Читаем The Enchanted Wanderer and Other Stories полностью

“Gibbon was of small stature, extremely fat, and had a most remarkable face. It was impossible to make out any features on this face. Neither the nose, nor the eyes, nor the mouth could be seen at all; two huge, fat cheeks, resembling the devil knows what, engulfed everything … They were so puffed up that they quite departed from all proportion ever so slightly proper even for the biggest cheeks; anyone seeing them must have wondered: why has that place not been put in the right place? I would characterize Gibbon’s face with one word, if it were only possible to speak such a word. Lauzun,8 who was on close terms with Gibbon, once brought him to du Deffand. Mme du Deffand was already blind then and had the habit of feeling with her hands the faces of distinguished people newly introduced to her. In this way she would acquire a rather accurate notion of the features of her new acquaintance. She applied this tactile method to Gibbon, and the result was terrible. The Englishman approached her chair and with especial good-naturedness offered her his astonishing face. Mme du Deffand brought her hands to it and passed her fingers over this ball-shaped face. She tried to find something to stop at, but it was impossible. All at once the blind lady’s face expressed first astonishment, then wrath, and at last, quickly pulling her hands away in disgust, she cried: ‘What a vile joke!’ ”9


XIII

That was the end of the reading, and of the friends’ conversation, and of the anticipated celebration of the New Year, because, when the young princess closed the book and asked, “What was it that Mme du Deffand imagined?” the mother’s look was so terrible that the girl cried out, covered her face with her hands, and rushed headlong to another room, from where her weeping was heard at once, verging on hysterics.

The brother rushed to his sister, and at the same moment the princess hastened there on long strides.

The presence of outsiders was now inappropriate, and therefore the “three friends” and I all quietly cleared off that minute, and the bottle of Veuve Clicquot prepared for seeing in the New Year remained wrapped in a napkin, as yet uncorked.


XIV

The feelings with which we left were painful, but did no credit to our hearts, for, while keeping our faces strenuously serious, we could barely refrain from bursting into laughter, and bent down with exaggerated care to look for our galoshes, which was necessary because the servants had also scattered on occasion of the alarm caused by the young lady’s sudden illness.

The senators got into their carriages, but the diplomat accompanied me on foot. He wished to take some fresh air and, it seems, was interested in knowing my insignificant opinion about what might have presented itself to the young princess’s mental eyes after reading the above passage from the writings of Mme de Genlis.

But I decidedly did not dare to make any suggestions about it.


XV

From the unfortunate day when this incident took place, I saw no more of the princess or her daughter. I could not resolve to go and wish her a Happy New Year, and only sent to inquire after the young princess’s health, but even that with great hesitation, lest it be taken in some other sense. Visits of condoléance seemed totally out of place to me. The situation was a most stupid one: to suddenly stop visiting acquaintances would be rude, but to appear there also seemed inappropriate.

Perhaps I was wrong in my conclusions, but they seemed right to me; and I was not mistaken: the blow that the princess suffered on New Year’s Eve from the “spirit” of Mme de Genlis was very heavy and had serious consequences.


XVI

About a month later I met the diplomat on Nevsky Prospect: he was very affable, and we fell to talking.

“I haven’t seen you for a long time,” he said.

“We have nowhere to meet,” I replied.

“Yes, we’ve lost the dear house of the esteemed princess: the poor woman had to leave.”

“Leave?” I said. “For where?”

“As if you don’t know.”

“I know nothing.”

“They all left for abroad, and I’m very happy that I was able to find a post there for her son. It was impossible not to do so after what happened then … So terrible! You know, the unfortunate woman burned all her volumes that same night and smashed the little terracotta hand to smithereens, though one finger, or better say a fig, seems to have survived as a souvenir. Generally, it was a most unpleasant incident, but then it serves as an excellent proof of one great truth.”

“Even two or three, in my opinion.”

The diplomat smiled and, looking fixedly at me, asked:

“Which, sir?”

“First, it proves that the books we decide to talk about, we should read beforehand.”

“And second?”

“And second—that it’s not reasonable to keep a young girl in such childish ignorance as the young princess was in before that occurrence; otherwise she would certainly have stopped reading about Gibbon much sooner.”

“And third?”

“Third, that spirits are just as unreliable as living people.”

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Клюшников, Виктор Петрович (1841–1892) — беллетрист. Родом из дворян Гжатского уезда. В детстве находился под влиянием дяди своего, Ивана Петровича К. (см. соотв. статью). Учился в 4-й московской гимназии, где преподаватель русского языка, поэт В. И. Красов, развил в нем вкус к литературным занятиям, и на естественном факультете московского университета. Недолго послужив в сенате, К. обратил на себя внимание напечатанным в 1864 г. в "Русском Вестнике" романом "Марево". Это — одно из наиболее резких "антинигилистических" произведений того времени. Движение 60-х гг. казалось К. полным противоречий, дрянных и низменных деяний, а его герои — честолюбцами, ищущими лишь личной славы и выгоды. Роман вызвал ряд резких отзывов, из которых особенной едкостью отличалась статья Писарева, называвшего автора "с позволения сказать г-н Клюшников". Кроме "Русского Вестника", К. сотрудничал в "Московских Ведомостях", "Литературной Библиотеке" Богушевича и "Заре" Кашпирева. В 1870 г. он был приглашен в редакторы только что основанной "Нивы". В 1876 г. он оставил "Ниву" и затеял собственный иллюстрированный журнал "Кругозор", на издании которого разорился; позже заведовал одним из отделов "Московских Ведомостей", а затем перешел в "Русский Вестник", который и редактировал до 1887 г., когда снова стал редактором "Нивы". Из беллетристических его произведений выдаются еще "Немая", "Большие корабли", "Цыгане", "Немарево", "Барышни и барыни", "Danse macabre", a также повести для юношества "Другая жизнь" и "Государь Отрок". Он же редактировал трехтомный "Всенаучный (энциклопедический) словарь", составлявший приложение к "Кругозору" (СПб., 1876 г. и сл.).Роман В.П.Клюшникова "Марево" - одно из наиболее резких противонигилистических произведений 60-х годов XIX века. Его герои - честолюбцы, ищущие лишь личной славы и выгоды. Роман вызвал ряд резких отзывов, из которых особенной едкостью отличалась статья Писарева.

Виктор Петрович Клюшников

Русская классическая проза