bannerbannerbanner
Mugby Junction

Чарльз Диккенс
Mugby Junction

Полная версия

“Are you mad?” he exclaimed. “What do you mean?”

“That I believe it’s just a trick to get me away to England – that I don’t credit a syllable of your story. You’re a liar, and I hate you!”

He rose, and, laying one hand on the back of his chair, looked me sternly in the face.

“If you were not Benjamin Hardy,” he said, deliberately, “I would thrash you within an inch of your life.”

The words had no sooner passed his lips than I sprang at him. I have never been able distinctly to remember what followed. A curse – a blow – a struggle – a moment of blind fury – a cry – a confusion of tongues – a circle of strange faces. Then I see Mat lying back in the arms of a bystander; myself trembling and bewildered – the knife dropping from my grasp; blood upon the floor; blood upon my hands; blood upon his shirt. And then I hear those dreadful words:

“O, Ben, you have murdered me!”

He did not die – at least, not there and then. He was carried to the nearest hospital, and lay for some weeks between life and death. His case, they said, was difficult and dangerous. The knife had gone in just below the collarbone, and pierced down into the lungs. He was not allowed to speak or turn – scarcely to breathe with freedom. He might not even lift his head to drink. I sat by him day and night all through that sorrowful time. I gave up my situation on the railway; I quitted my lodging in the Vicolo Balba; I tried to forget that such a woman as Gianetta Coneglia had ever drawn breath. I lived only for Mat; and he tried to live more, I believe, for my sake than his own. Thus, in the bitter silent hours of pain and penitence, when no hand but mine approached his lips or smoothed his pillow, the old friendship came back with even more than its old trust and faithfulness. He forgave me, fully and freely; and I would thankfully have given my life for him.

At length there came one bright spring morning, when, dismissed as convalescent, he tottered out through the hospital gates, leaning on my arm, and feeble as an infant. He was not cured; neither, as I then learned to my horror and anguish, was it possible that he ever could be cured. He might live, with care, for some years; but the lungs were injured beyond hope of remedy, and a strong or healthy man he could never be again. These, spoken aside to me, were the parting words of the chief physician, who advised me to take him further south without delay.

I took him to a little coast-town called Rocca, some thirty miles beyond Genoa – a sheltered lonely place along the Riviera, where the sea was even bluer than the sky, and the cliffs were green with strange tropical plants, cacti, and aloes, and Egyptian palms. Here we lodged in the house of a small tradesman; and Mat, to use his own words, “set to work at getting well in good earnest.” But, alas! it was a work which no earnestness could forward. Day after day he went down to the beach, and sat for hours drinking the sea air and watching the sails that came and went in the offing. By-and-by he could go no further than the garden of the house in which we lived. A little later, and he spent his days on a couch beside the open window, waiting patiently for the end. Ay, for the end! It had come to that. He was fading fast, waning with the waning summer, and conscious that the Reaper was at hand. His whole aim now was to soften the agony of my remorse, and prepare me for what must shortly come.

“I would not live longer, if I could,” he said, lying on his couch one summer evening, and looking up to the stars. “If I had my choice at this moment, I would ask to go. I should like Gianetta to know that I forgave her.”

“She shall know it,” I said, trembling suddenly from head to foot.

He pressed my hand.

“And you’ll write to father?”

“I will.”

I had drawn a little back, that he might not see the tears raining down my cheeks; but he raised himself on his elbow, and looked round.

“Don’t fret, Ben,” he whispered; laid his head back wearily upon the pillow – and so died.

And this was the end of it. This was the end of all that made life life to me. I buried him there, in hearing of the wash of a strange sea on a strange shore. I stayed by the grave till the priest and the bystanders were gone. I saw the earth filled in to the last sod, and the gravedigger stamp it down with his feet. Then, and not till then, I felt that I had lost him for ever – the friend I had loved, and hated, and slain. Then, and not till then, I knew that all rest, and joy, and hope were over for me. From that moment my heart hardened within me, and my life was filled with loathing. Day and night, land and sea, labour and rest, food and sleep, were alike hateful to me. It was the curse of Cain, and that my brother had pardoned me made it lie none the lighter. Peace on earth was for me no more, and goodwill towards men was dead in my heart for ever. Remorse softens some natures; but it poisoned mine. I hated all mankind; but above all mankind I hated the woman who had come between us two, and ruined both our lives.

