The Two Magics: The Turn of the Screw, Covering End. Генри Джеймс

all pure suffering; but I have at least reached the heart of it, and the straightest road out is doubtless to advance. One evening—with nothing to lead up or to prepare it—I felt the cold touch of the impression that had breathed on me the night of my arrival and which, much lighter then, as I have mentioned, I should probably have made little of in memory had my subsequent sojourn been less agitated. I had not gone to bed; I sat reading by a couple of candles. There was a roomful of old books at Bly—last-century fiction, some of it, which, to the extent of a distinctly deprecated renown, but never to so much as that of a stray specimen, had reached the sequestered home and appealed to the unavowed curiosity of my youth. I remember that the book I had in my hand was Fielding’s Amelia; also that I was wholly awake. I recall further both a general conviction that it was horribly late and a particular objection to looking at my watch. I figure, finally, that the white curtain draping, in the fashion of those days, the head of Flora’s little bed, shrouded, as I had assured myself long before, the perfection of childish rest. I recollect in short that, though I was deeply interested in my author, I found myself, at the turn of a page and with his spell all scattered, looking straight up from him and hard at the door of my room. There was a moment during which I listened, reminded of the faint sense I had had, the first night, of there being something undefineably astir in the house, and noted the soft breath of the open casement just move the half-drawn blind. Then, with all the marks of a deliberation that must have seemed magnificent had there been anyone to admire it, I laid down my book, rose to my feet, and, taking a candle, went straight out of the room and, from the passage, on which my light made little impression, noiselessly closed and locked the door.