Читаем The White Feather полностью

"No, sir, no. I meant what Hamlet says to the players. 'Nor do not saw the air too much, with your hand, thus, but use all gently.' That's what you've got to remember in boxing, sir. Take it easy. Easy and cool does it, and the straight left beats the world."

Sheen paddled quietly back to the town with the stream, pondering over this advice. He felt that he had advanced another step. He was not foolish enough to believe that he knew anything about boxing as yet, but he felt that it would not be long before he did.

<p><strong>X</strong> </p><p><strong>SHEEN'S PROGRESS</strong></p>

Sheen improved. He took to boxing as he had taken to fives. He found that his fives helped him. He could get about on his feet quickly, and his eye was trained to rapid work.

His second lesson was not encouraging. He found that he had learned just enough to make him stiff and awkward, and no more. But he kept on, and by the end of the first week Joe Bevan declared definitely that he would do, that he had the root of the matter in him, and now required only practice.

"I wish you could see like I can how you're improving," he said at the end of the sixth lesson, as they were resting after five minutes' exercise with the medicine-ball. "I get four blows in on some of the gentlemen I teach to one what I get in on you. But it's like riding. When you can trot, you look forward to when you can gallop. And when you can gallop, you can't see yourself getting on any further. But you're improving all the time."

"But I can't gallop yet," said Sheen.

"Well, no, not gallop exactly, but you've only had six lessons. Why, in another six weeks, if you come regular, you won't know yourself. You'll be making some of the young gentlemen at the college wish they had never been born. You'll make babies of them, that's what you'll do."

"I'll bet I couldn't, if I'd learnt with some one else," said Sheen, sincerely. "I don't believe I should have learnt a thing if I'd gone to the school instructor."

"Who is your school instructor, sir?"

"A man named Jenkins. He used to be in the army."

"Well, there, you see, that's what it is. I know old George Jenkins. He used to be a pretty good boxer in his time, but there! boxing's a thing, like everything else, that moves with the times. We used to go about in iron trucks. Now we go in motor-cars. Just the same with boxing. What you're learning now is the sort of boxing that wins championship fights nowadays. Old George, well, he teaches you how to put your left out, but, my Golly, he doesn't know any tricks. He hasn't studied it same as I have. It's the ring-craft that wins battles. Now sir, if you're ready."

They put on the gloves again. When the round was over, Mr Bevan had further comments to make.

"You don't hit hard enough, sir," he said. "Don't flap. Let it come straight out with some weight behind it. You want to be earnest in the ring. The other man's going to do his best to hurt you, and you've got to stop him. One good punch is worth twenty taps. You hit him. And when you've hit him, don't you go back; you hit him again. They'll only give you three rounds in any competition you go in for, so you want to do the work you can while you're at it."

As the days went by, Sheen began to imbibe some of Joe Bevan's rugged philosophy of life. He began to understand that the world is a place where every man has to look after himself, and that it is the stronger hand that wins. That sentence from Hamlet which Joe Bevan was so fond of quoting practically summed up the whole duty of man—and boy too. One should not seek quarrels, but, "being in," one should do one's best to ensure that one's opponent thought twice in future before seeking them. These afternoons at the "Blue Boar" were gradually giving Sheen what he had never before possessed—self-confidence. He was beginning to find that he was capable of something after all, that in an emergency he would be able to keep his end up. The feeling added a zest to all that he did. His work in school improved. He looked at the Gotford no longer as a prize which he would have to struggle to win. He felt that his rivals would have to struggle to win it from him.

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Карл Филипп Мориц (1756–1793) – один из ключевых авторов немецкого Просвещения, зачинатель психологии как точной науки. «Он словно младший брат мой,» – с любовью писал о нем Гёте, взгляды которого на природу творчества подверглись существенному влиянию со стороны его младшего современника. «Антон Райзер» (закончен в 1790 году) – первый психологический роман в европейской литературе, несомненно, принадлежит к ее золотому фонду. Вымышленный герой повествования по сути – лишь маска автора, с редкой проницательностью описавшего экзистенциальные муки собственного взросления и поиски своего места во враждебном и равнодушном мире.Изданием этой книги восполняется досадный пробел, существовавший в представлении русского читателя о классической немецкой литературе XVIII века.

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Проза / Классическая проза / Классическая проза XVII-XVIII веков / Европейская старинная литература / Древние книги
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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».

Артур Ллевелин Мэйчен

Классическая проза