Читаем The White Feather полностью

Clayton started. He had not yet grasped the situation entirely; but he realised dimly that by some miracle Sheen had turned in an instant into a most formidable person.

"Er—no," he said. "No, nothing."

"The thing seems to have fallen through, Sheen," said Linton. "Great pity. Started so well, too. Clayton always makes a mess of things."

"Then I'd just like to say one thing," said Sheen.

Respectful attention from the senior day-room.

"I only want to know why you can't manage things of this sort by yourselves, without dragging in men from other houses."

"Especially men like Stanning," said Linton. "The same thing occurred to me. It's lucky Drummond wasn't here. Remember the last time, you chaps?"

The chaps did. Stanning became an object of critical interest. After all, who was Stanning? What right had he to come and sit on tables in Seymour's and interfere with the affairs of the house?

The allusion to "last time" was lost upon Sheen, but he saw that it had not improved Stanning's position with the spectators.

He opened the door.

"Good bye, Stanning," he said.

"If I hadn't hurt my wrist—" Stanning began.

"Hurt your wrist!" said Sheen. "You got a bad attack of Peteiro. That was what was the matter with you."

"You think that every one's a funk like yourself," said Stanning.

"Pity they aren't," said Linton; "we should do rather well down at Aldershot. And he wasn't such a terror after all, Sheen, was he? You beat him in two and a half rounds, didn't you? Think what Stanning might have done if only he hadn't sprained his poor wrist just in time.

"Look here, Linton—"

"Some are born with sprained wrists," continued the speaker, "some achieve sprained wrists—like Stanning—"

Stanning took a step towards him.

"Don't forget you've a sprained wrist," said Linton.

"Come on, Stanning," said Sheen, who was still holding the door open, "you'll be much more comfortable in your own house. I'll show you out."

"I suppose," said Stanning in the passage, "you think you've scored off me."

"That," said Sheen pleasantly, "is rather the idea. Good bye."

<p><strong>XXIV</strong> </p><p><strong>BRUCE EXPLAINS</strong></p>

Mr Spence was a master with a great deal of sympathy and a highly developed sense of duty. It was the combination of these two qualities which made it so difficult for him to determine on a suitable course of action in relation to Sheen's out-of-bounds exploits. As a private individual he had nothing but admiration for the sporting way in which Sheen had fought his up-hill fight. He felt that he himself in similar circumstances would have broken any number of school rules. But, as a master, it was his duty, he considered, to report him. If a master ignored a breach of rules in one case, with which he happened to sympathise, he would in common fairness be compelled to overlook a similar breach of rules in other cases, even if he did not sympathise with them. In which event he would be of small use as a master.

On the other hand, Sheen's case was so exceptional that he might very well compromise to a certain extent between the claims of sympathy and those of duty. If he were to go to the headmaster and state baldly that Sheen had been in the habit for the last half-term of visiting an up-river public-house, the headmaster would get an entirely wrong idea of the matter, and suspect all sorts of things which had no existence in fact. When a boy is accused of frequenting a public-house, the head-magisterial mind leaps naturally to Stale Fumes and the Drunken Stagger.

So Mr Spence decided on a compromise. He sent for Sheen, and having congratulated him warmly on his victory in the Light-Weights, proceeded as follows:

"You have given me to understand, Sheen, that you were taught boxing by Bevan?"

"Yes, sir."

"At the 'Blue Boar'?"

"Yes, sir."

"This puts me in a rather difficult position, Sheen. Much as I dislike doing it, I am afraid I shall have to report this matter to the headmaster."

Sheen said he supposed so. He saw Mr Spence's point.

"But I shall not mention the 'Blue Boar'. If I did, the headmaster might get quite the wrong impression. He would not understand all the circumstances. So I shall simply mention that you broke bounds by going up the river. I shall tell him the whole story, you understand, and it's quite possible that you will hear no more of the affair. I'm sure I hope so. But you understand my position?"

"Yes, sir."

"That's all, then, Sheen. Oh, by the way, you wouldn't care for a game of fives before breakfast tomorrow, I suppose?"

"I should like it, sir."

"Not too stiff?"

"No, sir."

"Very well, then. I'll be there by a quarter-past seven."

Jack Bruce was waiting to see the headmaster in his study at the end of afternoon school.

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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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