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The thing was that, back at my first meeting with Lambert, while I was thawing out in his apartment, I had murmured to him, like a fool, that the document was sewn up in my pocket. Then I had suddenly fallen asleep for a while on the sofa in the corner, and Lambert had immediately felt my pocket then and made sure that a piece of paper was actually sewn up in it. Several times later he had made sure that the paper was still there: so, for instance, during our dinner at the Tartars’, I remember he purposely put his arm around my waist several times. Realizing, finally, how important this paper was, he put together his own totally particular plan, which I never supposed he had. Like a fool, I imagined all the while that he was so persistently inviting me to his place solely to persuade me to join company with him and not act otherwise than together. But, alas! he invited me for something quite different! He invited me in order to get me dead drunk and, when I was sprawled out there, unconscious and snoring, to cut my pocket open and take possession of the document. That’s just what he and Alphonsinka did that night; it was Alphonsinka who cut open the pocket. Having taken out the letter, her letter, my Moscow document, they took a simple sheet of note paper of the same size, put it into the cut pocket, and sewed it up again as if nothing had happened, so that I wouldn’t notice anything. Alphonsinka also did the sewing up. And I, almost to the very end, I—for a whole day and a half—went on thinking that I was in possession of the secret, and that Katerina Nikolaevna’s destiny was still in my hands!

A last word: this theft of the document was the cause of it all, all the remaining misfortunes!

II

NOW COME THE last twenty-four hours of my notes, and I’m at the final end!

It was, I think, around half-past ten when, agitated and, as far as I remember, somehow strangely distracted, but with a definitive resolve in my heart, I came trudging to my apartment. I was not in a hurry, I already knew how I was going to act. And suddenly, just as I entered our corridor, I understood at once that a new calamity had befallen and an extraordinary complication of matters had occurred: the old prince, having just been brought from Tsarskoe Selo, was in our apartment, and Anna Andreevna was with him!

He had been put not in my room, but in the two rooms next to mine, which belonged to the landlord. The day before, as it turned out, certain changes and embellishments, though of a minimal sort, had been carried out in these rooms. The landlord and his wife had moved to the tiny closet occupied by the fussy pockmarked tenant whom I have mentioned before, and the pockmarked tenant had been confiscated for the time being—I don’t know where to.

I was met by the landlord, who at once darted into my room. He did not have the same resolute air as the day before, but he was in an extraordinarily agitated state, equal, so to speak, to the event. I said nothing to him, but went to the corner and, clutching my head with my hands, stood there for about a minute. At first he thought I was “putting it on,” but in the end he couldn’t stand it and became alarmed.

“Is anything wrong?” he murmured. “I’ve been waiting to ask you,” he added, seeing that I didn’t answer, “whether you wouldn’t like to open this door, for direct communication with the prince’s rooms . . . rather than through the corridor?” He was pointing to the side door, which was always locked, and which communicated with his own rooms and now, therefore, with the prince’s quarters.

“Look here, Pyotr Ippolitovich,” I addressed him with a stern air, “I humbly beg you to go and invite Anna Andreevna here to my room for a talk. Have they been here long?”

“Must be nearly an hour.”

“So go.”

He went and brought back the strange reply that Anna Andreevna and Prince Nikolai Ivanovich were impatiently awaiting me in their rooms—meaning that Anna Andreevna did not wish to come. I straightened and cleaned my frock coat, which had become wrinkled during the night, washed, combed my hair, all of that unhurriedly, and, aware of how necessary it was to be cautious, went to see the old man.

The prince was sitting on the sofa at a round table, and Anna Andreevna was preparing tea for him in another corner, at another table covered with a tablecloth, on which the landlord’s samovar, polished as it had never been before, was boiling. I came in with the same stern look on my face, and the old man, instantly noticing it, gave a start, and the smile on his face quickly gave way to decided alarm. But I couldn’t keep it up, laughed at once, and held out my arms to him. The poor man simply threw himself into my embrace.

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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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