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What annoyed him more than anything else was the knowledge that if only Fenn chose to do the square thing and help him in his work, the combination would be irresistible. It was impossible to make any leeway to speak of by himself. If Fenn would only forget his grievances and join forces with him, they could electrify the house.

Fenn, however, showed no inclination to do anything of the kind. He and Kennedy never spoke to one another now except when it was absolutely unavoidable, and then they behaved with that painful politeness in which the public schoolman always wraps himself as in a garment when dealing with a friend with whom he has quarrelled.

On the Walton episode Fenn had made no comment, though it is probable that he thought a good deal.

It was while matters were in this strained condition that Fenn received a letter from his elder brother. This brother had been at Eckleton in his time—School House—and had left five years before to go to Cambridge. Cambridge had not taught him a great deal, possibly because he did not meet the well-meant efforts of his tutor half-way. The net result of his three years at King's was—imprimis, a cricket blue, including a rather lucky eighty-three at Lord's; secondly, a very poor degree; thirdly and lastly, a taste for literature and the drama—he had been a prominent member of the Footlights Club. When he came down he looked about him for some occupation which should combine in happy proportions a small amount of work and a large amount of salary, and, finding none, drifted into journalism, at which calling he had been doing very fairly ever since.

"Dear Bob," the letter began. Fenn's names were Robert Mowbray, the second of which he had spent much of his time in concealing. "Just a line."

The elder Fenn always began his letters with these words, whether they ran to one sheet or eight. In the present case the screed was not particularly long.

"Do you remember my reading you a bit of an opera I was writing? Well, I finished it, and, after going the round of most of the managers, who chucked it with wonderful unanimity, it found an admirer in Higgs, the man who took the part of the duke in The Outsider. Luckily, he happened to be thinking of starting on his own in opera instead of farce, and there's a part in mine which fits him like a glove. So he's going to bring it out at the Imperial in the spring, and by way of testing the piece—trying it on the dog, as it were—he means to tour with it. Now, here's the point of this letter. We start at Eckleton next Wednesday. We shall only be there one night, for we go on to Southampton on Thursday. I suppose you couldn't come and see it? I remember Peter Brown, who got the last place in the team the year I got my cricket colours, cutting out of his house (Kay's, by the way) and going down town to see a piece at the theatre. I'm bound to admit he got sacked for it, but still, it shows that it can be done. All the same, I shouldn't try it on if I were you. You'll be able to read all about the 'striking success' and 'unrestrained enthusiasm' in the Eckleton Mirror on Thursday. Mind you buy a copy."

The rest of the letter was on other subjects. It took Fenn less than a minute to decide to patronise that opening performance. He was never in the habit of paying very much attention to risks when he wished to do anything, and now he felt as if he cared even less than usual what might be the outcome of the adventure. Since he had ceased to be on speaking terms with Kennedy, he had found life decidedly dull. Kennedy had been his only intimate friend. He had plenty of acquaintances, as a first eleven and first fifteen man usually has, but none of them were very entertaining. Consequently he welcomed the idea of a break in the monotony of affairs. The only thing that had broken it up to the present had been a burglary at the school house. Some enterprising marauder had broken in a week before and gone off with a few articles of value from the headmaster's drawing-room. But the members of the school house had talked about this episode to such an extent that the rest of the school had dropped off the subject, exhausted, and declined to discuss it further. And things had become monotonous once more.

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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