Читаем The Master and Margarita полностью

This torture went on until noon, when Nikanor Ivanovich simply fled his apartment for the management office by the gate, but when he saw them lying in wait for him there, too, he fled that place as well. Having somehow shaken off those who followed on his heels across the asphalt-paved courtyard, Nikanor Ivanovich disappeared into the sixth entrance and went up to the fifth floor, where this vile apartment no. 50 was located.

After catching his breath on the landing, the corpulent Nikanor Ivanovich rang, but no one opened for him. He rang again, and then again, and started grumbling and swearing quietly. Even then no one opened. His patience exhausted, Nikanor Ivanovich took from his pocket a bunch of duplicate keys belonging to the house management, opened the door with a sovereign hand, and went in.

‘Hey, housekeeper!’ Nikanor Ivanovich cried in the semi-dark front hall. ‘Grunya, or whatever your name is! ... Are you here?’

No one responded.

Then Nikanor Ivanovich took a folding ruler from his briefcase, removed the seal from the door to the study, and stepped in. Stepped in, yes, but halted in amazement in the doorway and even gave a start.

At the deceased’s desk sat an unknown, skinny, long citizen in a little checkered jacket, a jockey’s cap, and a pince-nez ... well, in short, that same one.

‘And who might you be, citizen?’ Nikanor Ivanovich asked fearfully.

‘Hah! Nikanor Ivanovich!’ the unexpected citizen yelled in a rattling tenor and, jumping up, greeted the chairman with a forced and sudden handshake. This greeting by no means gladdened Nikanor Ivanovich.

‘Excuse me,’ he said suspiciously, ‘but who might you be? Are you an official person?’

‘Eh, Nikanor Ivanovich!’ the unknown man exclaimed soulfully. ‘What are official and unofficial persons? It all depends on your point of view on the subject. It’s all fluctuating and relative, Nikanor Ivanovich. Today I’m an unofficial person, and tomorrow, lo and behold, I’m an official one! And it also happens the other way round — oh, how it does!’

This argument in no way satisfied the chairman of the house management. Being a generally suspicious person by nature, he concluded that the man holding forth in front of him was precisely an unofficial person, and perhaps even an idle one.

‘Yes, but who might you be? What’s your name?’ the chairman inquired with increasing severity and even began to advance upon the unknown man.

‘My name,’ the citizen responded, not a bit put out by the severity, ‘well, let’s say it’s Koroviev. But wouldn’t you like a little snack, Nikanor Ivanovich? No formalities, eh?’

‘Excuse me,’ Nikanor Ivanovich began, indignantly now, ‘what have snacks got to do with it!’ (We must confess, unpleasant as it is, that Nikanor Ivanovich was of a somewhat rude nature.) ‘Sitting in the deceased’s half is not permitted! What are you doing here?’

‘Have a seat, Nikanor Ivanovich,’ the citizen went on yelling, not a bit at a loss, and began fussing about offering the chairman a seat.

Utterly infuriated, Nikanor Ivanovich rejected the seat and screamed:

‘But who are you?’

‘I, if you please, serve as interpreter for a foreign individual who has taken up residence in this apartment,’ the man calling himself Koroviev introduced himself and clicked the heels of his scuffed, unpolished shoes.

Nikanor Ivanovich opened his mouth. The presence of some foreigner in this apartment, with an interpreter to boot, came as a complete surprise to him, and he demanded explanations.

The interpreter explained willingly. A foreign artiste, Mr Woland, had been kindly invited by the director of the Variety, Stepan Bogdanovich Likhodeev, to spend the time of his performances, a week or so, in his apartment, about which he had written to Nikanor Ivanovich yesterday, requesting that he register the foreigner as a temporary resident, while Likhodeev himself took a trip to Yalta.

‘He never wrote me anything,’ the chairman said in amazement.

‘Just look through your briefcase, Nikanor Ivanovich,’ Koroviev suggested sweetly.

Nikanor Ivanovich, shrugging his shoulders, opened the briefcase and found Likhodeev’s letter in it.

‘How could I have forgotten about it?’ Nikanor Ivanovich muttered, looking dully at the opened envelope.

‘All sorts of things happen, Nikanor Ivanovich, all sorts!’ Koroviev rattled. ‘Absent-mindedness, absent-mindedness, fatigue and high blood pressure, my dear friend Nikanor Ivanovich! I’m terribly absent-minded myself! Someday, over a glass, I’ll tell you a few facts from my biography — you’ll die laughing!’

‘And when is Likhodeev going to Yalta?’

‘He’s already gone, gone!’ the interpreter cried. ‘He’s already wheeling along, you know! He’s already devil knows where!’ And here the interpreter waved his arms like the wings of a windmill.

Nikanor Ivanovich declared that he must see the foreigner in person, but got a refusal on that from the interpreter. quite impossible. He’s busy. Training the cat.

The cat I can show you, if you like,‘ Koroviev offered.

Перейти на страницу:

Похожие книги

Судьба. Книга 1
Судьба. Книга 1

Роман «Судьба» Хидыра Дерьяева — популярнейшее произведение туркменской советской литературы. Писатель замыслил широкое эпическое полотно из жизни своего народа, которое должно вобрать в себя множество эпизодов, событий, людских судеб, сложных, трагических, противоречивых, и показать путь трудящихся в революцию. Предлагаемая вниманию читателей книга — лишь зачин, начало будущей эпопеи, но тем не менее это цельное и законченное произведение. Это — первая встреча автора с русским читателем, хотя и Хидыр Дерьяев — старейший туркменский писатель, а книга его — первый роман в туркменской реалистической прозе. «Судьба» — взволнованный рассказ о давних событиях, о дореволюционном ауле, о людях, населяющих его, разных, не похожих друг на друга. Рассказы о судьбах героев романа вырастают в сложное, многоплановое повествование о судьбе целого народа.

Хидыр Дерьяев

Проза / Роман, повесть / Советская классическая проза / Роман
О, юность моя!
О, юность моя!

Поэт Илья Сельвинский впервые выступает с крупным автобиографическим произведением. «О, юность моя!» — роман во многом автобиографический, речь в нем идет о событиях, относящихся к первым годам советской власти на юге России.Центральный герой романа — человек со сложным душевным миром, еще не вполне четко представляющий себе свое будущее и будущее своей страны. Его характер только еще складывается, формируется, причем в обстановке далеко не легкой и не простой. Но он — не один. Его окружает молодежь тех лет — молодежь маленького южного городка, бурлящего противоречиями, характерными для тех исторически сложных дней.Роман И. Сельвинского эмоционален, написан рукой настоящего художника, язык его поэтичен и ярок.

Илья Львович Сельвинский

Проза / Историческая проза / Советская классическая проза
Ошибка резидента
Ошибка резидента

В известном приключенческом цикле о резиденте увлекательно рассказано о работе советских контрразведчиков, о которой авторы знали не понаслышке. Разоблачение сети агентов иностранной разведки – вот цель описанных в повестях операций советских спецслужб. Действие происходит на территории нашей страны и в зарубежных государствах. Преданность и истинная честь – важнейшие черты главного героя, одновременно в судьбе героя раскрыта драматичность судьбы русского человека, лишенного родины. Очень правдоподобно, реалистично и без пафоса изображена работа сотрудников КГБ СССР. По произведениям О. Шмелева, В. Востокова сняты полюбившиеся зрителям фильмы «Ошибка резидента», «Судьба резидента», «Возвращение резидента», «Конец операции «Резидент» с незабываемым Г. Жженовым в главной роли.

Владимир Владимирович Востоков , Олег Михайлович Шмелев

Советская классическая проза