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The greater part of his money was invested. After his illness, he had joined a big shareholding company, a very solid one, by the way. And though the business was conducted by the others, he was also very interested in it, came to the shareholders’ meetings, was elected a founding member, sat on the board, delivered long speeches, refuted, made noise, all with obvious pleasure. He very much liked making speeches: at least everyone could see his intelligence. And in general he began to be terribly fond of inserting especially profound things and bons mots into his conversation, even in his most intimate private life; that I understand only too well. In his house, downstairs, something like a home office was set up, and a clerk took care of the business, the accounts, and the bookkeeping, and also managed the household. This clerk, who served, besides, in a government post, would have been quite enough by himself; but, at the wish of the prince, they added me as well, as if to assist the clerk; but I was transferred at once to the study and often had no work in front of me, no papers, no books, not even for pretense.

I’m writing now like a man who has long since sobered up, and in many respects almost like an outsider; but how shall I depict my sadness of that time (which I vividly recall right now), as it lodged itself in my heart, and, above all, my agitation of that time, which would reach such a troubled and fervid state that I even didn’t sleep at night—from my impatience, from the riddles that I set myself.

II

ASKING FOR MONEY is a vile affair, even when it’s your salary, if you feel somewhere in the folds of your conscience that you haven’t quite earned it. Meanwhile, the day before, my mother and sister were whispering together, in secret from Versilov (“so as not to upset Andrei Petrovich”), intending to go to a pawnshop with an icon from her icon stand, which for some reason was very dear to her. I was working for fifty roubles a month, but I had no idea how I would receive it; when I was appointed here, nobody told me anything. Some three days earlier, meeting the clerk downstairs, I had asked him who was responsible for the salaries here. The man looked at me with the smile of one astonished (he didn’t like me):

“But do you get a salary?”

I thought that right after my reply he would add:

“And what for, sir?”

But he only answered drily that he “knew nothing” and buried himself in his ruled notebook, in which he was copying out accounts from some scraps of paper.

He was not unaware, however, that I did do something. Two weeks earlier I had sat for exactly four days over a job he himself had given me, making a copy from a rough draft, and it had almost come down to rewriting it. It was a whole crowd of the prince’s “thoughts,” which he had prepared to submit to the shareholders’ committee. I had to put it together into a whole and touch up the style. Afterwards I spent a whole day sitting over this paper with the prince, and he argued with me very vehemently, though he remained pleased; only I don’t know whether he submitted the paper or not. I won’t even mention the two or three letters, also on business, which I wrote at his request.

It was also vexing for me to ask for my salary, because I had already decided to give up my position, anticipating that I’d be forced to leave here as well, owing to ineluctable circumstances. Waking up that morning and getting dressed upstairs in my little closet, I felt my heart pound, and though I spat as I entered the prince’s house, I again felt the same agitation: that morning the person was to arrive here, the woman from whose arrival I expected an explanation of all that tormented me! This was precisely the prince’s daughter, General Akhmakov’s widow, the young woman of whom I have already spoken and who was at bitter enmity with Versilov. At last I’ve written that name! Of course, I had never seen her, and could not imagine how I would speak to her, or whether I would; but I imagined to myself (perhaps on sufficient grounds) that her arrival would disperse the darkness that surrounded Versilov in my eyes. I couldn’t remain firm: it was terribly vexing that from the very first step I was so pusillanimous and awkward; it was terribly curious, and above all disgusting—three full impressions. I remember that whole day by heart!

My prince knew nothing as yet about the probable arrival of his daughter, and assumed she would return from Moscow maybe in a week. But I learned of it the evening before, quite by accident: Tatyana Pavlovna, who had received a letter from the general’s widow, let it slip to my mother in my presence. Though they whispered and used remote phrases, I guessed it. Of course, I wasn’t eavesdropping; I simply couldn’t help listening when I saw my mother suddenly become so agitated at the news of this woman’s arrival. Versilov was not at home.

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Лейкин, Николай Александрович — русский писатель и журналист. Родился в купеческой семье. Учился в Петербургском немецком реформатском училище. Печататься начал в 1860 году. Сотрудничал в журналах «Библиотека для чтения», «Современник», «Отечественные записки», «Искра».Большое влияние на творчество Л. оказали братья В.С. и Н.С.Курочкины. С начала 70-х годов Л. - сотрудник «Петербургской газеты». С 1882 по 1905 годы — редактор-издатель юмористического журнала «Осколки», к участию в котором привлек многих бывших сотрудников «Искры» — В.В.Билибина (И.Грек), Л.И.Пальмина, Л.Н.Трефолева и др.Фабульным источником многочисленных произведений Л. - юмористических рассказов («Наши забавники», «Шуты гороховые»), романов («Стукин и Хрустальников», «Сатир и нимфа», «Наши за границей») — являлись нравы купечества Гостиного и Апраксинского дворов 70-80-х годов. Некультурный купеческий быт Л. изображал с точки зрения либерального буржуа, пользуясь неиссякаемым запасом смехотворных положений. Но его количественно богатая продукция поражает однообразием тематики, примитивизмом художественного метода. Купеческий быт Л. изображал, пользуясь приемами внешнего бытописательства, без показа каких-либо сложных общественных или психологических конфликтов. Л. часто прибегал к шаржу, карикатуре, стремился рассмешить читателя даже коверканием его героями иностранных слов. Изображение крестин, свадеб, масляницы, заграничных путешествий его смехотворных героев — вот тот узкий круг, в к-ром вращалось творчество Л. Он удовлетворял спросу на легкое развлекательное чтение, к-рый предъявляла к лит-ре мещанско-обывательская масса читателей политически застойной эпохи 80-х гг. Наряду с ней Л. угождал и вкусам части буржуазной интеллигенции, с удовлетворением читавшей о похождениях купцов с Апраксинского двора, считая, что она уже «культурна» и высоко поднялась над темнотой лейкинских героев.Л. привлек в «Осколки» А.П.Чехова, который под псевдонимом «Антоша Чехонте» в течение 5 лет (1882–1887) опубликовал здесь более двухсот рассказов. «Осколки» были для Чехова, по его выражению, литературной «купелью», а Л. - его «крестным батькой» (см. Письмо Чехова к Л. от 27 декабря 1887 года), по совету которого он начал писать «коротенькие рассказы-сценки».

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