Under the Greenwood Tree, or, the Mellstock quire; a rural painting of the Dutch school eBook

This eBook from the Gutenberg Project consists of approximately 235 pages of information about Under the Greenwood Tree, or, the Mellstock quire; a rural painting of the Dutch school.

Under the Greenwood Tree, or, the Mellstock quire; a rural painting of the Dutch school eBook

This eBook from the Gutenberg Project consists of approximately 235 pages of information about Under the Greenwood Tree, or, the Mellstock quire; a rural painting of the Dutch school.
of Ezekiel Saunders.  They were two departed clockmakers of Casterbridge, whose desperate rivalry throughout their lives was nowhere more emphatically perpetuated than here at Geoffrey’s.  These chief specimens of the marriage provision were supported on the right by a couple of kitchen dressers, each fitted complete with their cups, dishes, and plates, in their turn followed by two dumb-waiters, two family Bibles, two warming-pans, and two intermixed sets of chairs.

But the position last reached—­the chimney-corner—­was, after all, the most attractive side of the parallelogram.  It was large enough to admit, in addition to Geoffrey himself, Geoffrey’s wife, her chair, and her work-table, entirely within the line of the mantel, without danger or even inconvenience from the heat of the fire; and was spacious enough overhead to allow of the insertion of wood poles for the hanging of bacon, which were cloaked with long shreds of soot, floating on the draught like the tattered banners on the walls of ancient aisles.

These points were common to most chimney corners of the neighbourhood; but one feature there was which made Geoffrey’s fireside not only an object of interest to casual aristocratic visitors—­to whom every cottage fireside was more or less a curiosity—­but the admiration of friends who were accustomed to fireplaces of the ordinary hamlet model.  This peculiarity was a little window in the chimney-back, almost over the fire, around which the smoke crept caressingly when it left the perpendicular course.  The window-board was curiously stamped with black circles, burnt thereon by the heated bottoms of drinking-cups, which had rested there after previously standing on the hot ashes of the hearth for the purpose of warming their contents, the result giving to the ledge the look of an envelope which has passed through innumerable post-offices.

Fancy was gliding about the room preparing dinner, her head inclining now to the right, now to the left, and singing the tips and ends of tunes that sprang up in her mind like mushrooms.  The footsteps of Mrs. Day could be heard in the room overhead.  Fancy went finally to the door.

“Father!  Dinner.”

A tall spare figure was seen advancing by the window with periodical steps, and the keeper entered from the garden.  He appeared to be a man who was always looking down, as if trying to recollect something he said yesterday.  The surface of his face was fissured rather than wrinkled, and over and under his eyes were folds which seemed as a kind of exterior eyelids.  His nose had been thrown backwards by a blow in a poaching fray, so that when the sun was low and shining in his face, people could see far into his head.  There was in him a quiet grimness, which would in his moments of displeasure have become surliness, had it not been tempered by honesty of soul, and which was often wrongheadedness because not allied with subtlety.

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Under the Greenwood Tree, or, the Mellstock quire; a rural painting of the Dutch school from Project Gutenberg. Public domain.