Читаем Gone with the Wind полностью

At the other end of the hall from the platform, the ladies had eclipsed themselves. On this wall hung large pictures of President Davis and Georgia’s own “Little Alec” Stephens, VicePresident of the Confederacy. Above them was an enormous flag and, beneath, on long tables was the loot of the gardens of the town, ferns, banks of roses, crimson and yellow and white, proud sheaths of golden gladioli, masses of varicolored nasturtiums, tall stiff hollyhocks rearing deep maroon and creamy heads above the other flowers. Among them, candles burned serenely like altar fires. The two faces looked down on the scene, two faces as different as could be possible in two men at the helm of so momentous an undertaking: Davis with the flat cheeks and cold eyes of an ascetic, his thin proud lips set firmly; Stephens with dark burning eyes deep socketed in a face that had known nothing but sickness and pain and had triumphed over them with humor and with fire-two faces that were greatly loved.

The elderly ladies of the committee in whose hands rested the responsibility for the whole bazaar rustled in as importantly as full-rigged ships, hurried the belated young matrons and giggling girls into their booths, and then swept through the doors into the back rooms where the refreshments were being laid out. Aunt Pitty panted out after them.

The musicians clambered upon their platform, black, grinning, their fat cheeks already shining with perspiration, and began tuning their fiddles and sawing and whanging with their bows in anticipatory importance. Old Levi, Mrs. Merriwether’s coachman, who had led the orchestras for every bazaar, ball and wedding since Atlanta was named Marthasville, rapped with his bow for attention. Few except the ladies who were conducting the bazaar had arrived yet, but all eyes turned toward him. Then the fiddles, bull fiddles, accordions, banjos and knuckle-bones broke into a slow rendition of “Lorena”-too slow for dancing, the dancing would come later when the booths were emptied of their wares. Scarlett felt her heart beat faster as the sweet melancholy of the waltz came to her:

“The years creep slowly by, Lorena! The snow is on the grass again. The sun’s far down the sky, Lorena…”

One-two-three, one-two-three, dip-sway-three, turn-two-three. What a beautiful waltz! She extended her hands slightly, closed her eyes and swayed with the sad haunting rhythm. There was something about the tragic melody and Lorena’s lost love that mingled with her own excitement and brought a lump into her throat.

Then, as if brought into being by the waltz music, sounds floated in from the shadowy moonlit street below, the trample of horses’ hooves and the sound of carriage wheels, laughter on the warm sweet air and the soft acrimony of negro voices raised in argument over hitching places for the horses. There was confusion on the stairs and light-hearted merriment, the mingling of girls’ fresh voices with the bass notes of their escorts, airy cries of greeting and squeals of joy as girls recognized friends from whom they had parted only that afternoon.

Suddenly the hall burst into life. It was full of girls, girls who floated in butterfly bright dresses, hooped out enormously, lace pantalets peeping from beneath; round little white shoulders bare, and faintest traces of soft little bosoms showing above lace flounces; lace shawls carelessly hanging from arms; fans spangled and painted, fans of swan’s-down and peacock feathers, dangling at wrists by tiny velvet ribbons; girls with masses of golden curls about their necks and fringed gold earbobs that tossed and danced with their dancing curls. Laces and silks and braid and ribbons, all blockade run, all the more precious and more proudly worn because of it, finery flaunted with an added pride as an extra affront to the Yankees.

Not all the flowers of the town were standing in tribute to the leaders of the Confederacy. The smallest, the most fragrant blossoms bedecked the girls. Tea roses tucked behind pink ears, cape jessamine and bud roses in round little garlands over cascades of side curls, blossoms thrust demurely into satin sashes, flowers that before the night was over would find their way into the breast pockets of gray uniforms as treasured souvenirs.

There were so many uniforms in the crowd-so many uniforms on so many men whom Scarlett knew, men she had met on hospital cots, on the streets, at the drill ground. They were such resplendent uniforms, brave with shining buttons and dazzling with twined gold braid on cuffs and collars, the red and yellow and blue stripes on the trousers, for the different branches of the service, setting off the gray to perfection. Scarlet and gold sashes swung to and fro, sabers glittered and banged against shining boots, spurs rattled and jingled.

Перейти на страницу:

Похожие книги

Отверженные
Отверженные

Великий французский писатель Виктор Гюго — один из самых ярких представителей прогрессивно-романтической литературы XIX века. Вот уже более ста лет во всем мире зачитываются его блестящими романами, со сцен театров не сходят его драмы. В данном томе представлен один из лучших романов Гюго — «Отверженные». Это громадная эпопея, представляющая целую энциклопедию французской жизни начала XIX века. Сюжет романа чрезвычайно увлекателен, судьбы его героев удивительно связаны между собой неожиданными и таинственными узами. Его основная идея — это путь от зла к добру, моральное совершенствование как средство преобразования жизни.Перевод под редакцией Анатолия Корнелиевича Виноградова (1931).

Виктор Гюго , Вячеслав Александрович Егоров , Джордж Оливер Смит , Лаванда Риз , Марина Колесова , Оксана Сергеевна Головина

Проза / Классическая проза / Классическая проза ХIX века / Историческая литература / Образование и наука
1984. Скотный двор
1984. Скотный двор

Роман «1984» об опасности тоталитаризма стал одной из самых известных антиутопий XX века, которая стоит в одном ряду с «Мы» Замятина, «О дивный новый мир» Хаксли и «451° по Фаренгейту» Брэдбери.Что будет, если в правящих кругах распространятся идеи фашизма и диктатуры? Каким станет общественный уклад, если власть потребует неуклонного подчинения? К какой катастрофе приведет подобный режим?Повесть-притча «Скотный двор» полна острого сарказма и политической сатиры. Обитатели фермы олицетворяют самые ужасные людские пороки, а сама ферма становится символом тоталитарного общества. Как будут существовать в таком обществе его обитатели – животные, которых поведут на бойню?

Джордж Оруэлл

Классический детектив / Классическая проза / Прочее / Социально-психологическая фантастика / Классическая литература