He had bidden me seek her out, and be the messenger of his forgiveness. I had sooner have gone down to the port of Genoa and taken upon me the serge cap and shotted chain of any galley-slave at his toil in the public works; but for all that I did my best to obey him. I went back, alone and on foot. I went back, intending to say to her, “Gianetta Coneglia, he forgave you; but God never will.” But she was gone. The little shop was let to a fresh occupant; and the neighbours only knew that mother and daughter had left the place quite suddenly, and that Gianetta was supposed to be under the “protection” of the Marchese Loredano. How I made inquiries here and there – how I heard that they had gone to Naples – and how, being restless and reckless of my time, I worked my passage in a French steamer, and followed her – how, having found the sumptuous villa that was now hers, I learned that she had left there some ten days and gone to Paris, where the Marchese was ambassador for the Two Sicilies – how, working my passage back again to Marseilles, and thence, in part by the river and in part by the rail, I made my way to Paris – how, day after day, I paced the streets and the parks, watched at the ambassador’s gates, followed his carriage, and at last, after weeks of waiting, discovered her address – how, having written to request an interview, her servants spurned me from her door and flung my letter in my face – how, looking up at her windows, I then, instead of forgiving, solemnly cursed her with the bitterest curses my tongue could devise – and how, this done, I shook the dust of Paris from my feet, and became a wanderer upon the face of the earth, are facts which I have now no space to tell.

The next six or eight years of my life were shifting and unsettled enough. A morose and restless man, I took employment here and there, as opportunity offered, turning my hand to many things, and caring little what I earned, so long as the work was hard and the change incessant. First of all I engaged myself as chief engineer in one of the French steamers plying between Marseilles and Constantinople. At Constantinople I changed to one of the Austrian Lloyd’s boats, and worked for some time to and from Alexandria, Jaffa, and those parts. After that, I fell in with a party of Mr. Layard’s men at Cairo, and so went up the Nile and took a turn at the excavations of the mound of Nimroud. Then I became a working engineer on the new desert line between Alexandria and Suez; and by-and-by I worked my passage out to Bombay, and took service as an engine fitter on one of the great Indian railways. I stayed a long time in India; that is to say, I stayed nearly two years, which was a long time for me; and I might not even have left so soon, but for the war that was declared just then with Russia. That tempted me. For I loved danger and hardship as other men love safety and ease; and as for my life, I had sooner have parted from it than kept it, any day. So I came straight back to England; betook myself to Portsmouth, where my testimonials at once procured me the sort of berth I wanted. I went out to the Crimea in the engine-room of one of her Majesty’s war steamers.

I served with the fleet, of course, while the war lasted; and when it was over, went wandering off again, rejoicing in my liberty. This time I went to Canada, and after working on a railway then in progress near the American frontier, I presently passed over into the States; journeyed from north to south; crossed the Rocky Mountains; tried a month or two of life in the gold country; and then, being seized with a sudden, aching, unaccountable longing to revisit that solitary grave so far away on the Italian coast, I turned my face once more towards Europe.

Poor little grave! I found it rank with weeds, the cross half shattered, the inscription half effaced. It was as if no one had loved him, or remembered him. I went back to the house in which we had lodged together. The same people were still living there, and made me kindly welcome. I stayed with them for some weeks. I weeded, and planted, and trimmed the grave with my own hands, and set up a fresh cross in pure white marble. It was the first season of rest that I had known since I laid him there; and when at last I shouldered my knapsack and set forth again to battle with the world, I promised myself that, God willing, I would creep back to Rocca, when my days drew near to ending, and be buried by his side.

From hence, being, perhaps, a little less inclined than formerly for very distant parts, and willing to keep within reach of that grave, I went no further than Mantua, where I engaged myself as an engine-driver on the line, then not long completed, between that city and Venice. Somehow, although I had been trained to the working engineering, I preferred in these days to earn my bread by driving. I liked the excitement of it, the sense of power, the rush of the air, the roar of the fire, the flitting of the landscape. Above all, I enjoyed to drive a night express. The worse the weather, the better it suited with my sullen temper. For I was as hard, and harder than ever. The years had done nothing to soften me. They had only confirmed all that was blackest and bitterest in my heart.

