (gib ‘ell a breakdown, shake it out o’ yerselbs, keep a movil). SWING-corners, BALloon say, and Lemonade! (Hoy!) THREE. GENT come for’ard with a lady and go back, hoppersite come for’ard and do what yer can. (Aeiohoy!) BALloon say, and leetle lemonade. (Dat hair nigger by ‘um fireplace ‘hind a’ time, shake it out o’ yerselbs, gib ‘ell a breakdown.) Now den! Hoy! FOUR!

Lemonade. BALloon say, and swing. FOUR ladies meet in ‘um middle, FOUR gents goes round ‘um ladies, FOUR gents passes out under ‘um ladies’ arms, SWING—and Lemonade till ‘a moosic can’t play no more! (Hoy, Hoy!)’

The male dancers were all blacks, and one was an unusually powerful man of six feet three or four. The sound of their flat feet on the floor was as unlike the sound of white feet as their faces were unlike white faces. They toed and heeled, shuffled, double-shuffled, double-double-shuffled, covered the buckle, and beat the time out, rarely, dancing with a great show of teeth, and with a childish good-humoured enjoyment that was very prepossessing. They generally kept together, these poor fellows, said Mr.

Superintendent, because they were at a disadvantage singly, and liable to slights in the neighbouring streets. But, if I were Light Jack, I should be very slow to interfere oppressively with Dark Jack, for, whenever I have had to do with him I have found him a simple and a gentle fellow. Bearing this in mind, I asked his friendly permission to leave him restoration of beer, in wishing him good night, and thus it fell out that the last words I heard him say as I blundered down the worn stairs, were, ‘Jebblem’s elth!

Ladies drinks fust!’

The night was now well on into the morning, but, for miles and hours we explored a strange world, where nobody ever goes to bed, but everybody is eternally sitting up, waiting for Jack. This exploration was among a labyrinth of dismal courts and blind alleys, called Entries, kept in wonderful order by the police, and in much better order than by the corporation: the want of gaslight in the most dangerous and infamous of these places being quite unworthy of so spirited a