"A-a-a-business, business!" he urged, with a moisture that was not of business shining on his cheek. "Come in, come in!"

"I am afraid of it," she answered, shuddering.

"Of it? What?"

"I mean of him. Of my father."

Rendered in a manner desperate, by her state and by the beckoning of their conductor, he drew over his neck the arm that shook upon his shoulder, lifted her a little, and hurried her into the room. He sat her down just within the door, and held her, clinging to him.

Defarge drew out the key, closed the door, locked it on the inside, took out the key again, and held it in his hand. All this he did, methodically, and with as loud and harsh an accompaniment of noise as he could make. Finally, he walked across the room with a measured tread to where the window was. He stopped there, and faced round.

The garret, built to be a depository for firewood and the like, was dim and dark: for, the window of dormer shape, was in truth a door in the roof, with a little crane over it for the hoisting up of stores from the street: unglazed, and closing up the middle in two pieces, like any other door of French construction. To exclude the cold, one half of this door was fast closed, and the other was opened but a very little way. Such a scanty portion of light was admitted through these means, that it was difficult, on first coming in, to see anything; and long habit alone could have slowly formed in any one, the ability to do any work requiring nicety in such obscurity. Yet, work of that kind was being done in the garret; for, with his back towards the door, and his face towards the window where the keeper of the wine-shop stood looking at him, a white-haired man sat on a low bench, stooping forward and very busy, making shoes.

VI

The Shoemaker

"Good day!" said Monsieur Defarge, looking down at the white head that bent low over the shoemaking.

It was raised for a moment, and a very faint voice responded to the salutation, as if it were at a distance:

"Good day!"

"You are still hard at work, I see?"

After a long silence, the head was lifted for another moment, and the voice replied, "Yes--I am working." This time, a pair of haggard eyes had looked at the questioner, before the face had dropped again.

The faintness of the voice was pitiable and dreadful. It was not the faintness of physical weakness, though confinement and hard fare no doubt had their part in it. Its deplorable peculiarity was, that it was the faintness of solitude and disuse. It was like the last feeble echo of a sound made long and long ago. So entirely had it lost the life and resonance of the human voice, that it affected the senses like a once beautiful colour faded away into a poor weak stain. So sunken and suppressed it was, that it was like a voice underground. So expressive it was, of a hopeless and lost creature, that a famished traveller, wearied out by lonely wandering in a wilderness, would have remembered home and friends in such a tone before lying down to die.

Some minutes of silent work had passed: and the haggard eyes had looked up again: not with any interest or curiosity, but with a dull mechanical perception, beforehand, that the spot where the only visitor they were aware of had stood, was not yet empty.

"I want," said Defarge, who had not removed his gaze from the shoemaker, "to let in a little more light here. You can bear a little more?"

The shoemaker stopped his work; looked with a vacant air of listening, at the floor on one side of him; then similarly, at the floor on the other side of him; then, upward at the speaker.

"What did you say?"

"You can bear a little more light?"

"I must bear it, if you let it in." (Laying the palest shadow of a stress upon the second word.)

The opened half-door was opened a little further, and secured at that angle for the time. A broad ray of light fell into the garret, and showed the workman with an unfinished shoe upon his lap, pausing in his labour. His few common tools and various scraps of leather were at his feet and on his bench.

Charles Dickens
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