Читаем The Adventures of Oliver Twist полностью

The church clocks chimed three quarters past eleven, as two figures emerged on London Bridge.  One, which advanced with a swift and rapid step, was that of a woman who looked eagerly about her as though in quest of some expected object; the other figure was that of a man, who slunk along in the deepest shadow he could find, and, at some distance, accommodated his pace to hers:  stopping when she stopped:  and as she moved again, creeping stealthily on:  but never allowing himself, in the ardour of his pursuit, to gain upon her footsteps.  Thus, they crossed the bridge, from the Middlesex to the Surrey shore, when the woman, apparently disappointed in her anxious scrutiny of the foot-passengers, turned back.  The movement was sudden; but he who watched her, was not thrown off his guard by it; for, shrinking into one of the recesses which surmount the piers of the bridge, and leaning over the parapet the better to conceal his figure, he suffered her to pass on the opposite pavement. When she was about the same distance in advance as she had been before, he slipped quietly down, and followed her again. At nearly the centre of the bridge, she stopped.  The man stopped too.

It was a very dark night.  The day had been unfavourable, and at that hour and place there were few people stirring. Such as there were, hurried quickly past:  very possibly without seeing, but certainly without noticing, either the woman, or the man who kept her in view.  Their appearance was not calculated to attract the importunate regards of such of London's destitute population, as chanced to take their way over the bridge that night in search of some cold arch or doorless hovel wherein to lay their heads; they stood there in silence:  neither speaking nor spoken to, by any one who passed.

A mist hung over the river, deepening the red glare of the fires that burnt upon the small craft moored off the different wharfs, and rendering darker and more indistinct the murky buildings on the banks.  The old smoke-stained storehouses on either side, rose heavy and dull from the dense mass of roofs and gables, and frowned sternly upon water too black to reflect even their lumbering shapes. The tower of old Saint Saviour's Church, and the spire of Saint Magnus, so long the giant-warders of the ancient bridge, were visible in the gloom; but the forest of shipping below bridge, and the thickly scattered spires of churches above, were nearly all hidden from sight.

The girl had taken a few restless turns to and fro—closely watched meanwhile by her hidden observer—when the heavy bell of St. Paul's tolled for the death of another day.  Midnight had come upon the crowded city.  The palace, the night-cellar, the jail, the madhouse:  the chambers of birth and death, of health and sickness, the rigid face of the corpse and the calm sleep of the child:  midnight was upon them all.

The hour had not struck two minutes, when a young lady, accompanied by a grey-haired gentleman, alighted from a hackney-carriage within a short distance of the bridge, and, having dismissed the vehicle, walked straight towards it.  They had scarcely set foot upon its pavement, when the girl started, and immediately made towards them.

They walked onward, looking about them with the air of persons who entertained some very slight expectation which had little chance of being realised, when they were suddenly joined by this new associate.  They halted with an exclamation of surprise, but suppressed it immediately; for a man in the garments of a countryman came close up—brushed against them, indeed—at that precise moment.

'Not here,' said Nancy hurriedly, 'I am afraid to speak to you here.  Come away—out of the public road—down the steps yonder!'

As she uttered these words, and indicated, with her hand, the direction in which she wished them to proceed, the countryman looked round, and roughly asking what they took up the whole pavement for, passed on.

The steps to which the girl had pointed, were those which, on the Surrey bank, and on the same side of the bridge as Saint Saviour's Church, form a landing-stairs from the river.  To this spot, the man bearing the appearance of a countryman, hastened unobserved; and after a moment's survey of the place, he began to descend.

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«Где-то существует совершенно иной мир, и его язык именуется поэзией», — писал Артур Мейчен (1863–1947) в одном из последних эссе, словно формулируя свое творческое кредо, ибо все произведения этого английского писателя проникнуты неизбывной ностальгией по иной реальности, принципиально несовместимой с современной материалистической цивилизацией. Со всей очевидностью свидетельствуя о полярной противоположности этих двух миров, настоящий том, в который вошли никогда раньше не публиковавшиеся на русском языке (за исключением «Трех самозванцев») повести и романы, является логическим продолжением изданного ранее в коллекции «Гримуар» сборника избранных произведений писателя «Сад Аваллона». Сразу оговоримся, редакция ставила своей целью представить А. Мейчена прежде всего как писателя-адепта, с 1889 г. инициированного в Храм Исиды-Урании Герметического ордена Золотой Зари, этим обстоятельством и продиктованы особенности данного состава, в основу которого положен отнюдь не хронологический принцип. Всегда черпавший вдохновение в традиционных кельтских культах, валлийских апокрифических преданиях и средневековой христианской мистике, А. Мейчен в своем творчестве столь последовательно воплощал герметическую орденскую символику Золотой Зари, что многих современников это приводило в недоумение, а «широкая читательская аудитория», шокированная странными произведениями, в которых слишком явственно слышны отголоски мрачных друидических ритуалов и проникнутых гностическим духом доктрин, считала их автора «непристойно мятежным». Впрочем, А. Мейчен, чье творчество являлось, по существу, тайным восстанием против современного мира, и не скрывал, что «вечный поиск неизведанного, изначально присущая человеку страсть, уводящая в бесконечность» заставляет его чувствовать себя в обществе «благоразумных» обывателей изгоем, одиноким странником, который «поднимает глаза к небу, напрягает зрение и вглядывается через океаны в поисках счастливых легендарных островов, в поисках Аваллона, где никогда не заходит солнце».

Артур Ллевелин Мэйчен

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