He stood up abruptly, and then knelt down on the ground by the side of the thing unseen. There was a pushing and shuffling, a sound of heavy feet as fresh people came to increase the pressure of the crowd. Men were coming out of the houses. The doors of the “Jolly Cricketers” stood suddenly wide open. Very little was said. Kemp felt about, his hand seeming to pass through empty air. “He’s not breathing,” he said, and then, “I can’t feel his heart. His side—ugh!”

An old woman, peering under the arm of the big navvy, screamed sharply. “Looky there!” she said, and thrust out a wrinkled finger. And looking where she pointed, every one saw, faint and transparent, as though made of glass, so that veins and arteries, and bones and nerves could be distinguished, the outline of a hand—a hand limp and prone. It grew clouded and opaque even as they stared.[8]

“Hallo!” cried the constable. “Here’s his feet a–showing!”

And so, slowly, beginning at his hands and feet, and creeping slowly along his limbs to the vital centres of his body, that strange change to visible fleshliness continued. It was like the slow spreading of a poison. First came the little white veins tracing a hazy gray sketch of a limb, then the glassy bones and intricate arteries, then the flesh and skin, first a faint fogginess and then growing rapidly dense and opaque. Presently they could see his crushed chest and his shoulders, and the dim outline of his drawn and battered features.

When at last the crowd made way for Kemp to stand erect, there lay, naked and pitiful on the ground, the bruised and broken body of a young man about thirty. His hair and brow were white—not gray with age, but white with the whiteness of albinism—and his eyes were like garnets. His hands were clenched, his eyes wide open, and his expression was one of anger and dismay.

“Cover his face!” cried a man. “For Gawd’s, sake cover that face!”

Some one brought a sheet from the “Jolly Cricketers,” and having covered him, they carried him into that house. And there it was, on a shabby bed in a tawdry, ill–lighted bedroom, surrounded by a crowd of ignorant and excited people, broken and wounded, betrayed and unpitied, that Griffin, the first of all men to make himself invisible, Griffin, the most gifted physicist the world has ever seen, ended in infinite disaster his strange and terrible career.

So ends the story of the strange and evil experiment of the Invisible Man. And if you would learn more of him you must go to a little inn near Port Stowe and talk to the landlord. The sign of the inn is an empty board save for a hat and boots, and the name is the title of this story. The landlord is a short and corpulent little man with a nose of cylindrical protrusion, wiry hair, and a sporadic rosiness of visage. Drink generously, and he will tell you generously of all the things that happened to him after that time, and of how the lawyers tried to “do him out of”[1] the treasure found upon him.

“When they found they couldn’t prove who’s money was which, I’m blessed,” he says, “if they didn’t try to make me out a blooming treasure trove! Do I look like a Treasure Trove?[2] And then a gentleman gave me a guinea a night to tell the story at the Empire Music ’All—just tell ’em in my own words—barring one.”

And if you want to cut off the flow of his reminiscences abruptly, you can always do so by asking if there weren’t three manuscript books in the story. He admits there were, and proceeds to explain with asseverations that everybody thinks he has ’em. But, bless you! he hasn’t. “The Invisible Man it was took ’em off to hide ’em when I cut and ran for Port Stowe. It’s that Mr. Kemp put people on with the idea[3] of my having ’em.”

He subsides into a pensive state, watches you furtively, bustles nervously with glasses, and presently leaves the bar.

He is a bachelor man—his tastes were ever bachelor, and there are no women–folk in the house. Outwardly he buttons—it is expected of him—but in his more vital privacies, in the matter of braces, for example, he still turns to string. He conducts his house without enterprise, but with eminent decorum. His movements are slow, and he is a great thinker. But he has a reputation for wisdom and for a respectable parsimony in the village, and his knowledge of the roads of the South of England would beat Cobbett.[4]

On Sunday mornings, every Sunday morning, all the year round, while he is closed to the outer world, and every night after ten, he goes into his bar parlour, bearing a glass of gin faintly tinged with water, and having placed this down, he locks the door and examines the blinds, and even looks under the table. And then, being satisfied of his solitude, he unlocks the cupboard, and a box in the cupboard, and a drawer in that box, and produces three volumes bound in brown leather, and places them solemnly in the middle of the table. The covers are weather–worn and tinged with an algal green—for once they sojourned in a ditch, and some of the pages have been washed blank by dirty water. The landlord sits down in an armchair, fills a long clay pipe slowly—gloating over the books the while. Then he pulls one towards him and begins to study it, turning over the leaves backwards and forwards.

His brows are knit and his lips move painfully. “Hex, little two up in the air, cross and a fiddle–de–dee. Lord! what a one he was for intellect!”

Presently he relaxes and leans back, and blinks through his smoke across the room at things invisible to other eyes. “Full of secrets,” he says. “Wonderful secrets!

“Once I get the haul of them—Lord!

“I wouldn’t do what he did; I’d just—well!” He pulls at his pipe.

So he lapses into a dream, the undying, wonderful dream of his life. And though Kemp has fished unceasingly, no human being save the landlord knows those books are there, with the subtle secret of invisibility and a dozen other strange secrets written therein. And none other will know of them until he dies.

Задача данного комментария — объяснить наиболее трудные для понимания языковые явления, а также реалии исторического и бытового характера, встречающиеся в тексте.

Язык книги, насыщенный идиоматическими оборотами, является образцом современного разговорного английского языка. Но там, где автор воспроизводит речь жителей Суссекса (графство в юго-восточной Англии), встречается много оборотов, свойственных английским диалектам и просторечию. Основными из этих отклонений от норм литературного английского языка являются следующие:

Двойное отрицание: he don't want no help.

Употребление формы Past вместо Past Participle в перфектных временах и в пассиве: he’s took your room; my sister being took up with her little ones. Это явление юмористически подчёркивается автором в сцене с матросом, читающим газету. Он «поправляет» её по–своему: “…it is supposed that he has taken—took, I suppose they mean—the road to Port Stowe.”

Употребление форм Present вместо Past: he give a name.

Употребление форм 1-го лица глаголов вместо 3-го и наоборот: he don’t; you likes.

Употребление форм единственного числа глаголов to be и to have вместо форм множественного числа: we was.

Употребление ain’t (несуществующего вообще в литературном языке) вместо любой формы настоящего времени глаголов to be и to have: he ain’t even given a name.

Неправильное образование глагольных форм: seed (прошедшее время от see, вместо saw).