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When Syme went out into the starlit street, he found it for the moment empty. Then he realised (in some odd way) that the silence was rather a living silence than a dead one. Directly outside the door stood a street lamp, whose gleam gilded the leaves of the tree that bent out over the fence behind him. About a foot from the lamp-post stood a figure almost as rigid and motionless as the lamp-post itself. The tall hat and long frock coat were black; the face, in an abrupt shadow, was almost as dark. Only a fringe of fiery hair against the light, and also something aggressive in the attitude, proclaimed that it was the poet Gregory. He had something of the look of a masked bravo waiting sword in hand for his foe.

He made a sort of doubtful salute, which Syme somewhat more formally returned.

“I was waiting for you,” said Gregory. “Might I have a moment’s conversation?”

“Certainly. About what?” asked Syme in a sort of weak wonder.

Gregory struck out with his stick at the lamp-post, and then at the tree. “About this and this,” he cried; “about order and anarchy. There is your precious order, that lean, iron lamp, ugly and barren; and there is anarchy, rich, living, reproducing itself there is anarchy, splendid in green and gold.”

“All the same,” replied Syme patiently, “just at present you only see the tree by the light of the lamp. I wonder when you would ever see the lamp by the light of the tree.” Then after a pause he said, “But may I ask if you have been standing out here in the dark only to resume our little argument?”

“No,” cried out Gregory, in a voice that rang down the street, “I did not stand here to resume our argument, but to end it for ever.”

The silence fell again, and Syme, though he understood nothing, listened instinctively for something serious. Gregory began in a smooth voice and with a rather bewildering smile.

“Mr. Syme,” he said, “this evening you succeeded in doing something rather remarkable. You did something to me that no man born of woman has ever succeeded in doing before.”

“Indeed!”

“Now I remember,” resumed Gregory reflectively, “one other person succeeded in doing it. The captain of a penny steamer (if I remember correctly) at Southend. You have irritated me.”

“I am very sorry,” replied Syme with gravity.

“I am afraid my fury and your insult are too shocking to be wiped out even with an apology,” said Gregory very calmly. “No duel could wipe it out. If I struck you dead I could not wipe it out. There is only one way by which that insult can be erased, and that way I choose. I am going, at the possible sacrifice of my life and honour, to prove to you that you were wrong in what you said.”

“In what I said?”

“You said I was not serious about being an anarchist.”

“There are degrees of seriousness,” replied Syme. “I have never doubted that you were perfectly sincere in this sense, that you thought what you said well worth saying, that you thought a paradox might wake men up to a neglected truth.”

Gregory stared at him steadily and painfully.

“And in no other sense,” he asked, “you think me serious? You think me a flaneur who lets fall occasional truths. You do not think that in a deeper, a more deadly sense, I am serious.”

Syme struck his stick violently on the stones of the road.

“Serious! ” he cried. “Good Lord! is this street serious? Are these damned Chinese lanterns serious? Is the whole caboodle serious? One comes here and talks a pack of bosh, and perhaps some sense as well, but I should think very little of a man who didn’t keep something in the background of his life that was more serious than all this talking something more serious, whether it was religion or only drink.”

“Very well,” said Gregory, his face darkening, “you shall see something more serious than either drink or religion.”

Syme stood waiting with his usual air of mildness until Gregory again opened his lips.

“You spoke just now of having a religion. Is it really true that you have one?”

“Oh,” said Syme with a beaming smile, “we are all Catholics now.”

“Then may I ask you to swear by whatever gods or saints your religion involves that you will not reveal what I am now going to tell you to any son of Adam, and especially not to the police? Will you swear that! If you will take upon yourself this awful abnegations if you will consent to burden your soul with a vow that you should never make and a knowledge you should never dream about, I will promise you in return”

“You will promise me in return?” inquired Syme, as the other paused.

“I will promise you a very entertaining evening.” Syme suddenly took off his hat.

“Your offer,” he said, “is far too idiotic to be declined. You say that a poet is always an anarchist. I disagree; but I hope at least that he is always a sportsman. Permit me, here and now, to swear as a Christian, and promise as a good comrade and a fellow-artist, that I will not report anything of this, whatever it is, to the police. And now, in the name of Colney Hatch, what is it?”

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Карл Филипп Мориц (1756–1793) – один из ключевых авторов немецкого Просвещения, зачинатель психологии как точной науки. «Он словно младший брат мой,» – с любовью писал о нем Гёте, взгляды которого на природу творчества подверглись существенному влиянию со стороны его младшего современника. «Антон Райзер» (закончен в 1790 году) – первый психологический роман в европейской литературе, несомненно, принадлежит к ее золотому фонду. Вымышленный герой повествования по сути – лишь маска автора, с редкой проницательностью описавшего экзистенциальные муки собственного взросления и поиски своего места во враждебном и равнодушном мире.Изданием этой книги восполняется досадный пробел, существовавший в представлении русского читателя о классической немецкой литературе XVIII века.

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