The mention of Mr Casby again revived in Clennam's memory the smouldering embers of curiosity and interest which Mrs Flintwinch had fanned on the night of his arrival. Flora Casby had been the beloved of his boyhood; and Flora was the daughter and only child of wooden-headed old Christopher (so he was still occasionally spoken of by some irreverent spirits who had had dealings with him, and in whom familiarity had bred its proverbial result perhaps), who was reputed to be rich in weekly tenants, and to get a good quantity of blood out of the stones of several unpromising courts and alleys.
After some days of inquiry and research, Arthur Clennam became convinced that the case of the Father of the Marshalsea was indeed a hopeless one, and sorrowfully resigned the idea of helping him to ******* again. He had no hopeful inquiry to make at present, concerning Little Dorrit either; but he argued with himself that it might--for anything he knew--it might be serviceable to the poor child, if he renewed this acquaintance. It is hardly necessary to add that beyond all doubt he would have presented himself at Mr Casby's door, if there had been no Little Dorrit in existence; for we all know how we all deceive ourselves--that is to say, how people in general, our profounder selves excepted, deceive themselves--as to motives of action.
With a comfortable impression upon him, and quite an honest one in its way, that he was still patronising Little Dorrit in doing what had no reference to her, he found himself one afternoon at the corner of Mr Casby's street. Mr Casby lived in a street in the Gray's Inn Road, which had set off from that thoroughfare with the intention of running at one heat down into the valley, and up again to the top of Pentonville Hill; but which had run itself out of breath in twenty yards, and had stood still ever since. There is no such place in that part now; but it remained there for many years, looking with a baulked countenance at the wilderness patched with unfruitful gardens and pimpled with eruptive summerhouses, that it had meant to run over in no time.
'The house,' thought Clennam, as he crossed to the door, 'is as little changed as my mother's, and looks almost as gloomy. But the likeness ends outside. I know its staid repose within. The smell of its jars of old rose-leaves and lavender seems to come upon me even here.'
When his knock at the bright brass knocker of obsolete shape brought a woman-servant to the door, those faded scents in truth saluted him like wintry breath that had a faint remembrance in it of the bygone spring. He stepped into the sober, silent, air-tight house--one might have fancied it to have been stifled by Mutes in the Eastern manner--and the door, closing again, seemed to shut out sound and motion. The furniture was formal, grave, and quaker-like, but well-kept; and had as prepossessing an aspect as anything, from a human creature to a wooden stool, that is meant for much use and is preserved for little, can ever wear. There was a grave clock, ticking somewhere up the staircase; and there was a songless bird in the same direction, pecking at his cage, as if he were ticking too. The parlour-fire ticked in the grate. There was only one person on the parlour-hearth, and the loud watch in his pocket ticked audibly.
The servant-maid had ticked the two words 'Mr Clennam' so softly that she had not been heard; and he consequently stood, within the door she had closed, unnoticed. The figure of a man advanced in life, whose smooth grey eyebrows seemed to move to the ticking as the fire-light flickered on them, sat in an arm-chair, with his list shoes on the rug, and his thumbs slowly revolving over one another. This was old Christopher Casby--recognisable at a glance--as unchanged in twenty years and upward as his own solid furniture--as little touched by the influence of the varying seasons as the old rose-leaves and old lavender in his porcelain jars.
Perhaps there never was a man, in this troublesome world, so troublesome for the imagination to picture as a boy. And yet he had changed very little in his progress through life. Confronting him, in the room in which he sat, was a boy's portrait, which anybody seeing him would have identified as Master Christopher Casby, aged ten: though disguised with a hay****** rake, for which he had had, at any time, as much taste or use as for a diving-bell;and sitting (on one of his own legs) upon a bank of violets, moved to precocious contemplation by the spire of a village church.
There was the same smooth face and forehead, the same calm blue eye, the same placid air. The shining bald head, which looked so very large because it shone so much; and the long grey hair at its sides and back, like floss silk or spun glass, which looked so very benevolent because it was never cut; were not, of course, to be seen in the boy as in the old man. Nevertheless, in the Seraphic creature with the hay****** rake, were clearly to be discerned the rudiments of the Patriarch with the list shoes.
Patriarch was the name which many people delighted to give him.
Various old ladies in the neighbourhood spoke of him as The Last of the Patriarchs. So grey, so slow, so quiet, so impassionate, so very bumpy in the head, Patriarch was the word for him. He had been accosted in the streets, and respectfully solicited to become a Patriarch for painters and for sculptors; with so much importunity, in sooth, that it would appear to be beyond the Fine Arts to remember the points of a Patriarch, or to invent one.
Philanthropists of both ***es had asked who he was, and on being informed, 'Old Christopher Casby, formerly Town-agent to Lord Decimus Tite Barnacle,' had cried in a rapture of disappointment, 'Oh! why, with that head, is he not a benefactor to his species!
Oh! why, with that head, is he not a father to the orphan and a friend to the friendless!' With that head, however, he remained old Christopher Casby, proclaimed by common report rich in house property; and with that head, he now sat in his silent parlour.
