In London itself, though in the old rustic road towards a suburb of note where in the days of William Shakespeare, author and stage-player, there were Royal hunting-seats--howbeit no sport is left there now but for hunters of men--Bleeding Heart Yard was to be found; a place much changed in feature and in fortune, yet with some relish of ancient greatness about it. Two or three mighty stacks of chimneys, and a few large dark rooms which had escaped being walled and subdivided out of the recognition of their old proportions, gave the Yard a character. It was inhabited by poor people, who set up their rest among its faded glories, as Arabs of the desert pitch their tents among the fallen stones of the Pyramids; but there was a family sentimental feeling prevalent in the Yard, that it had a character.
As if the aspiring city had become puffed up in the very ground on which it stood, the ground had so risen about Bleeding Heart Yard that you got into it down a flight of steps which formed no part of the original approach, and got out of it by a low gateway into a maze of shabby streets, which went about and about, tortuously ascending to the level again. At this end of the Yard and over the gateway, was the factory of Daniel Doyce, often heavily beating like a bleeding heart of iron, with the clink of metal upon metal.
The opinion of the Yard was divided respecting the derivation of its name. The more practical of its inmates abided by the tradition of a murder; the gentler and more imaginative inhabitants, including the whole of the tender sex, were loyal to the legend of a young lady of former times closely imprisoned in her chamber by a cruel father for remaining true to her own true love, and refusing to marry the suitor he chose for her. The legend related how that the young lady used to be seen up at her window behind the bars, murmuring a love-lorn song of which the burden was, 'Bleeding Heart, Bleeding Heart, bleeding away,' until she died. It was objected by the murderous party that this Refrain was notoriously the invention of a tambour-worker, a spinster and romantic, still lodging in the Yard. But, forasmuch as all favourite legends must be associated with the affections, and as many more people fall in love than commit murder--which it may be hoped, howsoever bad we are, will continue until the end of the world to be the dispensation under which we shall live--the Bleeding Heart, Bleeding Heart, bleeding away story, carried the day by a great majority. Neither party would listen to the antiquaries who delivered learned lectures in the neighbourhood, showing the Bleeding Heart to have been the heraldic cognisance of the old family to whom the property had once belonged. And, considering that the hour-glass they turned from year to year was filled with the earthiest and coarsest sand, the Bleeding Heart Yarders had reason enough for objecting to be despoiled of the one little golden grain of poetry that sparkled in it.
Down in to the Yard, by way of the steps, came Daniel Doyce, Mr Meagles, and Clennam. Passing along the Yard, and between the open doors on either hand, all abundantly garnished with light children nursing heavy ones, they arrived at its opposite boundary, the gateway. Here Arthur Clennam stopped to look about him for the domicile of Plornish, plasterer, whose name, according to the custom of Londoners, Daniel Doyce had never seen or heard of to that hour.
It was plain enough, nevertheless, as Little Dorrit had said; over a lime-splashed gateway in the corner, within which Plornish kept a ladder and a barrel or two. The last house in Bleeding Heart Yard which she had described as his place of habitation, was a large house, let off to various tenants; but Plornish ingeniously hinted that he lived in the parlour, by means of a painted hand under his name, the forefinger of which hand (on which the artist had depicted a ring and a most elaborate nail of the genteelest form) referred all inquirers to that apartment.
Parting from his companions, after arranging another meeting with Mr Meagles, Clennam went alone into the entry, and knocked with his knuckles at the parlour-door. It was opened presently by a woman with a child in her arms, whose unoccupied hand was hastily rearranging the upper part of her dress. This was Mrs Plornish, and this maternal action was the action of Mrs Plornish during a large part of her waking existence.
Was Mr Plornish at home? 'Well, sir,' said Mrs Plornish, a civil woman, 'not to deceive you, he's gone to look for a job.'
'Not to deceive you' was a method of speech with Mrs Plornish. She would deceive you, under any circumstances, as little as might be;but she had a trick of answering in this provisional form.
'Do you think he will be back soon, if I wait for him?'
'I have been expecting him,' said Mrs Plornish, 'this half an hour, at any minute of time. Walk in, sir.'
Arthur entered the rather dark and close parlour (though it was lofty too), and sat down in the chair she placed for him.
'Not to deceive you, sir, I notice it,' said Mrs Plornish, 'and Itake it kind of you.'
He was at a loss to understand what she meant; and by expressing as much in his looks, elicited her explanation.
'It ain't many that comes into a poor place, that deems it worth their while to move their hats,' said Mrs Plornish. 'But people think more of it than people think.'
Clennam returned, with an uncomfortable feeling in so very slight a courtesy being unusual, Was that all! And stooping down to pinch the cheek of another young child who was sitting on the floor, staring at him, asked Mrs Plornish how old that fine boy was?
'Four year just turned, sir,' said Mrs Plornish. 'He IS a fine little fellow, ain't he, sir? But this one is rather sickly.' She tenderly hushed the baby in her arms, as she said it. 'You wouldn't mind my asking if it happened to be a job as you was come about, sir, would you?' asked Mrs Plornish wistfully.
