Marley's face. It was not in impenetrable shadow as the other objects in the yard were, but had a dismal light about it, like a bad lobster in a dark cellar. It was not angry, or ferocious, but looked at Scrooge as Marley used to look: with ghostly spectacles turned up upon its ghostly forehead. The hair was curiously stirred, as if by breath or hot air, and though the eyes were wide open, they were perfectly motionless. That, and its livid color, made it horrible; but its horror seemed to be in spite of the face and beyond its control, rather than a part of its own expression.
As Scrooge looked fixedly at this phenomenon, it was a knocker again.
To say that he was not startled, or that his blood was not conscious of a terrible sensation to which it had been a stranger from infancy, would be untrue. But he put his hand upon the key he had relinquished; turned it sturdily; walked in; and lighted his candle.
He did pause, with a moment's irresolution, before he shut the door, and he did look cautiously behind it first, as if he half-expected to be terrified with the sight of Marley's pigtail sticking out into the hall. But there was nothing on the back of the door, except the screws and nuts that held the knocker on; so he said "Pooh Pooh!" and closed it with a bang.
The sound resounded through the house, like thunder. Every room above, and every cask in the wine-merchant's cellars below, appeared to have a separate peal of echoes of its own. Scrooge was not a man to be frightened by echoes. He fastened the door; and walked across the hall, and up the stairs—slowly too—trimming his candle as he went.
You may talk vaguely about driving a coach and six up a good old flight of stairs or through a bad young act of Parliament; but I mean to say you might have got a Hearse up that staircase, and taken it broadwise, with the splinter-bar towards the wall, and the door towards the balustrades—and done it easy. There was plenty of width for that, and room to spare; which is perhaps the reason why Scrooge thought he saw a locomotive hearse going on before him in the gloom. Half a dozen gas lamps out of the street wouldn't have lighted too well; so you may suppose that it was pretty dark with Scrooge's dip.
Up Scrooge went, not caring a button for that; darkness is cheap, and Scrooge liked it. But before he shut his heavy door, he walked through his rooms to see that all was right. He had just enough recollection
Charles Dickens (1812–1870)
Autograph manuscript signed, December 1843
Purchased by Pierpont Morgan before 1900; MA 97
Compelled by personal financial difficulties, Dickens wrote A Christmas Carol in only six weeks, during a period of intense creativity in fall 1843. The original manuscript of A Christmas Carol reveals Dickens's method of composition, allowing us to see the author at work. The pace of writing and revision, apparently contiguous, is urgent, rapid, and boldly confident. Deleted text is struck out with a cursive and continuous looping movement of the pen and replaced with more active verbs—to achieve greater vividness or immediacy of effect— and fewer words for concision. This heavily revised sixty-six-page draft—the only manuscript of the story—was sent to the printer in order for the book to be published on 19 December, just in time for the Christmas market.