Читаем The White Feather полностью

He turned to the rest of the dormitory.

"Don't let me detain you," he said politely. "Get into bed as soon as you like."

The dormitory got into bed sooner than they liked. For some reason the colossal rag they had planned had fizzled out. They were thoughtful as they crept between the sheets. Could these things be?

After much deliberation Sheen sent his letter to Drummond on the following day. It was not a long letter, but it was carefully worded. It explained that he had taken up boxing of late, and ended with a request that he might be allowed to act as Drummond's understudy in the House competitions.

It was late that evening when the infirmary attendant came over with the answer.

Like the original letter, the answer was brief.

"Dear Sheen," wrote Drummond, "thanks for the offer. I am afraid I can't accept it. We must have the best man. Linton is going to box for the House in the Light-Weights."

<p><strong>XVII</strong> </p><p><strong>SEYMOUR'S ONE SUCCESS</strong></p>

This polite epistle, it may be mentioned, was a revised version of the one which Drummond originally wrote in reply to Sheen's request. His first impulse had been to answer in the four brief words, "Don't be a fool"; for Sheen's letter had struck him as nothing more than a contemptible piece of posing, and he had all the hatred for poses which is a characteristic of the plain and straightforward type of mind. It seemed to him that Sheen, as he expressed it to himself, was trying to "do the boy hero". In the school library, which had been stocked during the dark ages, when that type of story was popular, there were numerous school stories in which the hero retrieved a rocky reputation by thrashing the bully, displaying in the encounter an intuitive but overwhelming skill with his fists. Drummond could not help feeling that Sheen must have been reading one of these stories. It was all very fine and noble of him to want to show that he was No Coward After All, like Leo Cholmondeley or whatever his beastly name was, in The Lads of St. Ethelberta's or some such piffling book; but, thought Drummond in his cold, practical way, what about the house? If Sheen thought that Seymour's was going to chuck away all chance of winning one of the inter-house events, simply in order to give him an opportunity of doing the Young Hero, the sooner he got rid of that sort of idea, the better. If he wanted to do the Leo Cholmondeley business, let him go and chuck a kid into the river, and jump in and save him. But he wasn't going to have the house let in for twenty Sheens.

Such were the meditations of Drummond when the infirmary attendant brought Sheen's letter to him; and he seized pencil and paper and wrote, "Don't be a fool". But pity succeeded contempt, and he tore up the writing. After all, however much he had deserved it, the man had had a bad time. It was no use jumping on him. And at one time they had been pals. Might as well do the thing politely.

All of which reflections would have been prevented had Sheen thought of mentioning the simple fact that it was Joe Bevan who had given him the lessons to which he referred in his letter. But he had decided not to do so, wishing to avoid long explanations. And there was, he felt, a chance that the letter might come into other hands than those of Drummond. So he had preserved silence on that point, thereby wrecking his entire scheme.

It struck him that he might go to Linton, explain his position, and ask him to withdraw in his favour, but there were difficulties in the way of that course. There is a great deal of red tape about the athletic arrangements of a house at a public school. When once an order has gone forth, it is difficult to get it repealed. Linton had been chosen to represent the house in the Light-Weights, and he would carry out orders. Only illness would prevent him appearing in the ring.

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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

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