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The Dragon in Shallow Waters

Chapter 12: III
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About This Book

The narrative unfolds in an immense soap factory where towering chimneys, iron girders, and vats of boiling and congealing soap are depicted in visceral, often monstrous detail. Workers appear dwarfed by relentless machinery while the plant’s indifference frames a domestic calamity affecting the Dene brothers: Gregory, deaf and mute, and Silas, blind, whose private grief collides with the factory’s demands and village suspicion. Through grotesque industrial imagery and attention to social isolation, the work explores how mechanized labor and communal prejudice shape suffering and human dignity.

III

“That’s for suicide, and that’s against suicide, and the more you think about it the more you’ll be obliged to think about it. Then there’s another thing to think about and talk about: murder.”

This time his audience was really startled; Nan gave a cry, and Calthorpe saw that she had grown pale, and that deep lines had appeared at either corner of her mouth. He made a movement to go and sit beside her, but at the same time Linnet Morgan shifted into a chair just behind her, and whispered to her over her shoulder, so Calthorpe remained where he was. Mr. Medhurst got up and pointedly left the building. The coroner coughed and said, “Really, Dene, you know....”

“I thought you told me, sir,” said Silas in his most insolent manner, “that this would cease to be a coroner’s court after the verdict had been returned?” The coroner made no answer to this, but began turning over his papers in order to conceal his annoyance, and after waiting a minute Silas continued, “Murder.... No one will deny that there’s as much courage in murder as in suicide. Oh, not in the actual fact, I grant—many of you would say there’s no courage, but only a sort of brutal cowardice, in murdering a man unawares, or worse still in murdering a woman,—no courage needed to push a woman under a train!—no, there’s no courage in the actual fact, but what about the forethought of it? the first idea, the scheming and the planning, the daily watching of the chosen victim, hey? you must come to a grand pitch of hatred before you can look at warm living limbs and think ‘I’ll turn you to the cold of death!’ Life’s great; I’ve a great respect for life. Life’s rich and warm and manifold, and lies outside the bestowal of man. That’s why I’ve so high a regard for life: there’s wealth in it, that we can’t bestow the same as we can take away. That’s why I say there’s courage in murder just as there is in suicide,—courage in assuming that liability.

“And consider the afterwards,—the courage in keeping silent afterwards. The man would be living with a secret that took him by the arm as he walked down the street, whispering in his ear, and that snatched bits off his fork at meal-time as he lifted the fork to his mouth,—a playful familiar secret. It’d jolt his elbow at the first sign of forgetfulness. It’d come out with him on Sundays, jaunty.... He’d know that by a word he could turn his invisible mate into a visible thing for every man to see. The deed wouldn’t be finished with the moment the deed was done. Oh no! Crime would be easy enough to the man who had no memory. But memory has long wiry fingers to prod us under the ribs....

“Soberly,” he continued changing his voice, “let us think: it would be simple for any one to murder my wife. They could do it in my presence; I’m blind; I should be none the wiser. Let us suppose that, after she left me at the shops that day, some one had seized on her and dragged her away towards the level crossing; she could have held out her arms towards me for rescue, but I should have known nothing—nothing! That’s all perfectly plausible. But who should have had a sufficient grudge against my wife? I’m going through the names....”

A real protest was about to be raised against this hideous entertainment, when a commotion arose:—Nan Dene had fainted.