It was a tremendous sight to see this old woman in her finery leering and mincing at Death, and playing off her youthful tricks upon him as if he had been the Major; but an alteration in her mind that ensued on the paralytic stroke was fraught with as much matter for reflection, and was quite as ghastly.

Whether the weakening of her intellect made her more cunning and false than before, or whether it confused her between what she had assumed to be and what she really had been, or whether it had awakened any glimmering of remorse, which could neither struggle into light nor get back into total darkness, or whether, in the jumble of her faculties, a combination of these effects had been shaken up, which is perhaps the more likely supposition, the result was this: — That she became hugely exacting in respect of Edith's affection and gratitude and attention to her; highly laudatory of herself as a most inestimable parent; and very jealous of having any rival in Edith's regard. Further, in place of remembering that compact made between them for an avoidance of the subject, she constantly alluded to her daughter's marriage as a proof of her being an incomparable mother; and all this, with the weakness and peevishness of such a state, always serving for a sarcastic commentary on her levity and youthfulness.

'Where is Mrs Dombey? she would say to her maid.

'Gone out, Ma'am.'

'Gone out! Does she go out to shun her Mama, Flowers?'

'La bless you, no, Ma'am. Mrs Dombey has only gone out for a ride with Miss Florence.'

'Miss Florence. Who's Miss Florence? Don't tell me about Miss Florence. What's Miss Florence to her, compared to me?'

The apposite display of the diamonds, or the peach-velvet bonnet (she sat in the bonnet to receive visitors, weeks before she could stir out of doors), or the dressing of her up in some gaud or other, usually stopped the tears that began to flow hereabouts; and she would remain in a complacent state until Edith came to see her; when, at a glance of the proud face, she would relapse again.

'Well, I am sure, Edith!' she would cry, shaking her head.

'What is the matter, mother?'

'Matter! I really don't know what is the matter. The world is coming to such an artificial and ungrateful state, that I begin to think there's no Heart — or anything of that sort — left in it, positively. Withers is more a child to me than you are. He attends to me much more than my own daughter. I almost wish I didn't look so young — and all that kind of thing — and then perhaps I should be more considered.'

'What would you have, mother?'

'Oh, a great deal, Edith,' impatiently.

'Is there anything you want that you have not? It is your own fault if there be.'

'My own fault!' beginning to whimper. 'The parent I have been to you, Edith: making you a companion from your cradle! And when you neglect me, and have no more natural affection for me than if I was a stranger — not a twentieth part of the affection that you have for Florence — but I am only your mother, and should corrupt her in a day! — you reproach me with its being my own fault.'

'Mother, mother, I reproach you with nothing. Why will you always dwell on this?'

'Isn't it natural that I should dwell on this, when I am all affection and sensitiveness, and am wounded in the cruellest way, whenever you look at me?'

'I do not mean to wound you, mother. Have you no remembrance of what has been said between us? Let the Past rest.'

'Yes, rest! And let gratitude to me rest; and let affection for me rest; and let me rest in my out-of-the-way room, with no society and no attention, while you find new relations to make much of, who have no earthly claim upon you! Good gracious, Edith, do you know what an elegant establishment you are at the head of?'

'Yes. Hush!'

'And that gentlemanly creature, Dombey? Do you know that you are married to him, Edith, and that you have a settlement and a position, and a carriage, and I don't know what?'

'Indeed, I know it, mother; well.'

'As you would have had with that delightful good soul — what did they call him? — Granger — if he hadn't died. And who have you to thank for all this, Edith?'

'You, mother; you.'

'Then put your arms round my neck, and kiss me; and show me, Edith, that you know there never was a better Mama than I have been to you.

And don't let me become a perfect fright with teasing and wearing myself at your ingratitude, or when I'm out again in society no soul will know me, not even that hateful animal, the Major.'

But, sometimes, when Edith went nearer to her, and bending down her stately head, Put her cold cheek to hers, the mother would draw back as If she were afraid of her, and would fall into a fit of trembling, and cry out that there was a wandering in her wits. And sometimes she would entreat her, with humility, to sit down on the chair beside her bed, and would look at her (as she sat there brooding) with a face that even the rose-coloured curtains could not make otherwise than scared and wild.

The rose-coloured curtains blushed, in course of time, on Cleopatra's bodily recovery, and on her dress — more juvenile than ever, to repair the ravages of illness — and on the rouge, and on the teeth, and on the curls, and on the diamonds, and the short sleeves, and the whole wardrobe of the doll that had tumbled down before the mirror. They blushed, too, now and then, upon an indistinctness in her speech which she turned off with a girlish giggle, and on an occasional failing In her memory, that had no rule in it, but came and went fantastically, as if in mockery of her fantastic self.

But they never blushed upon a change in the new manner of her thought and speech towards her daughter. And though that daughter often came within their influence, they never blushed upon her loveliness irradiated by a smile, or softened by the light of filial love, in its stem beauty.

The forlorn Miss Tox, abandoned by her friend Louisa Chick, and bereft of Mr Dombey's countenance — for no delicate pair of wedding cards, united by a silver thread, graced the chimney-glass in Princess's Place, or the harpsichord, or any of those little posts of display which Lucretia reserved for holiday occupation — became depressed in her spirits, and suffered much from melancholy. For a time the Bird Waltz was unheard in Princess's Place, the plants were neglected, and dust collected on the miniature of Miss Tox's ancestor with the powdered head and pigtail.

Miss Tox, however, was not of an age or of a disposition long to abandon herself to unavailing regrets. Only two notes of the harpsichord were dumb from disuse when the Bird Waltz again warbled and trilled in the crooked drawing-room: only one slip of geranium fell a victim to imperfect nursing, before she was gardening at her green baskets again, regularly every morning; the powdered-headed ancestor had not been under a cloud for more than six weeks, when Miss Tox breathed on his benignant visage, and polished him up with a piece of wash-leather.

Still, Miss Tox was lonely, and at a loss. Her attachments, however ludicrously shown, were real and strong; and she was, as she expressed it, 'deeply hurt by the unmerited contumely she had met with from Louisa.' But there was no such thing as anger in Miss Tox's composition. If she had ambled on through life, in her soft spoken way, without any opinions, she had, at least, got so far without any harsh passions. The mere sight of Louisa Chick in the street one day, at a considerable distance, so overpowered her milky nature, that she was fain to seek immediate refuge in a pastrycook's, and there, in a musty little back room usually devoted to the consumption of soups, and pervaded by an ox-tail atmosphere, relieve her feelings by weeping plentifully.