 

I continued pretty faithful to the Mantua line, and had been working on it steadily for more than seven months when that which I am now about to relate took place.

It was in the month of March. The weather had been unsettled for some days past, and the nights stormy; and at one point along the line, near Ponte di Brenta, the waters had risen and swept away some seventy yards of embankment. Since this accident, the trains had all been obliged to stop at a certain spot between Padua and Ponte di Brenta, and the passengers, with their luggage, had thence to be transported in all kinds of vehicles, by a circuitous country road, to the nearest station on the other side of the gap, where another train and engine awaited them. This, of course, caused great confusion and annoyance, put all our time-tables wrong, and subjected the public to a large amount of inconvenience. In the meanwhile an army of navvies was drafted to the spot, and worked day and night to repair the damage. At this time I was driving two through trains each day; namely, one from Mantua to Venice in the early morning, and a return train from Venice to Mantua in the afternoon – a tolerably full day’s work, covering about one hundred and ninety miles of ground, and occupying between ten and eleven hours. I was therefore not best pleased when, on the third or fourth day after the accident, I was informed that, in addition to my regular allowance of work, I should that evening be required to drive a special train to Venice. This special train, consisting of an engine, a single carriage, and a break-van, was to leave the Mantua platform at eleven; at Padua the passengers were to alight and find post-chaises waiting to convey them to Ponte di Brenta; at Ponte di Brenta another engine, carriage, and break-van were to be in readiness. I was charged to accompany them throughout.

“Corpo di Bacco,” said the clerk who gave me my orders, “you need not look so black, man. You are certain of a handsome gratuity. Do you know who goes with you?”

“Not I.”

“Not you, indeed! Why, it’s the Duca Loredano, the Neapolitan ambassador.”

“Loredano!” I stammered. “What Loredano? There was a Marchese – ”

“Certo. He was the Marchese Loredano some years ago; but he has come into his dukedom since then.”

“He must be a very old man by this time.”

“Yes, he is old; but what of that? He is as hale, and bright, and stately as ever. You have seen him before?”

“Yes,” I said, turning away; “I have seen him – years ago.”

“You have heard of his marriage?”

I shook my head.

The clerk chuckled, rubbed his hands, and shrugged his shoulders.

“An extraordinary affair,” he said. “Made a tremendous esclandre at the time. He married his mistress – quite a common, vulgar girl – a Genoese – very handsome; but not received, of course. Nobody visits her.”

“Married her!” I exclaimed. “Impossible.”

“True, I assure you.”

I put my hand to my head. I felt as if I had had a fall or a blow.

“Does she – does she go to-night?” I faltered.

“O dear, yes – goes everywhere with him – never lets him out of her sight. You’ll see her – la bella Duchessa!”

With this my informant laughed, and rubbed his hands again, and went back to his office.

The day went by, I scarcely know how, except that my whole soul was in a tumult of rage and bitterness. I returned from my afternoon’s work about 7.25, and at 10.30 I was once again at the station. I had examined the engine; given instructions to the Fochista, or stoker, about the fire; seen to the supply of oil; and got all in readiness, when, just as I was about to compare my watch with the clock in the ticket-office, a hand was laid upon my arm, and a voice in my ear said:

“Are you the engine-driver who is going on with this special train?”

I had never seen the speaker before. He was a small, dark man, muffled up about the throat, with blue glasses, a large black beard, and his hat drawn low upon his eyes.

“You are a poor man, I suppose,” he said, in a quick, eager whisper, “and, like other poor men, would not object to be better off. Would you like to earn a couple of thousand florins?”

“In what way?”

“Hush! You are to stop at Padua, are you not, and to go on again at Ponte di Brenta?”

I nodded.

“Suppose you did nothing of the kind. Suppose, instead of turning off the steam, you jump off the engine, and let the train run on?”

“Impossible. There are seventy yards of embankment gone, and – ”

“Basta! I know that. Save yourself, and let the train run on. It would be nothing but an accident.”

I turned hot and cold; I trembled; my heart beat fast, and my breath failed.

“Why do you tempt me?” I faltered.

