Читаем The White Feather полностью

"But I say, Great Scott, what are you going to do about that?"

"How do you mean?"

"Why, Spence is sure to ask you who taught you to box. He must know you didn't learn with the instructor. Then it'll all come out, and you'll get dropped on for going up the river and going to the pub."

"Perhaps he won't ask," said Sheen.

"Hope not. Oh, by the way—"

"What's up?"

"Just remembered what I came up for. It's an awful rag. The senior day-room are going to court-martial you."

"Court-martial me!"

"For funking. They don't know about Aldershot, not a word. I bagged the Sportsman early, and hid it. They are going to get the surprise of their lifetime. I said I'd come up and fetch you."

"I shan't go," said Sheen.

Linton looked alarmed.

"Oh, but I say, you must. Don't spoil the thing. Can't you see what a rag it'll be?"

"I'm not going to sweat downstairs for the benefit of the senior day-room."

"I say," said Linton, "Stanning's there."

"What!"

"He's a witness," said Linton, grinning.

Sheen got up.

"Come on," he said.

Linton came on.

Down in the senior day-room the court was patiently awaiting the prisoner. Eager anticipation was stamped on its expressive features.

"Beastly time he is," said Clayton. Clayton was acting as president.

"We shall have to buck up," said Stanning. "Hullo, here he is at last. Come in, Linton."

"I was going to," said Linton, "but thanks all the same. Come along, Sheen."

"Shut that door, Linton," said Stanning from his seat on the table.

"All right, Stanning," said Linton. "Anything to oblige. Shall I bring up a chair for you to rest your feet on?"

"Forge ahead, Clayton," said Stanning to the president.

The president opened the court-martial in unofficial phraseology.

"Look here, Sheen," he said, "we've come to the conclusion that this has got a bit too thick."

"You mustn't talk in that chatty way, Clayton," interrupted Linton. "'Prisoner at the bar's' the right expression to use. Why don't you let somebody else have a look in? You're the rottenest president of a court-martial I ever saw."

"Don't rag, Linton," said Clayton, with an austere frown. "This is serious."

"Glad you told me," said Linton. "Go on."

"Can't you sit down, Linton!" said Stanning.

"I was only waiting for leave. Thanks. You were saying something, Clayton. It sounded pretty average rot, but you'd better unburden your soul."

The president resumed.

"We want to know if you've anything to say—"

"You don't give him a chance," said Linton. "You bag the conversation so."

"—about disgracing the house."

"By getting the Gotford, you know, Sheen," explained Linton. "Clayton thinks that work's a bad habit, and ought to be discouraged."

Clayton glared, and looked at Stanning. He was not equal to the task of tackling Linton himself.

Stanning interposed.

"Don't rot, Linton. We haven't much time as it is."

"Sorry," said Linton.

"You've let the house down awfully," said Clayton.

"Yes?" said Sheen.

Linton took the paper out of his pocket, and smoothed it out.

"Seen the Sporter?" he asked casually. His neighbour grabbed at it.

"I thought it hadn't come," he said.

"Good account of Aldershot," said Linton.

He leaned back in his chair as two or three of the senior day-room collected round the Sportsman.

"Hullo! We won the gym.!"

"Rot! Let's have a look!"

This tremendous announcement quite eclipsed the court-martial as an object of popular interest. The senior day-room surged round the holder of the paper.

"Give us a chance," he protested.

"We can't have. Where is it? Biddle and Smith are simply hopeless. How the dickens can they have got the shield?"

"What a goat you are!" said a voice reproachfully to the possessor of the paper. "Look at this. It says Cheltenham got it. And here we are—seventeenth. Fat lot of shield we've won."

"Then what the deuce does this mean? 'Honours for St Paul's, Harrow, and Wrykyn'."

"Perhaps it refers to the boxing," suggested Linton.

"But we didn't send any one up. Look here. Harrow won the Heavies. St Paul's got the Middles. Hullo!"

"Great Scott!" said the senior day-room.

There was a blank silence. Linton whistled softly to himself.

The gaze of the senior day-room was concentrated on that ridge of purple beneath Sheen's left eye.

Clayton was the first to speak. For some time he had been waiting for sufficient silence to enable him to proceed with his presidential duties. He addressed himself to Sheen.

"Look here, Sheen," he said, "we want to know what you've got to say for yourself. You go disgracing the house—"

The stunned senior day-room were roused to speech.

"Oh, chuck it, Clayton."

"Don't be a fool, Clayton."

"Silly idiot!"

Clayton looked round in pained surprise at this sudden withdrawal of popular support.

"You'd better be polite to Sheen," said Linton; "he won the Light-Weights at Aldershot yesterday."

The silence once more became strained.

"Well," said Sheen, "weren't you going to court-martial me, or something? Clayton, weren't you saying something?"

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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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«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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