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So Drummond had given him away, he thought. Probably he had told Linton the whole story the moment after he, Sheen, had met the latter at the door of the study. And perhaps he was now telling it to the rest of the house. Of all the mixed sensations from which he suffered as he went to his dormitory that night, one of resentment against Drummond was the keenest.

Sheen was in the fourth dormitory, where the majority of the day-room slept. He was in the position of a sort of extra house prefect, as far as the dormitory was concerned. It was a large dormitory, and Mr Seymour had fancied that it might, perhaps, be something of a handful for a single prefect. As a matter of fact, however, Drummond, who was in charge, had shown early in the term that he was more than capable of managing the place single handed. He was popular and determined. The dormitory was orderly, partly because it liked him, principally because it had to be.

He had an opportunity of exhibiting his powers of control that night. When Sheen came in, the room was full. Drummond was in bed, reading his novel. The other ornaments of the dormitory were in various stages of undress.

As Sheen appeared, a sudden hissing broke out from the farther corner of the room. Sheen flushed, and walked to his bed. The hissing increased in volume and richness.

"Shut up that noise," said Drummond, without looking up from his book.

The hissing diminished. Only two or three of the more reckless kept it up.

Drummond looked across the room at them.

"Stop that noise, and get into bed," he said quietly.

The hissing ceased. He went on with his book again.

Silence reigned in dormitory four.

<p><strong>VI</strong> </p><p><strong>ALBERT REDIVIVUS</strong></p>

By murdering in cold blood a large and respected family, and afterwards depositing their bodies in a reservoir, one may gain, we are told, much unpopularity in the neighbourhood of one's crime; while robbing a church will get one cordially disliked especially by the vicar. But, to be really an outcast, to feel that one has no friend in the world, one must break an important public-school commandment.

Sheen had always been something of a hermit. In his most sociable moments he had never had more than one or two friends; but he had never before known what it meant to be completely isolated. It was like living in a world of ghosts, or, rather, like being a ghost in a living world. That disagreeable experience of being looked through, as if one were invisible, comes to the average person, it may be half a dozen times in his life. Sheen had to put up with it a hundred times a day. People who were talking to one another stopped when he appeared and waited until he had passed on before beginning again. Altogether, he was made to feel that he had done for himself, that, as far as the life of the school was concerned, he did not exist.

There had been some talk, particularly in the senior day-room, of more active measures. It was thought that nothing less than a court-martial could meet the case. But the house prefects had been against it. Sheen was in the sixth, and, however monstrous and unspeakable might have been his acts, it would hardly do to treat him as if he were a junior. And the scheme had been definitely discouraged by Drummond, who had stated, without wrapping the gist of his remarks in elusive phrases, that in the event of a court-martial being held he would interview the president of the same and knock his head off. So Seymour's had fallen back on the punishment which from their earliest beginnings the public schools have meted out to their criminals. They had cut Sheen dead.

In a way Sheen benefited from this excommunication. Now that he could not even play fives, for want of an opponent, there was nothing left for him to do but work. Fortunately, he had an object. The Gotford would be coming on in a few weeks, and the more work he could do for it, the better. Though Stanning was the only one of his rivals whom he feared, and though he was known to be taking very little trouble over the matter, it was best to run as few risks as possible. Stanning was one of those people who produce great results in their work without seeming to do anything for them.

So Sheen shut himself up in his study and ground grimly away at his books, and for exercise went for cross-country walks. It was a monotonous kind of existence. For the space of a week the only Wrykinian who spoke a single word to him was Bruce, the son of the Conservative candidate for Wrykyn: and Bruce's conversation had been limited to two remarks. He had said, "You might play that again, will you?" and, later, "Thanks". He had come into the music-room while Sheen was practising one afternoon, and had sat down, without speaking, on a chair by the door. When Sheen had played for the second time the piece which had won his approval, Bruce thanked him and left the room. As the solitary break in the monotony of the week, Sheen remembered the incident rather vividly.

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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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