Читаем The Toys of Peace and Other Stories полностью

"She had never been captured. Her wandering away had been caused by a sudden and complete loss of memory. She usually dressed rather in the style of a superior kind of charwoman, and it was not so very surprising that she should have imagined that she was one; and still less that people should accept her statement and help her to get work. She had wandered as far afield as Birmingham, and found fairly steady employment there, her energy and enthusiasm in putting people's rooms in order counterbalancing her obstinate and domineering characteristics. It was the shock of being patronisingly addressed as 'my good woman' by a curate, who was disputing with her where the stove should be placed in a parish concert hall that led to the sudden restoration of her memory. 'I think you forget who you are speaking to,' she observed crushingly, which was rather unduly severe, considering she had only just remembered it herself."

"But," exclaimed the Journalist, "the Lofoden Island people! Who had they got hold of?"

"A purely mythical prisoner. It was an attempt in the first place by some one who knew something of the domestic situation, probably a discharged valet, to bluff a lump sum out of Edward Umberleigh before the missing woman turned up; the subsequent yearly instalments were an unlooked-for increment to the original haul.

"Crispina found that the eight years' interregnum had materially weakened her ascendancy over her now grown-up offspring. Her husband, however, never accomplished anything great in the political world after her return; the strain of trying to account satisfactorily for an unspecified expenditure of sixteen thousand pounds spread over eight years sufficiently occupied his mental energies. Here is Belgrad and another custom house."


The Wolves Of Cernogratz


"Are they any old legends attached to the castle?" asked Conrad of his sister. Conrad was a prosperous Hamburg merchant, but he was the one poetically-dispositioned member of an eminently practical family.

The Baroness Gruebel shrugged her plump shoulders.

"There are always legends hanging about these old places. They are not difficult to invent and they cost nothing. In this case there is a story that when any one dies in the castle all the dogs in the village and the wild beasts in forest howl the night long. It would not be pleasant to listen to, would it?"

"It would be weird and romantic," said the Hamburg merchant.

"Anyhow, it isn't true," said the Baroness complacently; "since we bought the place we have had proof that nothing of the sort happens. When the old mother-in-law died last springtime we all listened, but there was no howling. It is just a story that lends dignity to the place without costing anything."

"The story is not as you have told it," said Amalie, the grey old governess. Every one turned and looked at her in astonishment. She was wont to sit silent and prim and faded in her place at table, never speaking unless some one spoke to her, and there were few who troubled themselves to make conversation with her. To-day a sudden volubility had descended on her; she continued to talk, rapidly and nervously, looking straight in front of her and seeming to address no one in particular.

"It is not when any one dies in the castle that the howling is heard. It was when one of the Cernogratz family died here that the wolves came from far and near and howled at the edge of the forest just before the death hour. There were only a few couple of wolves that had their lairs in this part of the forest, but at such a time the keepers say there would be scores of them, gliding about in the shadows and howling in chorus, and the dogs of the castle and the village and all the farms round would bay and howl in fear and anger at the wolf chorus, and as the soul of the dying one left its body a tree would crash down in the park. That is what happened when a Cernogratz died in his family castle. But for a stranger dying here, of course no wolf would howl and no tree would fall. Oh, no."

There was a note of defiance, almost of contempt, in her voice as she said the last words.

The well-fed, much-too-well dressed Baroness stared angrily at the dowdy old woman who had come forth from her usual and seemly position of effacement to speak so disrespectfully.

"You seem to know quite a lot about the von Cernogratz legends, Fraulein Schmidt," she said sharply; "I did not know that family histories were among the subjects you are supposed to be proficient in."


The answer to her taunt was even more unexpected and astonishing than the conversational outbreak which had provoked it.

"I am a von Cernogratz myself," said the old woman, "that is why I know the family history."

"You a von Cernogratz? You!" came in an incredulous chorus.

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Шедевр «позднего» Джона Стейнбека. «Все, что я написал ранее, в известном смысле было лишь подготовкой к созданию этого романа», – говорил писатель о своем произведении.Роман, который вызвал бурю возмущения консервативно настроенных критиков, надолго занял первое место среди национальных бестселлеров и лег в основу классического фильма с Джеймсом Дином в главной роли.Семейная сага…История страстной любви и ненависти, доверия и предательства, ошибок и преступлений…Но прежде всего – история двух сыновей калифорнийца Адама Траска, своеобразных Каина и Авеля. Каждый из них ищет себя в этом мире, но как же разнятся дороги, которые они выбирают…«Ты можешь» – эти слова из библейского апокрифа становятся своеобразным символом романа.Ты можешь – творить зло или добро, стать жертвой или безжалостным хищником.

Джон Стейнбек , Джон Эрнст Стейнбек , О. Сорока

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