“For Italy’s sake,” he whispered; “for liberty’s sake. I know you are no Italian; but, for all that, you may be a friend. This Loredano is one of his country’s bitterest enemies. Stay, here are the two thousand florins.”

I thrust his hand back fiercely.

“No – no,” I said. “No blood-money. If I do it, I do it neither for Italy nor for money; but for vengeance.”

“For vengeance!” he repeated.

At this moment the signal was given for backing up to the platform. I sprang to my place upon the engine without another word. When I again looked towards the spot where he had been standing, the stranger was gone.

I saw them take their places – Duke and Duchess, secretary and priest, valet and maid. I saw the station-master bow them into the carriage, and stand, bareheaded, beside the door. I could not distinguish their faces; the platform was too dusk, and the glare from the engine fire too strong; but I recognised her stately figure, and the poise of her head. Had I not been told who she was, I should have known her by those traits alone. Then the guard’s whistle shrilled out, and the station-master made his last bow; I turned the steam on; and we started.

My blood was on fire. I no longer trembled or hesitated. I felt as if every nerve was iron, and every pulse instinct with deadly purpose. She was in my power, and I would be revenged. She should die – she, for whom I had stained my soul with my friend’s blood! She should die, in the plenitude of her wealth and her beauty, and no power upon earth should save her!

The stations flew past. I put on more steam; I bade the fireman heap in the coke, and stir the blazing mass. I would have outstripped the wind, had it been possible. Faster and faster – hedges and trees, bridges and stations, flashing past – villages no sooner seen than gone – telegraph wires twisting, and dipping, and twining themselves in one, with the awful swiftness of our pace! Faster and faster, till the fireman at my side looks white and scared, and refuses to add more fuel to the furnace. Faster and faster, till the wind rushes in our faces and drives the breath back upon our lips.

I would have scorned to save myself. I meant to die with the rest. Mad as I was – and I believe from my very soul that I was utterly mad for the time – I felt a passing pang of pity for the old man and his suite. I would have spared the poor fellow at my side, too, if I could; but the pace at which we were going made escape impossible.

Vicenza was passed – a mere confused vision of lights. Pojana flew by. At Padua, but nine miles distant, our passengers were to alight. I saw the fireman’s face turned upon me in remonstrance; I saw his lips move, though I could not hear a word; I saw his expression change suddenly from remonstrance to a deadly terror, and then – merciful Heaven! then, for the first time, I saw that he and I were no longer alone upon the engine.

There was a third man – a third man standing on my right hand, as the fireman was standing on my left – a tall, stalwart man, with short curling hair, and a flat Scotch cap upon his head. As I fell back in the first shock of surprise, he stepped nearer; took my place at the engine, and turned the steam off. I opened my lips to speak to him; he turned his head slowly, and looked me in the face.

Matthew Price!

I uttered one long wild cry, flung my arms wildly up above my head, and fell as if I had been smitten with an axe.

I am prepared for the objections that may be made to my story. I expect, as a matter of course, to be told that this was an optical illusion, or that I was suffering from pressure on the brain, or even that I laboured under an attack of temporary insanity. I have heard all these arguments before, and, if I may be forgiven for saying so, I have no desire to hear them again. My own mind has been made up upon this subject for many a year. All that I can say – all that I know is – that Matthew Price came back from the dead to save my soul and the lives of those whom I, in my guilty rage, would have hurried to destruction. I believe this as I believe in the mercy of Heaven and the forgiveness of repentant sinners.

the end

***END OF THE PROJECT GUTENBERG EBOOK MUGBY JUNCTION***

***** This file should be named 27924-h.htm or 27924-h.zip******

This and all associated files of various formats will be found in:

http://www.gutenberg.org/dirs/2/7/9/2/27924

Updated editions will replace the previous one-the old editions will be renamed.

Creating the works from public domain print editions means that no one owns a United States copyright in these works, so the Foundation

(and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project

Gutenberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission. If you do not charge anything for copies of this eBook, complying with the rules is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. They may be modified and printed and given away-you may do practically ANYTHING with public domain eBooks. Redistribution is subject to the trademark license, especially commercial redistribution.

