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Seven or eight other voices were engaged in describing Bertie's present conduct and his general character at a high pressure of excitement and indignation.

In the course of half an hour or so everything that it was permissible to say about Bertie had been said some dozens of times, and other topics began to come to the front--the extreme mustiness of the cow-house, the possibility of it catching fire, and the probability of it being a Rowton House for the vagrant rats of the neighbourhood. And still no sign of deliverance came to the unwilling vigil-keepers.

Towards one o'clock the sound of rather boisterous and undisciplined carol-singing approached rapidly, and came to a sudden anchorage, apparently just outside the garden-gate. A motor-load of youthful "bloods," in a high state of conviviality, had made a temporary halt for repairs; the stoppage, however, did not extend to the vocal efforts of the party, and the watchers in the cow-shed were treated to a highly unauthorised rendering of "Good King Wenceslas," in which the adjective "good" appeared to be very carelessly applied.

The noise had the effect of bringing Bertie out into the garden, but he utterly ignored the pale, angry faces peering out at the cow- house window, and concentrated his attention on the revellers outside the gate.

"Wassail, you chaps!" he shouted.

"Wassail, old sport!" they shouted back; "we'd jolly well drink y'r health, only we've nothing to drink it in."

"Come and wassail inside," said Bertie hospitably; "I'm all alone, and there's heap's of

'wet'."

They were total strangers, but his touch of kindness made them instantly his kin. In another moment the unauthorised version of King Wenceslas, which, like many other scandals, grew worse on repetition, went echoing up the garden path; two of the revellers gave an impromptu performance on the way by executing the staircase waltz up the terraces of what Luke Steffink, hitherto with some justification, called his rock-garden.

The rock part of it was still there when the waltz had been accorded its third encore.

Luke, more than ever like a cooped hen behind the cow-house bars, was in a position to realise the feelings of concert-goers unable to countermand the call for an encore which they neither desire or deserve.

The hall door closed with a bang on Bertie's guests, and the sounds of merriment became faint and muffled to the weary watchers at the other end of the garden. Presently two ominous pops, in quick succession, made themselves distinctly heard.

"They've got at the champagne!" exclaimed Mrs. Steffink.

"Perhaps it's the sparkling Moselle," said Luke hopefully.

Three or four more pops were heard.

"The champagne and the sparkling Moselle," said Mrs. Steffink.

Luke uncorked an expletive which, like brandy in a temperance household, was only used on rare emergencies. Mr. Horace Bordenby had been making use of similar expressions under his breath for a considerable time past. The experiment of "throwing the young people together" had been prolonged beyond a point when it was likely to produce any romantic result.

Some forty minutes later the hall door opened and disgorged a crowd that had thrown off any restraint of shyness that might have influenced its earlier actions. Its vocal efforts in the direction of carol singing were now supplemented by instrumental music; a Christmas-tree that had been prepared for the children of the gardener and other household retainers had yielded a rich spoil of tin trumpets, rattles, and drums. The lifestory of King Wenceslas had been dropped, Luke was thankful to notice, but it was intensely irritating for the chilled prisoners in the cow-house to be told that it was a hot time in the old town to-night, together with some accurate but entirely superfluous information as to the imminence of Christmas morning. Judging by the protests which began to be shouted from the upper windows of neighbouring houses the sentiments prevailing in the cow-house were heartily echoed in other quarters.

The revellers found their car, and, what was more remarkable, managed to drive off in it, with a parting fanfare of tin trumpets. The lively beat of a drum disclosed the fact that the master of the revels remained on the scene.

"Bertie!" came in an angry, imploring chorus of shouts and screams from the cow-house window.


"Hullo," cried the owner of the name, turning his rather errant steps in the direction of the summons; "are you people still there? Must have heard everything cows got to say by this time. If you haven't, no use waiting. After all, it's a Russian legend, and Russian Chrismush Eve not due for 'nother fortnight. Better come out."

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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.

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Проза / Зарубежная классическая проза / Классическая проза / Зарубежная классика / Классическая литература