Chapter 17

It is the custom on the stage, in all good murderous melodramas, to present the tragic and the comic scenes, in as regular alternation, as the layers of red and white in a side of streaky bacon. The hero sinks upon his straw bed, weighed down by fetters and misfortunes; in the next scene, his faithful but unconscious squire regales the audience with a comic song. We behold, with throbbing bosoms, the heroine in the grasp of a proud and ruthless baron: her virtue and her life alike in danger, drawing forth her dagger to preserve the one at the cost of the other; and just as our expectations are wrought up to the highest pitch, a whistle is heard, and we are straightway transported to the great hall of the castle: where a grey-headed seneschal sings a funny chorus with a funnier body of vassals, who are free of all sorts of places, from church vaults to palaces, and roam about in company, carolling perpetually.

Such changes appear absurd; but they are not so unnatural as they would seem at first sight. The transitions in real life from well-spread boards to death-beds, and from mourningweeds to holiday garments, are not a whit less startling; only, there, we are busy actors, instead of passive lookers-on, which makes a vast difference. The actors in the mimic life of the theatre, are blind to violent transitions and abrupt impulses of passion or feeling, which, presented before the eyes of mere spectators, are at once condemned as outrageous and preposterous.

As sudden shiftings of the scene, and rapid changes of time and place, are not only sanctioned in books by long usage, but are by many considered as the great art of authorship: an author's skill in his craft being, by such critics, chiefly estimated with relation to the dilemmas in which he leaves his characters at the end of every chapter: this brief introduction to the present one may perhaps be deemed unnecessary. If so, let it be considered a delicate intimation on the part of the historian that he is going back to the town in which Oliver Twist was born; the reader taking it for granted that there are good and substantial reasons for making the journey, or he would not be invited to proceed upon such an expedition.

Mr. Bumble emerged at early morning from the workhousegate, and walked with portly carriage and commanding steps, up the High Street. He was in the full bloom and pride of beadlehood; his cocked hat and coat were dazzling in the morning sun; he clutched his cane with the vigorous tenacity of health and power. Mr. Bumble always carried his head high; but this morning it was higher than usual. There was an abstraction in his eye, an elevation in his air, which might have warned an observant stranger that thoughts were passing in the beadle's mind, too great for utterance.

Mr. Bumble stopped not to converse with the small shopkeepers and others who spoke to him, deferentially, as he passed along. He merely returned their salutations with a wave of his hand, and relaxed not in his dignified pace, until he reached the farm where Mrs. Mann tended the infant paupers with parochial care.

“Drat that beadle!” said Mrs. Mann, hearing the wellknown shaking at the garden-gate. “If it isn't him at this time in the morning! Lauk, Mr. Bumble, only think of its being you! Well, dear me, it is a pleasure, this is! Come into the parlour, sir, please.”

The first sentence was addressed to Susan; and the exclamations of delight were uttered to Mr. Bumble: as the good lady unlocked the garden-gate, and showed him, with great attention and respect, into the house.

“Mrs. Mann,” said Mr. Bumble; not sitting upon, or dropping himself into a seat, as any common jackanapes would: but letting himself gradually and slowly down into a chair; “Mrs. Mann, ma'am, good morning.”

“Well, and good morning to you , sir,” replied Mrs. Mann, with many smiles; “and hoping you find yourself well, sir!”

“So-so, Mrs. Mann,” replied the beadle. “A porochial life is not a bed of roses, Mrs. Mann.”