*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free distribution of electronic works, by using or distributing this work

(or any other work associated in any way with the phrase "Project

Gutenberg"), you agree to comply with all the terms of the Full Project

Gutenberg-tm License (available with this file or online at http://www.gutenberg.org/license).

Section 1. General Terms of Use and Redistributing Project Gutenberg-tm electronic works

1. A. By reading or using any part of this Project Gutenberg-tm electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property

(trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg-tm electronic works in your possession.

If you paid a fee for obtaining a copy of or access to a Project

Gutenberg-tm electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1. B. "Project Gutenberg" is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg-tm electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project

Gutenberg-tm electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg-tm electronic works. See paragraph 1.E below.

1. C. The Project Gutenberg Literary Archive Foundation ("the Foundation"

 

or PGLAF), owns a compilation copyright in the collection of Project

Gutenberg-tm electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is in the public domain in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project

Gutenberg-tm mission of promoting free access to electronic works by freely sharing Project Gutenberg-tm works in compliance with the terms of this agreement for keeping the Project Gutenberg-tm name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project

Gutenberg-tm License when you share it without charge with others.

1. D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project

Gutenberg-tm work. The Foundation makes no representations concerning the copyright status of any work in any country outside the United

States.

1. E. Unless you have removed all references to Project Gutenberg:

1. E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg-tm License must appear prominently whenever any copy of a Project Gutenberg-tm work (any work on which the phrase "Project Gutenberg" appears, or with which the phrase "Project

Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org

1. E.2. If an individual Project Gutenberg-tm electronic work is derived from the public domain (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase "Project Gutenberg" associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1

through 1.E.7 or obtain permission for the use of the work and the

Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or

1. E.9.

1. E.3. If an individual Project Gutenberg-tm electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg-tm License for all works posted with the permission of the copyright holder found at the beginning of this work.

1. E.4. Do not unlink or detach or remove the full Project Gutenberg-tm

License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg-tm.

1. E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project

Gutenberg-tm License.

1. E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg-tm work in a format other than

"Plain Vanilla ASCII" or other format used in the official version posted on the official Project Gutenberg-tm web site (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original "Plain Vanilla ASCII" or other form. Any alternate format must include the full Project Gutenberg-tm

License as specified in paragraph 1.E.1.

1. E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg-tm works unless you comply with paragraph 1.E.8 or 1.E.9.

1. E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg-tm electronic works provided that

– You pay a royalty fee of 20 % of the gross profits you derive from

the use of Project Gutenberg-tm works calculated using the method

you already use to calculate your applicable taxes. The fee is

owed to the owner of the Project Gutenberg-tm trademark, but he

has agreed to donate royalties under this paragraph to the

Project Gutenberg Literary Archive Foundation. Royalty payments

must be paid within 60 days following each date on which you

prepare (or are legally required to prepare) your periodic tax

returns. Royalty payments should be clearly marked as such and

sent to the Project Gutenberg Literary Archive Foundation at the

address specified in Section 4, "Information about donations to

the Project Gutenberg Literary Archive Foundation."

– You provide a full refund of any money paid by a user who notifies

you in writing (or by e-mail) within 30 days of receipt that s/he

does not agree to the terms of the full Project Gutenberg-tm

License. You must require such a user to return or

destroy all copies of the works possessed in a physical medium

and discontinue all use of and all access to other copies of

Project Gutenberg-tm works.

– You provide, in accordance with paragraph 1.F.3, a full refund of any

money paid for a work or a replacement copy, if a defect in the

electronic work is discovered and reported to you within 90 days

of receipt of the work.

– You comply with all other terms of this agreement for free

distribution of Project Gutenberg-tm works.

1. E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from both the Project Gutenberg Literary Archive Foundation and Michael

Hart, the owner of the Project Gutenberg-tm trademark. Contact the

Foundation as set forth in Section 3 below.

1. F.

1. F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread public domain works in creating the Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm electronic works, and the medium on which they may be stored, may contain

"Defects," such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1. F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES – Except for the "Right of Replacement or Refund" described in paragraph 1.F.3, the Project

Gutenberg Literary Archive Foundation, the owner of the Project

Gutenberg-tm trademark, and any other party distributing a Project

Gutenberg-tm electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT

Рейтинг@Mail.ru