Читаем The White Feather полностью

After his twelfth lesson, when he had learned the ground-work of the art, and had begun to develop a style of his own, like some nervous batsman at cricket who does not show his true form till he has been at the wickets for several overs, the dog-loving Francis gave him a trial. This was a very different affair from his spars with Joe Bevan. Frank Hunt was one of the cleverest boxers at his weight in England, but he had not Joe Bevan's gift of hitting gently. He probably imagined that he was merely tapping, and certainly his blows were not to be compared with those he delivered in the exercise of his professional duties; but, nevertheless, Sheen had never felt anything so painful before, not even in his passage of arms with Albert. He came out of the encounter with a swollen lip and a feeling that one of his ribs was broken, and he had not had the pleasure of landing a single blow upon his slippery antagonist, who flowed about the room like quicksilver. But he had not flinched, and the statement of Francis, as they shook hands, that he had "done varry well," was as balm. Boxing is one of the few sports where the loser can feel the same thrill of triumph as the winner. There is no satisfaction equal to that which comes when one has forced oneself to go through an ordeal from which one would have liked to have escaped.

"Capital, sir, capital," said Joe Bevan. "I wanted to see whether you would lay down or not when you began to get a few punches. You did capitally, Mr Sheen."

"I didn't hit him much," said Sheen with a laugh.

"Never mind, sir, you got hit, which was just as good. Some of the gentlemen I've taught wouldn't have taken half that. They're all right when they're on top and winning, and to see them shape you'd say to yourself, By George, here's a champion. But let 'em get a punch or two, and hullo! says you, what's this? They don't like it. They lay down. But you kept on. There's one thing, though, you want to keep that guard up when you duck. You slip him that way once. Very well. Next time he's waiting for you. He doesn't hit straight. He hooks you, and you don't want many of those."

Sheen enjoyed his surreptitious visits to the "Blue Boar." Twice he escaped being caught in the most sensational way; and once Mr Spence, who looked after the Wrykyn cricket and gymnasium, and played everything equally well, nearly caused complications by inviting Sheen to play fives with him after school. Fortunately the Gotford afforded an excellent excuse. As the time for the examination drew near, those who had entered for it were accustomed to become hermits to a great extent, and to retire after school to work in their studies.

"You mustn't overdo it, Sheen," said Mr Spence. "You ought to get some exercise."

"Oh, I do, sir," said Sheen. "I still play fives, but I play before breakfast now."

He had had one or two games with Harrington of the School House, who did not care particularly whom he played with so long as his opponent was a useful man. Sheen being one of the few players in the school who were up to his form, Harrington ignored the cloud under which Sheen rested. When they met in the world outside the fives-courts Harrington was polite, but made no overtures of friendship. That, it may be mentioned, was the attitude of every one who did not actually cut Sheen. The exception was Jack Bruce, who had constituted himself audience to Sheen, when the latter was practising the piano, on two further occasions. But then Bruce was so silent by nature that for all practical purposes he might just as well have cut Sheen like the others.

"We might have a game before breakfast some time, then," said Mr Spence.

He had noticed, being a master who did notice things, that Sheen appeared to have few friends, and had made up his mind that he would try and bring him out a little. Of the real facts of the case, he knew of course, nothing.

"I should like to, sir," said Sheen.

"Next Wednesday?"

"All right, sir."

"I'll be there at seven. If you're before me, you might get the second court, will you?"

The second court from the end nearest the boarding-house was the best of the half-dozen fives-courts at Wrykyn. After school sometimes you would see fags racing across the gravel to appropriate it for their masters. The rule was that whoever first pinned to the door a piece of paper with his name on it was the legal owner of the court-and it was a stirring sight to see a dozen fags fighting to get at the door. But before breakfast the court might be had with less trouble.

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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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