Читаем The White Feather полностью

The Queen's Avenue Gymnasium at Aldershot is a roomy place, but it is always crowded on the Public Schools' Day. Sisters and cousins and aunts of competitors flock there to see Tommy or Bobby perform, under the impression, it is to be supposed, that he is about to take part in a pleasant frolic, a sort of merry parlour game. What their opinion is after he emerges from a warm three rounds is not known. Then there are soldiers in scores. Their views on boxing as a sport are crisp and easily defined. What they want is Gore. Others of the spectators are Old Boys, come to see how the school can behave in an emergency, and to find out whether there are still experts like Jones, who won the Middles in '96 or Robinson, who was runner-up in the Feathers in the same year; or whether, as they have darkly suspected for some time, the school has Gone To The Dogs Since They Left.

The usual crowd was gathered in the seats round the ring when Sheen came out of the dressing-room and sat down in an obscure corner at the end of the barrier which divides the gymnasium into two parts on these occasions. He felt very lonely. Mr Spence and the school instructor were watching the gymnastics, which had just started upon their lengthy course. The Wrykyn pair were not expected to figure high on the list this year. He could have joined Mr Spence, but, at the moment, he felt disinclined for conversation. If he had been a more enthusiastic cricketer, he would have recognised the feeling as that which attacks a batsman before he goes to the wicket. It is not precisely funk. It is rather a desire to accelerate the flight of Time, and get to business quickly. All things come to him who waits, and among them is that unpleasant sensation of a cold hand upon the portion of the body which lies behind the third waistcoat button.

The boxing had begun with a bout between two feather-weights, both obviously suffering from stage-fright. They were fighting in a scrambling and unscientific manner, which bore out Mr Bevan's statements on the subject of losing one's head. Sheen felt that both were capable of better things. In the second and third rounds this proved to be the case and the contest came to an end amidst applause.

The next pair were light-weights, and Sheen settled himself to watch more attentively. From these he would gather some indication of what he might expect to find when he entered the ring. He would not have to fight for some time yet. In the drawing for numbers, which had taken place in the dressing-room, he had picked a three. There would be another light-weight battle before he was called upon. His opponent was a Tonbridgian, who, from the glimpse Sheen caught of him, seemed muscular. But he (Sheen) had the advantage in reach, and built on that.

After opening tamely, the light-weight bout had become vigorous in the second round, and both men had apparently forgotten that their right arms had been given them by Nature for the purpose of guarding. They were going at it in hurricane fashion all over the ring. Sheen was horrified to feel symptoms of a return of that old sensation of panic which had caused him, on that dark day early in the term, to flee Albert and his wicked works. He set his teeth, and fought it down. And after a bad minute he was able to argue himself into a proper frame of mind again. After all, that sort of thing looked much worse than it really was. Half those blows, which seemed as if they must do tremendous damage, were probably hardly felt by their recipient. He told himself that Francis, and even the knife-and-boot boy, hit fully as hard, or harder, and he had never minded them. At the end of the contest he was once more looking forward to his entrance to the ring with proper fortitude.

The fighting was going briskly forward now, sometimes good, sometimes moderate, but always earnest, and he found himself contemplating, without undue excitement, the fact that at the end of the bout which had just begun, between middle-weights from St Paul's and Wellington, it would be his turn to perform. As luck would have it, he had not so long to wait as he had expected, for the Pauline, taking the lead after the first few exchanges, out-fought his man so completely that the referee stopped the contest in the second round. Sheen got up from his corner and went to the dressing-room. The Tonbridgian was already there. He took off his coat. Somebody crammed his hands into the gloves and from that moment the last trace of nervousness left him. He trembled with the excitement of the thing, and hoped sincerely that no one would notice it, and think that he was afraid.

Then, amidst a clapping of hands which sounded faint and far-off, he followed his opponent to the ring, and ducked under the ropes.

The referee consulted a paper which he held, and announced the names.

"R. D. Sheen, Wrykyn College."

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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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