Читаем The White Feather полностью

Meanwhile, Sheen paid his daily visits to the "Blue Boar," losing flesh and gaining toughness with every lesson. The more he saw of Joe Bevan the more he liked him, and appreciated his strong, simple outlook on life. Shakespeare was a great bond between them. Sheen had always been a student of the Bard, and he and Joe would sit on the little verandah of the inn, looking over the river, until it was time for him to row back to the town, quoting passages at one another. Joe Bevan's knowledge, of the plays, especially the tragedies, was wide, and at first inexplicable to Sheen. It was strange to hear him declaiming long speeches from Macbeth or Hamlet, and to think that he was by profession a pugilist. One evening he explained his curious erudition. In his youth, before he took to the ring in earnest, he had travelled with a Shakespearean repertory company. "I never played a star part," he confessed, "but I used to come on in the Battle of Bosworth and in Macbeth's castle and what not. I've been First Citizen sometimes. I was the carpenter in Julius Caesar. That was my biggest part. 'Truly sir, in respect of a fine workman, I am but, as you would say, a cobbler.' But somehow the stage—well...you know what it is, sir. Leeds one week, Manchester the next, Brighton the week after, and travelling all Sunday. It wasn't quiet enough for me."

The idea of becoming a professional pugilist for the sake of peace and quiet tickled Sheen. "But I've always read Shakespeare ever since then," continued Mr Bevan, "and I always shall read him."

It was on the next day that Mr Bevan made a suggestion which drew confidences from Sheen, in his turn.

"What you want now, sir," he said, "is to practise on someone of about your own form, as the saying is. Isn't there some gentleman friend of yours at the college who would come here with you?"

They were sitting on the verandah when he asked this question. It was growing dusk, and the evening seemed to invite confidences. Sheen, looking out across the river and avoiding his friend's glance, explained just what it was that made it so difficult for him to produce a gentleman friend at that particular time. He could feel Mr Bevan's eye upon him, but he went through with it till the thing was told—boldly, and with no attempt to smooth over any of the unpleasant points.

"Never you mind, sir," said Mr Bevan consolingly, as he finished. "We all lose our heads sometimes. I've seen the way you stand up to Francis, and I'll eat—I'll eat the medicine-ball if you're not as plucky as anyone. It's simply a question of keeping your head. You wouldn't do a thing like that again, not you. Don't you worry yourself, sir. We're all alike when we get bustled. We don't know what we're doing, and by the time we've put our hands up and got into shape, why, it's all over, and there you are. Don't you worry yourself, sir."

"You're an awfully good sort, Joe," said Sheen gratefully.

<p><strong>XI</strong> </p><p><strong>A SMALL INCIDENT</strong></p>

Failing a gentleman friend, Mr Bevan was obliged to do what he could by means of local talent. On Sheen's next visit he was introduced to a burly youth of his own age, very taciturn, and apparently ferocious. He, it seemed, was the knife and boot boy at the "Blue Boar", "did a bit" with the gloves, and was willing to spar with Sheen provided Mr Bevan made it all right with the guv'nor; saw, that is so say, that he did not get into trouble for passing in unprofessional frivolity moments which should have been sacred to knives and boots. These terms having been agreed to, he put on the gloves.

For the first time since he had begun his lessons, Sheen experienced an attack of his old shyness and dislike of hurting other people's feelings. He could not resist the thought that he had no grudge against the warden of the knives and boots. He hardly liked to hit him.

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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