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The expedition had begun to move off with quiet dignity, when from the doorway in the wall there poured forth a stream of mortar-boarded warriors, shrieking defiance. The expedition advanced to meet them.

As usual, the Judies had the advantage in numbers, and, filled to the brim with righteous indignation, they were proceeding to make things uncommonly warm for the invaders—Painter had lost his cap, and Tomlin three waistcoat buttons—when the eye of Jackson, roving up and down the street, was caught by a Seymour's cap. He was about to shout for assistance when he perceived that the newcomer was Sheen, and refrained. It was no use, he felt, asking Sheen for help.

But just as Sheen arrived and the ranks of the expedition were beginning to give way before the strenuous onslaught of the Judies, the latter, almost with one accord, turned and bolted into their playground again. Looking round, Tomlin, that first of generals, saw the reason, and uttered a warning.

A mutual foe had appeared. From a passage on the left of the road there had debouched on to the field of action Albert himself and two of his band.

The expedition flew without false shame. It is to be doubted whether one of Albert's calibre would have troubled to attack such small game, but it was the firm opinion of the Wrykyn fags and the Judies that he and his men were to be avoided.

The newcomers did not pursue them. They contented themselves with shouting at them. One of the band threw a stone.

Then they caught sight of Sheen.

Albert said, "Oo er!" and advanced at the double. His companions followed him.

Sheen watched them come, and backed against the wall. His heart was thumping furiously. He was in for it now, he felt. He had come down to the town with this very situation in his mind. A wild idea of doing something to restore his self-respect and his credit in the eyes of the house had driven him to the High Street. But now that the crisis had actually arrived, he would have given much to have been in his study again.

Albert was quite close now. Sheen could see the marks which had resulted from his interview with Drummond. With all his force Sheen hit out, and experienced a curious thrill as his fist went home. It was a poor blow from a scientific point of view, but Sheen's fives had given him muscle, and it checked Albert. That youth, however, recovered rapidly, and the next few moments passed in a whirl for Sheen. He received a stinging blow on his left ear, and another which deprived him of his whole stock of breath, and then he was on the ground, conscious only of a wish to stay there for ever.

<p><strong>VII</strong></p><p><strong>MR JOE BEVAN</strong></p>

Almost involuntarily he staggered up to receive another blow which sent him down again.

"That'll do," said a voice.

Sheen got up, panting. Between him and his assailant stood a short, sturdy man in a tweed suit. He was waving Albert back, and Albert appeared to be dissatisfied. He was arguing hotly with the newcomer.

"Now, you go away," said that worthy, mildly, "just you go away."

Albert gave it as his opinion that the speaker would do well not to come interfering in what didn't concern him. What he wanted, asserted Albert, was a thick ear.

"Coming pushing yourself in," added Albert querulously.

"You go away," repeated the stranger. "You go away. I don't want to have trouble with you."

Albert's reply was to hit out with his left hand in the direction of the speaker's face. The stranger, without fuss, touched the back of Albert's wrist gently with the palm of his right hand, and Albert, turning round in a circle, ended the manœuvre with his back towards his opponent. He faced round again irresolutely. The thing had surprised him.

"You go away," said the other, as if he were making the observation for the first time.

"It's Joe Bevan," said one of Albert's friends, excitedly.

Albert's jaw fell. His freckled face paled.

"You go away," repeated the man in the tweed suit, whose conversation seemed inclined to run in a groove.

This time Albert took the advice. His friends had already taken it.

"Thanks," said Sheen.

"Beware," said Mr Bevan oracularly, "of entrance to a quarrel; but, being in, bear't that th' opposed may beware of thee. Always counter back when you guard. When a man shows you his right like that, always push out your hand straight. The straight left rules the boxing world. Feeling better, sir?"

"Yes, thanks."

"He got that right in just on the spot. I was watching. When you see a man coming to hit you with his right like that, don't you draw back. Get on top of him. He can't hit you then."

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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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