Heart of Darkness and Selected Short Fic - Joseph Conrad [91]
The brow of the upland overtops the square tower of the Colebrook Church. The slope is green and looped by a white road. Ascending along this road, you open a valley broad and shallow, a wide green trough of pastures and hedges merging inland into a vista of purple tints and flowing lines closing the view.
In this valley down to Brenzett and Colebrook and up to Darnford,2 the market town fourteen miles away, lies the practice of my friend Kennedy. He had begun life as surgeon in the Navy, and afterwards had been the companion of a famous traveller, in the days when there were continents with unexplored interiors. His papers on the fauna and flora made him known to scientific societies. And now he had come to a country practice—from choice. The penetrating power of his mind, acting like a corrosive fluid, had destroyed his ambition, I fancy. His intelligence is of a scientific order, of an investigating habit, and of that unappeasable curiosity which believes that there is a particle of a general truth in every mystery.
A good many years ago now, on my return from abroad, he invited me to stay with him. I came readily enough, and as he could not neglect his patients to keep me company, he took me on his rounds—thirty miles or so of an afternoon, sometimes. I waited for him on the roads; the horse reached after the leafy twigs, and, sitting high in the dogcart,dw I could hear Kennedy’s laugh through the half-open door of some cottage. He had a big, hearty laugh that would have fitted a man twice his size, a brisk manner, a bronzed face, and a pair of gray, profoundly attentive eyes. He had the talent of making people talk to him freely, and an inexhaustible patience in listening to their tales.
One day, as we trotted out of a large village into a shady bit of road, I saw on our left hand a low, black cottage, with diamond panes in the windows, a creeper on the end wall, a roof of shingle, and some roses climbing on the rickety trellis-work of the tiny porch. Kennedy pulled up to a walk. A woman, in full sunlight, was throwing a dripping blanket over a line stretched between two old apple-trees. And as the bobtailed, long-necked chestnut, trying to get his head,dx jerked the left hand, covered by a thick dogskin glove, the doctor raised his voice over the hedge: “How’s your child, Amy?”
I had the time to see her dull face, red, not with a mantling blush, but as if her flat cheeks had been vigorously slapped, and to take in the squat figure, the scanty, dusty brown hair drawn into a tight knot at the back of the head. She looked quite young. With a distinct catch in her breath, her voice sounded low and timid.
“He’s well, thank you.”
We trotted again. “A young patient of yours,” I said; and the doctor, flicking the chestnut absently, muttered, “Her husband used to be.”
“She seems a dull creature,” I remarked, listlessly.
“Precisely,” said Kennedy. “She is very passive. It’s enough to look at the red hands hanging at the end of those short arms, at those slow, prominent brown eyes, to know the inertness of her mind—an inertness that one would think made it everlastingly safe from all the surprises of imagination. And yet which of us is safe? At any rate, such as you see her, she had enough imagination to fall in love. She’s the daughter of one Isaac Foster, who from a small farmer has sunk into a shepherd; the beginning of his misfortunes dating from his runaway marriage with the cook of his widowed father—a well-to-do, apoplectic grazier,dy who passionately struck his name off his will, and had been heard to utter threats against his life. But this old affair, scandalous enough to serve as a motive for a Greek tragedy, arose from the similarity of their characters. There are other tragedies, less scandalous and of a subtler poignancy, arising from irreconcilable differences and from that fear of the Incomprehensible that hangs over all our heads