Читаем The White Feather полностью

As Stanning was the only one of his rivals of whom he had any real fear, Sheen might have replied with justice that, if that was the case, the more he swotted the better. But he said nothing. He looked at the stove, and dog's-eared the Thucydides.

"What a worm you are, always staying in!" said Stanning.

"I caught a cold watching the match yesterday."

"You're as flabby as—" Stanning looked round for a simile, "as a dough-nut. Why don't you take some exercise?"

"I'm going to play fives, I think. I do need some exercise."

"Fives? Why don't you play footer?"

"I haven't time. I want to work."

"What rot. I'm not doing a stroke."

Stanning seemed to derive a spiritual pride from this admission.

"Tell you what, then," said Stanning, "I'll play you tomorrow after school."

Sheen looked a shade more uncomfortable, but he made an effort, and declined the invitation.

"I shall probably be playing Drummond," he said.

"Oh, all right," said Stanning. "I don't care. Play whom you like."

There was a pause.

"As a matter of fact," resumed Stanning, "what I came here for was to tell you about last night. I got out, and went to Mitchell's. Why didn't you come? Didn't you get my note? I sent a kid with it."

Mitchell was a young gentleman of rich but honest parents, who had left the school at Christmas. He was in his father's office, and lived in his father's house on the outskirts of the town. From time to time his father went up to London on matters connected with business, leaving him alone in the house. On these occasions Mitchell the younger would write to Stanning, with whom when at school he had been on friendly terms; and Stanning, breaking out of his house after everybody had gone to bed, would make his way to the Mitchell residence, and spend a pleasant hour or so there. Mitchell senior owned Turkish cigarettes and a billiard table. Stanning appreciated both. There was also a piano, and Stanning had brought Sheen with him one night to play it. The getting-out and the subsequent getting-in had nearly whitened Sheen's hair, and it was only by a series of miracles that he had escaped detection. Once, he felt, was more than enough; and when a fag from Appleby's had brought him Stanning's note, containing an invitation to a second jaunt of the kind, he had refused to be lured into the business again.

"Yes, I got the note," he said.

"Then why didn't you come? Mitchell was asking where you were."

"It's so beastly risky."

"Risky! Rot."

"We should get sacked if we were caught."

"Well, don't get caught, then."

Sheen registered an internal vow that he would not.

"He wanted us to go again on Monday. Will you come?"

"I—don't think I will, Stanning," said Sheen. "It isn't worth it."

"You mean you funk it. That's what's the matter with you."

"Yes, I do," admitted Sheen.

As a rule—in stories—the person who owns that he is afraid gets unlimited applause and adulation, and feels a glow of conscious merit. But with Sheen it was otherwise. The admission made him if possible, more uncomfortable than he had been before.

"Mitchell will be sick," said Stanning.

Sheen said nothing.

Stanning changed the subject.

"Well, at anyrate," he said, "give us some tea. You seem to have been victualling for a siege."

"I'm awfully sorry," said Sheen, turning a deeper shade of red and experiencing a redoubled attack of the warm shooting, "but the fact is, I'm waiting for Drummond."

Stanning got up, and expressed his candid opinion of Drummond in a few words.

He said more. He described Sheen, too in unflattering terms.

"Look here," he said, "you may think it jolly fine to drop me just because you've got to know Drummond a bit, but you'll be sick enough that you've done it before you've finished."

"It isn't that—" began Sheen.

"I don't care what it is. You slink about trying to avoid me all day, and you won't do a thing I ask you to do."

"But you see—"

"Oh, shut up," said Stanning.

<p><strong>III</strong> </p><p><strong>SHEEN RECEIVES VISITORS AND ADVICE</strong></p>

While Sheen had been interviewing Stanning, in study twelve, farther down the passage, Linton and his friend Dunstable, who was in Day's house, were discussing ways and means. Like Stanning, Dunstable had demanded tea, and had been informed that there was none for him.

"Well, you are a bright specimen, aren't you?" said Dunstable, seating himself on the table which should have been groaning under the weight of cake and biscuits. "I should like to know where you expect to go to. You lure me in here, and then have the cheek to tell me you haven't got anything to eat. What have you done with it all?"

"There was half a cake—"

"Bring it on."

"Young Menzies bagged it after the match yesterday. His brother came down with the Oxford A team, and he had to give him tea in his study. Then there were some biscuits—"

"What's the matter with biscuits? They're all right. Bring them on. Biscuits forward. Show biscuits."

"Menzies took them as well."

Dunstable eyed him sorrowfully.

Перейти на страницу:

Похожие книги

Антон Райзер
Антон Райзер

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.

Карл Филипп Мориц

Проза / Классическая проза / Классическая проза XVII-XVIII веков / Европейская старинная литература / Древние книги
Тайная слава
Тайная слава

«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