Читаем The Coming of Bill полностью

It is, perhaps, a little unfair to lay the blame for this entirely at the door of Bailey's Sybil. Her extravagance was largely responsible; but Bailey's newly found freedom was also a factor in the developments of the firm's operations. If you keep a dog, a dog with a high sense of his abilities and importance, tied up and muzzled for a length of time and then abruptly set it free the chances are that it will celebrate its freedom. This had happened in the case of Bailey.

Just as her father's money had caused Ruth to plunge into a whirl of pleasures which she did not really enjoy, merely for the novelty of it, so the death of John Bannister and his own consequent accession to the throne had upset Bailey's balance and embarked him on an orgy of speculation quite foreign to his true nature. All their lives Ruth and Bailey had been repressed by their father, and his removal had unsteadied them.

Bailey, on whom the shadow of the dead man had pressed particularly severely, had been quite intoxicated by sudden freedom. He had been a cipher in the firm of Bannister & Son. In the firm of Bannister & Co. he was an untrammelled despot. He did that which was right in his own eyes, and there was no one to say him nay.

It was true that veteran members of the firm, looking in the glass, found white hairs where no white hairs had been and wrinkles on foreheads which, under the solid rule of old John Bannister, had been smooth; but it would have taken more than these straws to convince Bailey that the wind which was blowing was an ill-wind. He had developed in a day the sublime self-confidence of a young Napoleon. He was all dash and enterprise—the hurricane fighter of Wall Street.

With these private interests to occupy him, it is surprising that he should have found time to take the affairs of Ruth and Kirk in hand. But he did.

For some time he had watched the widening gulf between them with pained solicitude. He disliked Kirk personally; but that did not influence him. He conceived it to be his duty to suppress private prejudices. Duty seemed to call him to go to Kirk's aid and smooth out his domestic difficulties.

What urged him to this course more than anything else was Ruth's growing intimacy with Basil Milbank; for, in the period which had elapsed since the conversation recorded earlier in the story, when Kirk had first made the other's acquaintance, the gifted Basil had become a very important and menacing figure in Ruth's life.

To Ruth, as to most women, his gifts were his attraction. He danced well; he talked well; he did everything well. He appealed to a side of Ruth's nature which Kirk scarcely touched—a side which had only come into prominence in the last year.

His manner was admirable. He suggested sympathy without expressing it. He could convey to Ruth that he thought her a misunderstood and neglected wife while talking to her about the weather. He could make his own knight-errant attitude toward her perfectly plain without saying a word, merely by playing soft music to her on the piano; for he had the gift of saying more with his finger-tips than most men could have said in a long speech carefully rehearsed.

Kirk's inability to accompany Ruth into her present life had given Basil his chance. Into the gap which now lay between them he had slipped with a smooth neatness born of experience.

Bailey hated Basil. Men, as a rule, did, without knowing why. Basil's reputation was shady, without being actually bad. He was a suspect who had never been convicted. New York contained several husbands who eyed him askance, but could not verify their suspicions, and the apparent hopelessness of ever doing so made them look on Basil as a man who had carried smoothness into the realms of fine art. He was considered too gifted to be wholesome. The men of his set, being for the most part amiably stupid, resented his cleverness.

Bailey, just at present, was feeling strongly on the subject of Basil. He was at that stage of his married life when he would have preferred his Sybil to speak civilly to no other man than himself. And only yesterday Sybil had come to him to inform him with obvious delight that Basil Milbank had invited her to join his yacht party for a lengthy voyage.

This had stung Bailey. He was not included in the invitation. The whole affair struck him as sinister. It was true that Sybil had never shown any sign of being fascinated by Basil; but, he told himself, there was no knowing. He forbade Sybil to accept the invitation. To soothe her disappointment, he sent her off then and there to Tiffany's with a roving commission to get what she liked; for Bailey, the stern, strong man, the man who knew when to put his foot down, was no tyrant. But he would have been indignant at the suggestion that he had bribed Sybil to refuse Basil's invitation.

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Ад

Анри Барбюс (1873–1935) — известный французский писатель, лауреат престижной французской литературной Гонкуровской премии.Роман «Ад», опубликованный в 1908 году, является его первым романом. Он до сих пор не был переведён на русский язык, хотя его перевели на многие языки.Выйдя в свет этот роман имел большой успех у читателей Франции, и до настоящего времени продолжает там регулярно переиздаваться.Роману более, чем сто лет, однако он включает в себя многие самые животрепещущие и злободневные человеческие проблемы, существующие и сейчас.В романе представлены все главные события и стороны человеческой жизни: рождение, смерть, любовь в её различных проявлениях, творчество, размышления научные и философские о сути жизни и мироздания, благородство и низость, слабости человеческие.Роман отличает предельный натурализм в описании многих эпизодов, прежде всего любовных.Главный герой считает, что вокруг человека — непостижимый безумный мир, полный противоречий на всех его уровнях: от самого простого житейского до возвышенного интеллектуального с размышлениями о вопросах мироздания.По его мнению, окружающий нас реальный мир есть мираж, галлюцинация. Человек в этом мире — Ничто. Это означает, что он должен быть сосредоточен только на самом себе, ибо всё существует только в нём самом.

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Классическая проза