down by Blackheath," he said.
"Is that far, sir?" I diffidently asked.
"It's a good step," he said. "We shall go by the stage-coach. It's about six miles."
I was so faint and tired, that the idea of holding out for six miles more, was too much for me. I took heart to tell him that I had had nothing all night, and that if he would allow me to buy something to eat, I should be very much obliged to him. He appeared surprised at this—I see him stop and look at me now—and after considering for a few moments, said he wanted to call on an old person who lived not far off, and that the best way would be for me to buy some bread, or whatever I liked best that was wholesome, and make my breakfast at her house, where we could get some milk.
Accordingly we looked in at a baker's window, and after I had made a series of proposals to buy everything that was bilious in the shop, and he had rejected them one by one, we decided in favour of a nice little loaf of brown bread, which cost me threepence. Then, at a grocer's shop, we bought an egg and a slice of streaky bacon; which still left what I thought a good deal of change, out of the second of the bright shillings, and made me consider London a very cheap place. These provisions laid in, we went on through a great noise and uproar that confused my weary head beyond description, and over a bridge which, no doubt, was London Bridge (indeed I think he told me so, but I was half asleep), until we came to the poor person's house, which was a part of some alms-houses, as I knew by their look, and by an inscription on a stone over the gate, which said they were established for twenty-five poor women.
My musical breakfast.
The Master at Salem House lifted the latch of one of a number of little black doors that were all alike, and had each a little diamond-paned window on one side, and another little diamond-paned window above; and we went into the little house of one of these poor old women, who was blowing a fire to make a little saucepan boil. On seeing the master enter, the old woman stopped with the bellows on her knee, and said something that I thought sounded like "My Charley!" but on seeing me come in too, she got up, and rubbing her hands made a confused sort of half curtsey.
"Can you cook this young gentleman's breakfast for him, if you please?" said the Master at Salem House.
"Can I?" said the old woman. "Yes can I, sure!"
"How's Mrs. Fibbitson to-day?" said the Master, looking at another old woman in a large chair by the fire, who was such a bundle of clothes that I feel grateful to this hour for not having sat upon her by mistake.
"Ah, she's poorly," said the first old woman. "It's one of her bad days. If the fire was to go out, through any accident, I verily believe she'd go out too, and never come to life again."
As they looked at her, I looked at her also. Although it was a warm day, she seemed to think of nothing but the fire. I fancied she was jealous even of the saucepan on it; and I have reason to know that she took its impressment into the service of boiling my egg and broiling my bacon, in dudgeon; for I saw her, with my own discomfited eyes, shake her fist at me once, when those culinary operations were going on, and no one else was looking. The sun streamed in at the little window, but she sat with her own back and the back of the large chair towards it, screening the fire as if she were sedulously keeping it warm, instead of it keeping her warm, and watching it in a most distrustful manner. The completion of the preparations for my breakfast, by relieving the fire, gave her such extreme joy that she laughed aloud—and a very unmelodious laugh she had, I must say.
I sat down to my brown loaf, my egg, and my rasher of bacon, with a bason of milk besides, and made a most delicious meal. While I was yet in the full enjoyment of it, the old woman of the house said to the Master:
"Have you got your flute with you?"
"Yes," he returned.
"Have a blow at it," said the old woman, coaxingly. "Do!"
The Master, upon this, put his hand underneath the skirts of his coat, and brought out his flute in three pieces, which he screwed together, and began immediately to play. My impression is, after many years of consideration, that there never can have been anybody in the world who played worse. He made the most dismal sounds I have ever heard produced by any means, natural or artificial. I don't know what the tunes were—if there were such things in the performance at all, which I doubt—but the influence of the strain upon me was, first, to make me think of all my sorrows until I could hardly keep my tears back; then to take away my appetite; and lastly to make me so sleepy that I couldn't keep my eyes open. They begin to close again, and I begin to nod, as the recollection rises fresh upon me. Once more the little room with its open corner cupboard, and its square-backed chairs, and its angular little staircase leading to the room above, and its three peacock's feathers displayed over the mantelpiece—I remember wondering when I first went in, what that peacock would have thought if he had known what his finery was doomed to come to—fades from before me, and I nod, and sleep. The flute becomes inaudible, the wheels of the coach are heard instead, and I am on my journey. The coach jolts, I wake with a start, and the flute has come back again, and the Master at Salem House is sitting with his legs crossed, playing it dolefully, while the old woman of the house looks on delighted. She fades in her turn, and he fades, and all fades, and there is no flute, no Master, no Salem House, no David Copperfield, no anything but heavy sleep.
I dreamed, I thought, that once while he was blowing into this dismal flute, the old woman of the house, who had gone nearer and nearer to him in her ecstatic admiration, leaned over the back of his chair and gave him an affectionate squeeze round the neck, which stopped his playing for a moment. I was in the middle state between sleeping and waking, either then or immediately afterwards; for, as he resumed—it was a real fact that he had stopped playing—I saw and heard the same old woman ask Mrs. Fibbitson if it wasn't delicious (meaning the flute), to which Mrs. Fibbitson replied, "Ay, ay! Yes!" and nodded at the fire: to which, I am persuaded, she gave the credit of the whole performance.
When I seemed to have been dozing a long while, the Master at Salem House unscrewed his flute into the three pieces, put them up as before, and took me away. We found the coach very near at hand, and got upon the roof; but I was so dead sleepy, that when we stopped on the road to take up somebody else, they put me inside where there were no passengers, and where I slept profoundly, until I found the coach going at a footpace up a steep hill among green leaves. Presently, it stopped, and had come to its destination.
A short walk brought us—I mean the Master and me—to Salem House, which was enclosed with a high brick wall, and looked very dull. Over a door in this wall was a board with Salem House upon it; and through a grating in this door we were surveyed when we rang the bell by a surly face, which I found, on the door being opened, belonged to a stout man with a bull-neck, a wooden leg, overhanging temples, and his hair cut close all round his head.
"The new boy," said the Master.
The man with the wooden leg eyed me all over—it didn't take long, for there was not much of me—and locked the gate behind us, and took out the key. We were going up to the house, among some dark heavy trees, when he called after my conductor.
"Hallo!"
