Oliver Twist; or, The Parish Boy's Progress. IllustratedDickens, Charles
General
Oliver Twist; or, The Parish Boy's Progress. Illustrated
Dickens, Charles
Bildungsromans; Boys -- Fiction; Criminals -- Fiction; Kidnapping victims -- Fiction; London (England) -- Fiction; Orphans -- Fiction
The little room in which he was accustomed to sit, when busy at his
books, was on the ground-floor, at the back of the house. It was
quite a cottage-room, with a lattice-window: around which were
clusters of jessamine and honeysuckle, that crept over the casement,
and filled the place with their delicious perfume. It looked into
a garden, whence a wicket-gate opened into a small paddock; all
beyond, was fine meadow-land and wood. There was no other dwelling
near, in that direction; and the prospect it commanded was very
extensive.
One beautiful evening, when the first shades of twilight were
beginning to settle upon the earth, Oliver sat at this window,
intent upon his books. He had been poring over them for some time;
and, as the day had been uncommonly sultry, and he had exerted
himself a great deal, it is no disparagement to the authors, whoever
they may have been, to say, that gradually and by slow degrees, he
fell asleep.
There is a kind of sleep that steals upon us sometimes, which, while
it holds the body prisoner, does not free the mind from a sense of
things about it, and enable it to ramble at its pleasure. So far as
an overpowering heaviness, a prostration of strength, and an utter
inability to control our thoughts or power of motion, can be called
sleep, this is it; and yet, we have a consciousness of all that is
going on about us, and, if we dream at such a time, words which
are really spoken, or sounds which really exist at the moment,
accommodate themselves with surprising readiness to our visions,
until reality and imagination become so strangely blended that it is
afterwards almost matter of impossibility to separate the two. Nor
is this, the most striking phenomenon incidental to such a state. It
is an undoubted fact, that although our senses of touch and sight
be for the time dead, yet our sleeping thoughts, and the visionary
scenes that pass before us, will be influenced and materially
influenced, by the _mere silent presence_ of some external object;
which may not have been near us when we closed our eyes: and of
whose vicinity we have had no waking consciousness.
Oliver knew, perfectly well, that he was in his own little room;
that his books were lying on the table before him; that the sweet
air was stirring among the creeping plants outside. And yet he
was asleep. Suddenly, the scene changed; the air became close and
confined; and he thought, with a glow of terror, that he was in the
Jew’s house again. There sat the hideous old man, in his accustomed
corner, pointing at him, and whispering to another man, with his
face averted, who sat beside him.
‘Hush, my dear!’ he thought he heard the Jew say; ‘it is he, sure
enough. Come away.’
Public-domain text, read in full here on John Shaqi.
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