Have you ever thought about what fiction is? Probably, such a question may seem surprising: and so everything is clear. Every person throughout his life has to repeatedly create the works he needs for specific purposes - statements, autobiographies, dictations - using not gypsum or clay, not musical notes, not paints, but just a word. At the same time, almost every person will be very surprised if he is told that he thereby created a work of fiction, which is very different from visual art, music and sculpture making. However, everyone understands that a student's essay or dictation is fundamentally different from novels, short stories, news that are created by professional writers. In the works of professionals there is the most important difference - excogitation. But, oddly enough, in a school literature course, you don’t realize the full power of fiction. So using our website in your free time discover fiction for yourself. A Tale of Two Cities by Charles Dickens (books for men to read .txt) 📖
- Author: Charles Dickens
Book online «A Tale of Two Cities by Charles Dickens (books for men to read .txt) 📖». Author Charles Dickens
Soon, Madame Defarge’s hands ceased to strike, and felt at her encircled waist. “It is under my arm,” said Miss Pross, in smothered tones, “you shall not draw it. I am stronger than you, I bless Heaven for it. I hold you till one or other of us faints or dies!”
Madame Defarge’s hands were at her bosom. Miss Pross looked up, saw what it was, struck at it, struck out a flash and a crash, and stood alone—blinded with smoke.
All this was in a second. As the smoke cleared, leaving an awful stillness, it passed out on the air, like the soul of the furious woman whose body lay lifeless on the ground.
In the first fright and horror of her situation, Miss Pross passed the body as far from it as she could, and ran down the stairs to call for fruitless help. Happily, she bethought herself of the consequences of what she did, in time to check herself and go back. It was dreadful to go in at the door again; but, she did go in, and even went near it, to get the bonnet and other things that she must wear. These she put on, out on the staircase, first shutting and locking the door and taking away the key. She then sat down on the stairs a few moments to breathe and to cry, and then got up and hurried away.
By good fortune she had a veil on her bonnet, or she could hardly have gone along the streets without being stopped. By good fortune, too, she was naturally so peculiar in appearance as not to show disfigurement like any other woman. She needed both advantages, for the marks of gripping fingers were deep in her face, and her hair was torn, and her dress (hastily composed with unsteady hands) was clutched and dragged a hundred ways.
In crossing the bridge, she dropped the door key in the river. Arriving at the cathedral some few minutes before her escort, and waiting there, she thought, what if the key were already taken in a net, what if it were identified, what if the door were opened and the remains discovered, what if she were stopped at the gate, sent to prison, and charged with murder! In the midst of these fluttering thoughts, the escort appeared, took her in, and took her away.
“Is there any noise in the streets?” she asked him.
“The usual noises,” Mr. Cruncher replied; and looked surprised by the question and by her aspect.
“I don’t hear you,” said Miss Pross. “What do you say?”
It was in vain for Mr. Cruncher to repeat what he said; Miss Pross could not hear him. “So I’ll nod my head,” thought Mr. Cruncher, amazed, “at all events she’ll see that.” And she did.
“Is there any noise in the streets now?” asked Miss Pross again, presently.
Again Mr. Cruncher nodded his head.
“I don’t hear it.”
“Gone deaf in an hour?” said Mr. Cruncher, ruminating, with his mind much disturbed; “wot’s come to her?”
“I feel,” said Miss Pross, “as if there had been a flash and a crash, and that crash was the last thing I should ever hear in this life.”
“Blest if she ain’t in a queer condition!” said Mr. Cruncher, more and more disturbed. “Wot can she have been a takin’, to keep her courage up? Hark! There’s the roll of them dreadful carts! You can hear that, miss?”
“I can hear,” said Miss Pross, seeing that he spoke to her, “nothing. O, my good man, there was first a great crash, and then a great stillness, and that stillness seems to be fixed and unchangeable, never to be broken any more as long as my life lasts.”
“If she don’t hear the roll of those dreadful carts, now very nigh their journey’s end,” said Mr. Cruncher, glancing over his shoulder, “it’s my opinion that indeed she never will hear anything else in this world.”
And indeed she never did.
The Footsteps Die Out For Ever
Along the Paris streets, the death-carts rumble, hollow and harsh. Six tumbrils carry the day’s wine to La Guillotine. All the devouring and insatiate Monsters imagined since imagination could record itself, are fused in the one realisation, Guillotine. And yet there is not in France, with its rich variety of soil and climate, a blade, a leaf, a root, a sprig, a peppercorn, which will grow to maturity under conditions more certain than those that have produced this horror. Crush humanity out of shape once more, under similar hammers, and it will twist itself into the same tortured forms. Sow the same seed of rapacious license and oppression over again, and it will surely yield the same fruit according to its kind.
Six tumbrils roll along the streets. Change these back again to what they were, thou powerful enchanter, Time, and they shall be seen to be the carriages of absolute monarchs, the equipages of feudal nobles, the toilettes of flaring Jezebels, the churches that are not my father’s house but dens of thieves, the huts of millions of starving peasants! No; the great magician who majestically works out the appointed order of the Creator, never reverses his transformations. “If thou be changed into this shape by the will of God,” say the seers to the enchanted, in the wise Arabian stories, “then remain so! But, if thou wear this form through mere passing conjuration, then resume thy former aspect!” Changeless and hopeless, the tumbrils roll along.
As the sombre wheels of the six carts go round, they seem to plough up a long crooked furrow among the populace in the streets. Ridges of faces are thrown to this side and to that, and the ploughs go steadily onward. So used are the regular inhabitants of the houses to the spectacle, that in many windows there are no people, and in some the occupation of the hands is not so much as suspended, while the eyes survey the faces in the tumbrils. Here and there, the inmate has visitors to see the sight; then he points his finger, with something of the complacency of a curator or authorised exponent, to this cart and to this, and seems to tell who sat here yesterday, and who there the day before.
Of the riders in the tumbrils, some observe these things, and all things on their last roadside, with an impassive stare; others, with a lingering interest in the ways of life and men. Some, seated with drooping heads, are sunk in silent despair; again, there are some so heedful of their looks that they cast upon the multitude such glances as they have seen in theatres, and in pictures. Several close their eyes, and think, or try to get their straying thoughts together. Only one, and he a miserable creature, of a crazed aspect, is so shattered and made drunk by horror, that he sings, and tries to dance. Not one of the whole number appeals by look or gesture, to the pity of the people.
There is a guard of sundry horsemen riding abreast of the tumbrils, and faces are often turned up to some of them, and they are asked some question. It would seem to be always the same question, for, it
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