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- Уилки Коллинз
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- Отель с привидениями
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- Стр. 113/130
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Henry
advised
taking
her
upstairs
first
,
and
then
asking
the
manager
’
s
opinion
There
was
great
difficulty
in
persuading
her
to
rise
,
and
accept
the
support
of
the
chambermaid
’
s
arm
.
It
was
only
by
reiterated
promises
to
read
the
play
that
night
,
and
to
make
the
fourth
act
in
the
morning
,
that
Henry
prevailed
on
the
Countess
to
return
to
her
room
.
Left
to
himself
,
he
began
to
feel
a
certain
languid
curiosity
in
relation
to
the
manuscript
.
He
looked
over
the
pages
,
reading
a
line
here
and
a
line
there
.
Suddenly
he
changed
colour
as
he
read
—
and
looked
up
from
the
manuscript
like
a
man
bewildered
.
’
Good
God
!
what
does
this
mean
?
’
he
said
to
himself
.
His
eyes
turned
nervously
to
the
door
by
which
Agnes
had
left
him
.
She
might
return
to
the
drawing
-
room
,
she
might
want
to
see
what
the
Countess
had
written
.
He
looked
back
again
at
the
passage
which
had
startled
him
—
considered
with
himself
for
a
moment
—
and
,
snatching
up
the
unfinished
play
,
suddenly
and
softly
left
the
room
.
Entering
his
own
room
on
the
upper
floor
,
Henry
placed
the
manuscript
on
his
table
,
open
at
the
first
leaf
.
His
nerves
were
unquestionably
shaken
;
his
hand
trembled
as
he
turned
the
pages
,
he
started
at
chance
noises
on
the
staircase
of
the
hotel
.
The
scenario
,
or
outline
,
of
the
Countess
’
s
play
began
with
no
formal
prefatory
phrases
.
She
presented
herself
and
her
work
with
the
easy
familiarity
of
an
old
friend
.
’
Allow
me
,
dear
Mr
.
Francis
Westwick
,
to
introduce
to
you
the
persons
in
my
proposed
Play
.
Behold
them
,
arranged
symmetrically
in
a
line
.
’
My
Lord
.
The
Baron
.
The
Courier
.
The
Doctor
.
The
Countess
.
’
I
don
’
t
trouble
myself
,
you
see
,
to
invest
fictitious
family
names
.
My
characters
are
sufficiently
distinguished
by
their
social
titles
,
and
by
the
striking
contrast
which
they
present
one
with
another
.
The
First
Act
opens
—
’
No
!
Before
I
open
the
First
Act
,
I
must
announce
,
injustice
to
myself
,
that
this
Play
is
entirely
the
work
of
my
own
invention
.
I
scorn
to
borrow
from
actual
events
;
and
,
what
is
more
extraordinary
still
,
I
have
not
stolen
one
of
my
ideas
from
the
Modern
French
drama
.
As
the
manager
of
an
English
theatre
,
you
will
naturally
refuse
to
believe
this
.
It
doesn
’
t
matter
.
Nothing
matters
—
except
the
opening
of
my
first
act
.
