Читаем The Adolescent полностью

The only one left alive to her was the oldest boy, and she doted on him, trembled over him. He was weak and delicate, and had a pretty face like a girl’s. And she took him to the factory, to his godfather, who was a manager, and got herself hired in the official’s family as a nanny. One day the boy was running in the yard, and here suddenly Maxim Ivanovich came driving up with a pair, and just then he was tipsy; and the boy ran down the stairs straight at him, slipped accidentally, and bumped straight into him as he was getting out of his droshky, punching him in the belly with both hands. He seized the boy by the hair: “Whose boy is he? The birch! Whip him right now, in front of me!” he yelled. The boy went numb, they started thrashing him, he screamed. “So you scream, too? Whip him till he stops screaming!” Maybe they whipped him a lot, maybe not, but he didn’t stop screaming till he looked quite dead. Then they left off whipping him, they got frightened, the boy wasn’t breathing, he lay there unconscious. Later they said they hadn’t whipped him much, but he was very fearful. Maxim Ivanovich also got frightened. “Whose boy is he?” he asked; they told him. “Really now! Take him to his mother. Why was he loitering around the factory?” For two days afterwards he said nothing and then asked again, “How’s the boy?” And things were bad with the boy: he was sick, lying in his mother’s corner, she left her job at the official’s because of it, and he had an inflammation in his lungs. “Really now!” he said. “And why do you think that is? It’s not that they whipped him painfully: they just gave him a little treatment. I’ve ordered the same kind of beatings for others; it went over without any such nonsense.” He expected the mother to go and make a complaint, and, being proud, said nothing; only how could she, the mother didn’t dare to make a complaint. And then he sent her fifteen roubles and a doctor from himself; not because he was afraid or anything, but just so, from pondering. And soon after that his time came, and he went on a three-week binge.

Winter passed, and on the bright day of Christ’s resurrection itself, on the great day itself, Maxim Ivanovich asked again, “And how’s that same boy?” And for the whole winter he had said nothing, hadn’t asked. They say to him, “He’s recovered, he’s with his mother, and she still does day labor.” That very day Maxim Ivanovich drove to the widow’s, he didn’t go into the house, but called her out to the gate, sitting in the droshky himself: “Here’s what, honest widow,” he says, “I want to be a true benefactor to your son and do no end of good things for him: from now on I’m taking him to live with me, in my own house. And if he pleases me the least bit, I’ll make over a sufficient capital to him; and if he really pleases me, I may set him up as the heir to my whole fortune at my death, as if he were my own son, on condition, however, that your honor doesn’t visit my house except on great feast days.9 If that’s agreeable to you, bring the boy tomorrow morning, he can’t go on playing knucklebones.” And having said that, he drove off, leaving the mother as if out of her mind. People heard about it and said to her, “The lad will grow up and reproach you that you deprived him of such a destiny.” She spent the night weeping over him and in the morning she brought the child. And the boy was more dead than alive.

Перейти на страницу:

Похожие книги

На заработках
На заработках

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».

Николай Александрович Лейкин

Русская классическая проза