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Dunstable, questioned after preparation, refused to commit himself.

"I thought I saw somebody with Drummond," he said, "and I had a sort of idea it was Sheen. Still, I was pretty busy at the time, and wasn't paying much attention to anything, except that long, thin bargee with the bowler. I wish those men would hit straight. It's beastly difficult to guard a round-arm swing. My right ear feels like a cauliflower. Does it look rum?"

"Beastly. But what about this? You can't swear to Sheen then?"

"No. Better give him the benefit of the doubt. What does Drummond say? You ought to ask him."

"I have. He says he was alone."

"Well, that settles it. What an ass you are. If Drummond doesn't know, who does?"

"I believe he's simply hushing it up."

"Well, let us hush it up, too. It's no good bothering about it. We licked them all right."

"But it's such a beastly thing for the house."

"Then why the dickens do you want it to get about? Surely the best thing you can do is to dry up and say nothing about it."

"But something ought to be done."

"What's the good of troubling about a man like Sheen? He never was any good, and this doesn't make him very much worse. Besides, he'll probably be sick enough on his own account. I know I should, if I'd done it. And, anyway, we don't know that he did do it."

"I'm certain he did. I could swear it was him."

"Anyhow, for goodness' sake let the thing drop."

"All right. But I shall cut him."

"Well, that would be punishment enough for anybody, whatever he'd done. Fancy existence without your bright conversation. It doesn't bear thinking of. You do look a freak with that eye and that lump on your forehead. You ought to wear a mask."

"That ear of yours," said Linton with satisfaction, "will be about three times its ordinary size tomorrow. And it always was too large. Good night."

On his way back to Seymour's Mason of Appleby's, who was standing at his house gate imbibing fresh air, preparatory to going to bed, accosted him.

"I say, Linton," he said, "—hullo, you look a wreck, don't you!—I say, what's all this about your house?"

"What about my house?"

"Funking, and all that. Sheen, you know. Stanning has just been telling me."

"Then he saw him, too!" exclaimed Linton, involuntarily.

"Oh, it's true, then? Did he really cut off like that? Stanning said he did, but I wouldn't believe him at first. You aren't going? Good night."

So the thing was out. Linton had not counted on Stanning having seen what he and Dunstable had seen. It was impossible to hush it up now. The scutcheon of Seymour's was definitely blotted. The name of the house was being held up to scorn in Appleby's probably everywhere else as well. It was a nuisance, thought Linton, but it could not be helped. After all, it was a judgment on the house for harbouring such a specimen as Sheen.

In Seymour's there was tumult and an impromptu indignation meeting. Stanning had gone to work scientifically. From the moment that, ducking under the guard of a sturdy town youth, he had caught sight of Sheen retreating from the fray, he had grasped the fact that here, ready-made, was his chance of working off his grudge against him. All he had to do was to spread the news abroad, and the school would do the rest. On his return from the town he had mentioned the facts of the case to one or two of the more garrulous members of his house, and they had passed it on to everybody they met during the interval in the middle of preparation. By the end of preparation half the school knew what had happened.

Seymour's was furious. The senior day-room to a man condemned Sheen. The junior day-room was crimson in the face and incoherent. The demeanour of a junior in moments of excitement generally lacks that repose which marks the philosopher.

"He ought to be kicked," shrilled Renford.

"We shall get rotted by those kids in Dexter's," moaned Harvey.

"Disgracing the house!" thundered Watson.

"Let's go and chuck things at his door," suggested Renford.

A move was made to the passage in which Sheen's study was situated, and, with divers groans and howls, the junior day-room hove football boots and cricket stumps at the door.

The success of the meeting, however, was entirely neutralised by the fact that in the same passage stood the study of Rigby, the head of the house. Also Rigby was trying at the moment to turn into idiomatic Greek verse the words: "The Days of Peace and Slumberous calm have fled", and this corroboration of the statement annoyed him to the extent of causing him to dash out and sow lines among the revellers like some monarch scattering largesse. The junior day-room retired to its lair to inveigh against the brutal ways of those in authority, and begin working off the commission it had received.

The howls in the passage were the first official intimation Sheen had received that his shortcomings were public property. The word "Funk!" shouted through his keyhole, had not unnaturally given him an inkling as to the state of affairs.

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«Где-то существует совершенно иной мир, и его язык именуется поэзией», — писал Артур Мейчен (1863–1947) в одном из последних эссе, словно формулируя свое творческое кредо, ибо все произведения этого английского писателя проникнуты неизбывной ностальгией по иной реальности, принципиально несовместимой с современной материалистической цивилизацией. Со всей очевидностью свидетельствуя о полярной противоположности этих двух миров, настоящий том, в который вошли никогда раньше не публиковавшиеся на русском языке (за исключением «Трех самозванцев») повести и романы, является логическим продолжением изданного ранее в коллекции «Гримуар» сборника избранных произведений писателя «Сад Аваллона». Сразу оговоримся, редакция ставила своей целью представить А. Мейчена прежде всего как писателя-адепта, с 1889 г. инициированного в Храм Исиды-Урании Герметического ордена Золотой Зари, этим обстоятельством и продиктованы особенности данного состава, в основу которого положен отнюдь не хронологический принцип. Всегда черпавший вдохновение в традиционных кельтских культах, валлийских апокрифических преданиях и средневековой христианской мистике, А. Мейчен в своем творчестве столь последовательно воплощал герметическую орденскую символику Золотой Зари, что многих современников это приводило в недоумение, а «широкая читательская аудитория», шокированная странными произведениями, в которых слишком явственно слышны отголоски мрачных друидических ритуалов и проникнутых гностическим духом доктрин, считала их автора «непристойно мятежным». Впрочем, А. Мейчен, чье творчество являлось, по существу, тайным восстанием против современного мира, и не скрывал, что «вечный поиск неизведанного, изначально присущая человеку страсть, уводящая в бесконечность» заставляет его чувствовать себя в обществе «благоразумных» обывателей изгоем, одиноким странником, который «поднимает глаза к небу, напрягает зрение и вглядывается через океаны в поисках счастливых легендарных островов, в поисках Аваллона, где никогда не заходит солнце».

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