Читаем The Adventures of Oliver Twist полностью

Oliver, having taken down the shutters, and broken a pane of glass in his effort to stagger away beneath the weight of the first one to a small court at the side of the house in which they were kept during the day, was graciously assisted by Noah:  who having consoled him with the assurance that 'he'd catch it,' condescended to help him.  Mr. Sowerberry came down soon after. Shortly afterwards, Mrs. Sowerberry appeared.  Oliver having 'caught it,' in fulfilment of Noah's prediction, followed that young gentleman down the stairs to breakfast.

'Come near the fire, Noah,' said Charlotte.  'I saved a nice little bit of bacon for you from master's breakfast.  Oliver, shut that door at Mister Noah's back, and take them bits that I've put out on the cover of the bread-pan.  There's your tea; take it away to that box, and drink it there, and make haste, for they'll want you to mind the shop.  D'ye hear?'

'D'ye hear, Work'us?' said Noah Claypole.

'Lor, Noah!' said Charlotte, 'what a rum creature you are!  Why don't you let the boy alone?'

'Let him alone!' said Noah.  'Why everybody lets him alone enough, for the matter of that.  Neither his father nor his mother will ever interfere with him.  All his relations let him have his own way pretty well.  Eh, Charlotte?  He! he! he!'

'Oh, you queer soul!' said Charlotte, bursting into a hearty laugh, in which she was joined by Noah; after which they both looked scornfully at poor Oliver Twist, as he sat shivering on the box in the coldest corner of the room, and ate the stale pieces which had been specially reserved for him.

Noah was a charity-boy, but not a workhouse orphan.  No chance-child was he, for he could trace his genealogy all the way back to his parents, who lived hard by; his mother being a washerwoman, and his father a drunken soldier, discharged with a wooden leg, and a diurnal pension of twopence-halfpenny and an unstateable fraction.  The shop-boys in the neighbourhood had long been in the habit of branding Noah in the public streets, with the ignominious epithets of 'leathers,' 'charity,' and the like; and Noah had bourne them without reply.  But, now that fortune had cast in his way a nameless orphan, at whom even the meanest could point the finger of scorn, he retorted on him with interest.  This affords charming food for contemplation.  It shows us what a beautiful thing human nature may be made to be; and how impartially the same amiable qualities are developed in the finest lord and the dirtiest charity-boy.

Oliver had been sojourning at the undertaker's some three weeks or a month.  Mr. and Mrs. Sowerberry—the shop being shut up—were taking their supper in the little back-parlour, when Mr. Sowerberry, after several deferential glances at his wife, said,

'My dear—'  He was going to say more; but, Mrs. Sowerberry looking up, with a peculiarly unpropitious aspect, he stopped short.

'Well,' said Mrs. Sowerberry, sharply.

'Nothing, my dear, nothing,' said Mr. Sowerberry.

'Ugh, you brute!' said Mrs. Sowerberry.

'Not at all, my dear,' said Mr. Sowerberry humbly.  'I thought you didn't want to hear, my dear.  I was only going to say—'

'Oh, don't tell me what you were going to say,' interposed Mrs. Sowerberry.  'I am nobody; don't consult me, pray.  I don't want to intrude upon your secrets.'  As Mrs. Sowerberry said this, she gave an hysterical laugh, which threatened violent consequences.

'But, my dear,' said Sowerberry, 'I want to ask your advice.'

'No, no, don't ask mine,' replied Mrs. Sowerberry, in an affecting manner:  'ask somebody else's.'  Here, there was another hysterical laugh, which frightened Mr. Sowerberry very much.  This is a very common and much-approved matrimonial course of treatment, which is often very effective It at once reduced Mr. Sowerberry to begging, as a special favour, to be allowed to say what Mrs. Sowerberry was most curious to hear.  After a short duration, the permission was most graciously conceded.

'It's only about young Twist, my dear,' said Mr. Sowerberry. 'A very good-looking boy, that, my dear.'

'He need be, for he eats enough,' observed the lady.

'There's an expression of melancholy in his face, my dear,' resumed Mr. Sowerberry, 'which is very interesting.  He would make a delightful mute, my love.'

Mrs. Sowerberry looked up with an expression of considerable wonderment.  Mr. Sowerberry remarked it and, without allowing time for any observation on the good lady's part, proceeded.

'I don't mean a regular mute to attend grown-up people, my dear, but only for children's practice.  It would be very new to have a mute in proportion, my dear.  You may depend upon it, it would have a superb effect.'

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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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