MrsFlintwinchgoesonDreamingThehouseinthecitypreserveditsheavydulnessthroughallthesetransactions，andtheinvalidwithinitturnedthesameunvaryingroundoflife。Morning，noon，andnight，morning，noon，andnight，eachrecurringwithitsaccompanyingmonotony，alwaysthesamereluctantreturnofthesamesequencesofmachinery，likeadraggingpieceofclockwork。
Thewheeledchairhaditsassociatedremembrancesandreveries，onemaysuppose，aseveryplacethatismadethestationofahumanbeinghas。Picturesofdemolishedstreetsandalteredhouses，astheyformerlywerewhentheoccupantofthechairwasfamiliarwiththem，imagesofpeopleastheytoousedtobe，withlittleornoallowancemadeforthelapseoftimesincetheywereseen；ofthese，theremusthavebeenmanyinthelongroutineofgloomydays。Tostoptheclockofbusyexistenceatthehourwhenwewerepersonallysequesteredfromit，tosupposemankindstrickenmotionlesswhenwewerebroughttoastand-still，tobeunabletomeasurethechangesbeyondourviewbyanylargerstandardthantheshrunkenoneofourownuniformandcontractedexistence，istheinfirmityofmanyinvalids，andthementalunhealthinessofalmostallrecluses。
Whatscenesandactorsthesternwomanmostreviewed，asshesatfromseasontoseasoninheronedarkroom，noneknewbutherself。
MrFlintwinch，withhiswrypresencebroughttobearuponherdailylikesomeeccentricmechanicalforce，wouldperhapshavescreweditoutofher，iftherehadbeenlessresistanceinher；butshewastoostrongforhim。SofarasMistressAfferywasconcerned，toregardherliege-lordandherdisabledmistresswithafaceofblankwonder，togoaboutthehouseafterdarkwithherapronoverherhead，alwaystolistenforthestrangenoisesandsometimestohearthem，andnevertoemergefromherghostly，dreamy，sleep-
wakingstate，wasoccupationenoughforher。