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The "Blue Boar" was a picturesque inn, standing on the bank of the river Severn. It was much frequented in the summer by fishermen, who spent their days in punts and their evenings in the old oak parlour, where a picture in boxing costume of Mr Joe Bevan, whose brother was the landlord of the inn, gazed austerely down on them, as if he disapproved of the lamentable want of truth displayed by the majority of their number. Artists also congregated there to paint the ivy-covered porch. At the back of the house were bedrooms, to which the fishermen would make their way in the small hours of a summer morning, arguing to the last as they stumbled upstairs. One of these bedrooms, larger than the others, had been converted into a gymnasium for the use of mine host's brother. Thither he brought pugilistic aspirants who wished to be trained for various contests, and it was the boast of the "Blue Boar" that it had never turned out a loser. A reputation of this kind is a valuable asset to an inn, and the boxing world thought highly of it, in spite of the fact that it was off the beaten track. Certainly the luck of the "Blue Boar" had been surprising.

Sheen pulled steadily up stream on the appointed day, and after half an hour's work found himself opposite the little landing-stage at the foot of the inn lawn.

His journey had not been free from adventure. On his way to the town he had almost run into Mr Templar, and but for the lucky accident of that gentleman's short sight must have been discovered. He had reached the landing-stage in safety, but he had not felt comfortable until he was well out of sight of the town. It was fortunate for him in the present case that he was being left so severely alone by the school. It was an advantage that nobody took the least interest in his goings and comings.

Having moored his boat and proceeded to the inn, he was directed upstairs by the landlord, who was an enlarged and coloured edition of his brother. From the other side of the gymnasium door came an unceasing and mysterious shuffling sound.

He tapped at the door and went in.

He found himself in a large, airy room, lit by two windows and a broad skylight. The floor was covered with linoleum. But it was the furniture that first attracted his attention. In a farther corner of the room was a circular wooden ceiling, supported by four narrow pillars. From the centre of this hung a ball, about the size of an ordinary football. To the left, suspended from a beam, was an enormous leather bolster. On the floor, underneath a table bearing several pairs of boxing-gloves, a skipping-rope, and some wooden dumb-bells, was something that looked like a dozen Association footballs rolled into one. All the rest of the room, a space some few yards square, was bare of furniture. In this space a small sweater-clad youth, with a head of light hair cropped very short, was darting about and ducking and hitting out with both hands at nothing, with such a serious, earnest expression on his face that Sheen could not help smiling. On a chair by one of the windows Mr Joe Bevan was sitting, with a watch in his hand.

As Sheen entered the room the earnest young man made a sudden dash at him. The next moment he seemed to be in a sort of heavy shower of fists. They whizzed past his ear, flashed up from below within an inch of his nose, and tapped him caressingly on the waistcoat. Just as the shower was at its heaviest his assailant darted away again, side-stepped an imaginary blow, ducked another, and came at him once more. None of the blows struck him, but it was with more than a little pleasure that he heard Joe Bevan call "Time!" and saw the active young gentleman sink panting into a seat.

"You and your games, Francis!" said Joe Bevan, reproachfully. "This is a young gentleman from the college come for tuition."

"Gentleman—won't mind—little joke—take it in spirit which is—meant," said Francis, jerkily.

Sheen hastened to assure him that he had not been offended.

"You take your two minutes, Francis," said Mr Bevan, "and then have a turn with the ball. Come this way, Mr—"

"Sheen."

"Come this way, Mr Sheen, and I'll show you where to put on your things."

Sheen had brought his football clothes with him. He had not put them on for a year.

"That's the lad I was speaking of. Getting on prime, he is. Fit to fight for his life, as the saying is."

"What was he doing when I came in?"

"Oh, he always has three rounds like that every day. It teaches you to get about quick. You try it when you get back, Mr Sheen. Fancy you're fighting me."

"Are you sure I'm not interrupting you in the middle of your work?" asked Sheen.

"Not at all, sir, not at all. I just have to rub him down, and give him his shower-bath, and then he's finished for the day."

Having donned his football clothes and returned to the gymnasium, Sheen found Francis in a chair, having his left leg vigorously rubbed by Mr Bevan.

"You fon' of dargs?" inquired Francis affably, looking up as he came in.

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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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