Читаем The Adventures of Oliver Twist полностью

At this part of the recital Monks held his breath, and listened with a face of intense eagerness, though his eyes were not directed towards the speaker.  As Mr. Brownlow paused, he changed his position with the air of one who has experienced a sudden relief, and wiped his hot face and hands.

'Before he went abroad, and as he passed through London on his way,' said Mr. Brownlow, slowly, and fixing his eyes upon the other's face, 'he came to me.'

'I never heard of that,' interrupted MOnks in a tone intended to appear incredulous, but savouring more of disagreeable surprise.

'He came to me, and left with me, among some other things, a picture—a portrait painted by himself—a likeness of this poor girl—which he did not wish to leave behind, and could not carry forward on his hasty journey.  He was worn by anxiety and remorse almost to a shadow; talked in a wild, distracted way, of ruin and dishonour worked by himself; confided to me his intention to convert his whole property, at any loss, into money, and, having settled on his wife and you a portion of his recent acquisition, to fly the country—I guessed too well he would not fly alone—and never see it more.  Even from me, his old and early friend, whose strong attachment had taken root in the earth that covered one most dear to both—even from me he withheld any more particular confession, promising to write and tell me all, and after that to see me once again, for the last time on earth. Alas!  THAT was the last time.  I had no letter, and I never saw him more.'

'I went,' said Mr. Brownlow, after a short pause, 'I went, when all was over, to the scene of his—I will use the term the world would freely use, for worldly harshness or favour are now alike to him—of his guilty love, resolved that if my fears were realised that erring child should find one heart and home to shelter and compassionate her.  The family had left that part a week before; they had called in such trifling debts as were outstanding, discharged them, and left the place by night.  Why, or whithter, none can tell.'

Monks drew his breath yet more freely, and looked round with a smile of triumph.

'When your brother,' said Mr. Brownlow, drawing nearer to the other's chair, 'When your brother:  a feeble, ragged, neglected child:  was cast in my way by a stronger hand than chance, and rescued by me from a life of vice and infamy—'

'What?' cried Monks.

'By me,' said Mr. Brownlow.  'I told you I should interest you before long.  I say by me—I see that your cunning associate suppressed my name, although for ought he knew, it would be quite strange to your ears.  When he was rescued by me, then, and lay recovering from sickness in my house, his strong resemblance to this picture I have spoken of, struck me with astonishment.  Even when I first saw him in all his dirt and misery, there was a lingering expression in his face that came upon me like a glimpse of some old friend flashing on one in a vivid dream.  I need not tell you he was snared away before I knew his history—'

'Why not?' asked Monks hastily.

'Because you know it well.'

'I!'

'Denial to me is vain,' replied Mr. Brownlow.  'I shall show you that I know more than that.'

'You—you—can't prove anything against me,' stammered Monks.  'I defy you to do it!'

'We shall see,' returned the old gentleman with a searching glance.  'I lost the boy, and no efforts of mine could recover him.  Your mother being dead, I knew that you alone could solve the mystery if anybody could, and as when I had last heard of you you were on your own estate in the West Indies—whither, as you well know, you retired upon your mother's death to escape the consequences of vicious courses here—I made the voyage.  You had left it, months before, and were supposed to be in London, but no one could tell where.  I returned.  Your agents had no clue to your residence.  You came and went, they said, as strangely as you had ever done:  sometimes for days together and sometimes not for months:  keeping to all appearance the same low haunts and mingling with the same infamous herd who had been your associates when a fierce ungovernable boy.  I wearied them with new applications.  I paced the streets by night and day, but until two hours ago, all my efforts were fruitless, and I never saw you for an instant.'

'And now you do see me,' said Monks, rising boldly, 'what then? Fraud and robbery are high-sounding words—justified, you think, by a fancied resemblance in some young imp to an idle daub of a dead man's Brother!  You don't even know that a child was born of this maudlin pair; you don't even know that.'

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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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