Читаем The Poor Clare (Dodo Press) полностью

But she had faith in her own strong love, and believed that her passionate instinct would guide her to her child. Besides, foreign travel was no new thing to her, and she could speak enough of French to explain the object of her journey, and had, moreover, the advantage of being, from her faith, a welcome object of charitable hospitality at many a distant convent. But the country people round Starkey Manor-house knew nothing of all this. They wondered what had become of her, in a torpid, lazy fashion, and then left off thinking of her altogether. Several years passed. Both Manor-house and cottage were deserted. The young Squire lived far away under the direction of his guardians. There were inroads of wool and corn into the sitting-rooms of the Hall; and there was some low talk, from time to time, among the hinds and country people whether it would not be as well to break into old Bridget’s cottage, and save such of her goods as were left from the moth and rust which must be making sad havoc. But this idea was always quenched by the recollection of her strong character and passionate anger; and tales of her masterful spirit, and vehement force of will, were whispered about, till the very thought of offending her, by touching any article of hers, became invested with a kind of horror: it was believed that, dead or alive, she would not fail to avenge it.

Suddenly she came home; with as little noise or note of preparation as she had departed. One day some one noticed a thin, blue curl of smoke ascending from her chimney. Her door stood open to the noonday sun; and, ere many hours had elapsed, some one had seen an old travel-and-sorrow-stained woman dipping her pitcher in the well; and said, that the dark, solemn eyes that looked up at him were more like Bridget Fitzgerald’s than any one else’s in this world; and yet, if it were she, she looked as if she had been scorched in the flames of hell, so brown, and scared, and fierce a creature did she seem. By-and-by many saw her; and those who met her eye once cared not to be caught looking at her again. She had got into the habit of perpetually talking to herself; nay, more, answering herself, and varying her tones according to the side she took at the moment. It was no wonder that those who dared to listen outside her door at night believed that she held converse with some spirit; in short, she was unconsciously earning for herself the dreadful reputation of a witch.

Her little dog, which had wandered half over the Continent with her, was her only companion; a dumb remembrancer of happier days. Once he was ill; and she carried him more than three miles, to ask about his management from one who had been groom to the last Squire, and had then been noted for his skill in all diseases of animals. Whatever this man did, the dog recovered; and they who heard her thanks, intermingled with blessings (that were rather promises of good fortune than prayers), looked grave at his good luck when, next year, his ewes twinned, and his meadow-grass was heavy and thick.

Now it so happened that, about the year seventeen hundred and eleven, one of the guardians of the young squire, a certain Sir Philip Tempest, bethought him of the good shooting there must be on his ward’s property; and in consequence he brought down four or five gentlemen, of his friends, to stay for a week or two at the Hall.

From all accounts, they roystered and spent pretty freely. I never heard any of their names but one, and that was Squire Gisborne’s. He was hardly a middle-aged man then; he had been much abroad, and there, I believe, he had known Sir Philip Tempest, and done him some service. He was a daring and dissolute fellow in those days: careless and fearless, and one who would rather be in a quarrel than out of it. He had his fits of ill-temper besides, when he would spare neither man nor beast. Otherwise, those who knew him well, used to say he had a good heart, when he was neither drunk, nor angry, nor in any way vexed. He had altered much when I came to know him.

One day, the gentlemen had all been out shooting, and with but little success, I believe; anyhow, Mr. Gisborne had none, and was in a black humour accordingly. He was coming home, having his gun loaded, sportsman-like, when little Mignon crossed his path, just as he turned out of the wood by Bridget’s cottage. Partly for wantonness, partly to vent his spleen upon some living creature. Mr. Gisborne took his gun, and fired—he had better have never fired gun again, than aimed that unlucky shot, he hit Mignon, and at the creature’s sudden cry, Bridget came out, and saw at a glance what had been done.

She took Mignon up in her arms, and looked hard at the wound; the poor dog looked at her with his glazing eyes, and tried to wag his tail and lick her hand, all covered with blood. Mr. Gisborne spoke in a kind of sullen penitence:

“You should have kept the dog out of my way—a little poaching varmint.”

Перейти на страницу:

Похожие книги

Раковый корпус
Раковый корпус

В третьем томе 30-томного Собрания сочинений печатается повесть «Раковый корпус». Сосланный «навечно» в казахский аул после отбытия 8-летнего заключения, больной раком Солженицын получает разрешение пройти курс лечения в онкологическом диспансере Ташкента. Там, летом 1954 года, и задумана повесть. Замысел лежал без движения почти 10 лет. Начав писать в 1963 году, автор вплотную работал над повестью с осени 1965 до осени 1967 года. Попытки «Нового мира» Твардовского напечатать «Раковый корпус» были твердо пресечены властями, но текст распространился в Самиздате и в 1968 году был опубликован по-русски за границей. Переведен практически на все европейские языки и на ряд азиатских. На родине впервые напечатан в 1990.В основе повести – личный опыт и наблюдения автора. Больные «ракового корпуса» – люди со всех концов огромной страны, изо всех социальных слоев. Читатель становится свидетелем борения с болезнью, попыток осмысления жизни и смерти; с волнением следит за робкой сменой общественной обстановки после смерти Сталина, когда страна будто начала обретать сознание после страшной болезни. В героях повести, населяющих одну больничную палату, воплощены боль и надежды России.

Александр Исаевич Солженицын

Проза / Классическая проза / Классическая проза ХX века
Вели мне жить
Вели мне жить

Свой единственный, но широко известный во всём мире роман «Вели мне жить», знаменитая американская поэтесса Хильда Дулитл (1886–1961) писала на протяжении всей своей жизни. Однако русский читатель, впервые открыв перевод «мадригала» (таково авторское определение жанра), с удивлением узнает героев, знакомых ему по много раз издававшейся у нас книге Ричарда Олдингтона «Смерть героя». То же время, те же события, судьба молодого поколения, получившего название «потерянного», но только — с иной, женской точки зрения.О романе:Мне посчастливилось видеть прекрасное вместе с X. Д. — это совершенно уникальный опыт. Человек бескомпромиссный и притом совершенно непредвзятый в вопросах искусства, она обладает гениальным даром вживания в предмет. Она всегда настроена на высокую волну и никогда не тратится на соображения низшего порядка, не ищет в шедеврах изъяна. Она ловит с полуслова, откликается так стремительно, сопереживает настроению художника с такой силой, что произведение искусства преображается на твоих глазах… Поэзия X. Д. — это выражение страстного созерцания красоты…Ричард Олдингтон «Жить ради жизни» (1941 г.)Самое поразительное качество поэзии X. Д. — её стихийность… Она воплощает собой гибкий, строптивый, феерический дух природы, для которого человеческое начало — лишь одна из ипостасей. Поэзия её сродни мировосприятию наших исконных предков-индейцев, нежели елизаветинских или викторианских поэтов… Привычка быть в тени уберегла X. Д. от вредной публичности, особенно на первом этапе творчества. Поэтому в её послужном списке нет раздела «Произведения ранних лет»: с самых первых шагов она заявила о себе как сложившийся зрелый поэт.Хэрриет Монро «Поэты и их творчество» (1926 г.)Я счастлив и горд тем, что мои скромные поэтические опусы снова стоят рядом с поэзией X. Д. — нашей благосклонной Музы, нашей путеводной звезды, вершины наших творческих порывов… Когда-то мы безоговорочно нарекли её этими званиями, и сегодня она соответствует им как никогда!Форд Мэдокс Форд «Предисловие к Антологии имажизма» (1930 г.)

Хильда Дулитл

Проза / Классическая проза