Oliver Constable, miller and baker, Vol. 1 (of 3)Tytler, Sarah
Philosophy
Oliver Constable, miller and baker, Vol. 1 (of 3)
Tytler, Sarah
England -- Social conditions -- 19th century -- Fiction
‘Do you sit here now, Fan?’ he asked his sister with a little surprise,
and an involuntary tone of disappointment. But even as he spoke, he
began to reproach himself privately for the question—so like a man’s
blundering to put it, within the first moment of his arrival too. To
be sure poor Fan still found the old sitting-room too full of sad
memories to be encountered without an effort. How could he, even in
imagination, have condemned a girl to sit alone where the old family
circle had been formed, with a dreary sense of a blank never to be
filled up, in one corner, and in one chair, constantly present to her
mind? It mattered little what room they occupied just then, and only a
stupid, thoughtless fellow would have drawn attention to the change,
thus carelessly probing the wound.
Oliver hastily directed the conversation to something else, without
waiting for an answer to his question, and in doing so accepted the
new domestic arrangement without protest—all the same his thoughts had
been dwelling vaguely but persistently throughout his railway journey
on the familiar low-browed room. The local attachments, which did not
exist for Fan, approached to a passion in Oliver’s nature. He had
seen, without trying to see them, his father’s big chair and ponderous
writing-desk, opposite which Fan’s little table and work-basket used
to stand. He had contemplated idly and half absently as if he had been
on the spot, the high wooden chimney-piece painted grey, and having
in relief, only in stucco unfortunately, clusters of wheat ears—as
if the chimney-piece had been designed expressly for a miller and
baker’s hearth—the corner cupboards, the odd nondescript article of
furniture in old mahogany which was neither side-board nor side-table,
nor cabinet, but which had the handiest shelves, the roomiest drawers
conceivable. At this season the purplish red roses were budding in such
profusion round the windows of the old parlour, that if a high wind
came when the roses were in full bloom, their petals would—as Oliver
had seen them before—be stripped off, and swept in a stream on the
faded worsted moss of the carpet as thick as leaves in Vallombrosa.
There were seats in the windows on which Oliver had often gathered
up his long legs and disposed of his arms in an attitude the most
excruciating to the eye of the spectator, yet the most restful to the
body of the performer. Oliver had been addicted, from boyhood, to
employing these low window ledges as convenient steps to the court, a
practice which obviated any trouble of opening and closing doors. He
had been prone to sitting half in half out of a window, with his legs
dangling to the ground; when he occupied the post in June, he had felt
himself like an old Greek crowned with roses, and as it was his only
chance of such a distinction he had borne with stoicism sundry pricks
and scratches from aggressive stems, and faced philosophically the
dropping of rose leaves—possibly of earwigs and ladybirds—within the
Public-domain text, read in full here on John Shaqi.
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