Читаем The Adolescent полностью

“Of course, it was stupid, but I was worked up. They dragged me for over three miles, in hot weather, as far as the institutes, went into a one-story wooden house—quite a decent one, I must admit—and you could see lots of flowers inside, two canaries, three lapdogs, and some framed prints. I stood in the middle of the street in front of the house for about half an hour. They peeked out on the sly three times or so, and then drew all the blinds. Finally, an official came out of the gate, an elderly man; judging by his looks, he had been asleep and had been awakened on purpose; he was wearing, not quite a house robe, but something very informal; he stood by the gate, put his hands behind his back, and started looking at me, and I at him. He would glance away, then look at me again, and suddenly he began to smile at me. I turned around and left.”

“My friend, this is something Schilleresque!8 It has always surprised me: you’ve got ruddy cheeks, your face is bursting with health, and—such a, one might say, aversion to women! How is it possible that at your age a woman does not make a certain impression? When I was just eleven, mon cher, my tutor observed to me that I gazed too much at the statues in the Summer Garden.”9 “You’d like terribly for me to go and visit some local Josephine and come to let you know. There’s no need. I myself, when I was just thirteen, saw a woman’s nakedness, all of it; since then I’ve felt this loathing.”

“Seriously? But, cher enfant, a beautiful, fresh woman smells just like an apple, what’s there to loathe?”

“In my former little boarding school, at Touchard’s, even before high school, I had a comrade—Lambert. He used to beat me, because he was more than three years older, and I served him and took his boots off. When he went to confirmation, the abbé Rigaud visited him to congratulate him on his first communion,10 and the two rushed in tears to embrace each other, and the abbé Rigaud started pressing him to his breast terribly hard, with various gestures. I also wept and was very envious. When his father died, he left school, and I didn’t see him for two years, but after two years I met him in the street. He said he would come to see me. I was already in high school and was living with Nikolai Semyonovich. He came in the morning, showed me five hundred roubles, and told me to come with him. Though he had beaten me two years earlier, he had always needed me, not only for his boots; he used to tell me everything. He told me that he had stolen the money that day from his mother’s cashbox, having duplicated the key, because his father’s money was all his by law, and she dared not keep it from him, and that the abbé Rigaud had come the day before to admonish him—came in, stood over him and started whimpering, portraying horror, and raising his arms to the sky, “and I pulled my knife and said I’d cut his throat ” (he pronounced it thghroat). We drove to Kuznetsky. On the way, he told me that his mother had relations with the abbé Rigaud, and that he had noticed it, and that he spat on it all, and that everything they said about communion was rubbish. He said a lot more, and I was frightened. In Kuznetsky he bought a double-barreled shotgun, a game bag, cartridges, a horsewhip, and then also a pound of candy. We drove out of town to shoot, and on our way met a birdcatcher with his cages; Lambert bought a canary from him. In the woods he let the canary out, because it couldn’t fly far after being in a cage, and began shooting at it, but missed. It was the first time in his life he had shot a gun, but he had been wanting to buy a gun for a long time, still at Touchard’s, and we had long dreamed of a gun. He was as if spluttering. His hair was terribly black, his face white and red-cheeked like a mask, his nose long and aquiline, such as Frenchmen have, his teeth white, his eyes black. He tied the canary to a branch with a thread, and with both barrels, point-blank, from four inches away, blasted it twice, and it scattered into a hundred little feathers. Then we went back, stopped at a hotel, took a room, began eating and drinking champagne; a lady came . . . I was very struck, I remember, by how magnificently she was dressed, in green silk. Here I saw all that . . . what I told you about . . . Afterwards, when we started drinking again, he began to taunt her and abuse her; she was sitting there without her dress; he had taken her dress away, and when she began cursing and asking for her dress, so that she could put it on, he started whipping her as hard as he could on her bare shoulders with the whip. I stood up and seized him by the hair, so deftly that I threw him to the floor at once. He seized a fork and stuck it into my thigh. Then people rushed in, hearing the shouting, and I managed to escape. Since then the memory of nakedness has been loathsome to me; believe me, she was a beauty.”

As I talked, the prince’s face changed from playful to very sad.

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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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