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The thing is that he now finds himself in a quite strange, to say the least, position. He, ladies and gentlemen, is also here, that is, not at the ball, but almost at the ball; never mind him, ladies and gentlemen; he is his own man, but at this moment he is standing on a path that is not entirely straight; he is now standing—it is even strange to say it—he is now standing in the hallway to the back stairs of Olsufy Ivanovich’s apartment. But never mind that he is standing there; he is all right. He is standing, ladies and gentlemen, in a little corner, huddled in a place not so much warm as dark, hidden partly by an enormous wardrobe and some old screens, among all sorts of litter, trash, and junk, hiding for a time and meanwhile only observing the general course of events in the capacity of an external onlooker. He, ladies and gentlemen, is only observing now; he may also go in, ladies and gentlemen…why not go in? He has only to take a step, and he will go in, and go in rather adroitly. Only just now—while standing, incidentally, for the third hour in the cold, between the wardrobe and the screens, amidst all sorts of trash, litter, and junk—he quoted, in his own justification, a phrase from the French minister Villèle,{14}

of blessed memory, that “everything will come in its turn, if you have the gumption to wait.” This phrase Mr. Goliadkin had read once in a completely unrelated book, but now he called it up quite opportunely in his memory. First, the phrase suited his present situation very well, and second, what will not occur to a man who has been waiting for the happy outcome of his circumstances for almost a whole three hours in a hallway, in the dark and cold? Having quite opportunely quoted the phrase of the former French minister Villèle, as has been said, Mr. Goliadkin at once, no one knows why, also recalled the former Turkish vizier Marzimiris, as well as the beautiful Margravine Louise, whose story he had also read once in a book.
{15}
Then it came to his memory that the Jesuits even made it a rule to consider all means appropriate, so long as the end is achieved. Having encouraged himself somewhat with this historical point, Mr. Goliadkin said to himself, well, so what about the Jesuits? The Jesuits, all to a man, were the greatest fools, that he himself would go them one better, that if only the pantry (that is, the room whose door gave directly onto the hallway and the back stairs, where Mr. Goliadkin now was) stayed empty at least for a moment, then, in spite of all Jesuits, he would up and go straight from the pantry to the morning room, then to the room where they were now playing cards, and then straight into the ballroom where they were now dancing the polka. And he would go in, he would go in without fail, he would go in despite all, he would slip in, just that, and no one would notice; and once there, he would know what to do. That is the position, ladies and gentlemen, in which we now find the hero of our perfectly truthful story, though, incidentally, it is hard to explain precisely what was happening to him at that moment. The thing was that he had managed to get as far as the hallway and the stairs for the simple reason that, say, why should he not get there, anybody could get there; but he did not dare to penetrate further, did not dare to do it openly…not because he lacked daring, but just so, because he did not want to, because he would have preferred to do it on the quiet. Here he is, ladies and gentlemen, waiting now for this quiet, and he has been waiting exactly two and a half hours for it. Why should he not wait? Villèle himself waited. “What has Villèle got to do with it?” thought Mr. Goliadkin. “Why Villèle? What if I now sort of…up and penetrate?…Eh, you bit player!” said Mr. Goliadkin, pinching his frozen cheek with his frozen hand. “What a little fool, what a Goliadka—that’s what your name is!…”{16} However, this endearment towards his own person at the present moment was just by the way, in passing, with no visible purpose. He now made as if to set out and move forward; the moment had come; the pantry was empty, and there was no one in it; Mr. Goliadkin saw all this through a little window; two steps brought him to the door, and he was already opening it. “To go or not? Well, to go or not? I’ll go…why shouldn’t I go? The brave man makes his way everywhere!” Having encouraged himself in this way, our hero suddenly and quite unexpectedly retreated behind the screens. “No,” he thought, “what if somebody comes in? There, somebody has; why was I gaping when nobody was there? I should have upped and penetrated!…No, there’s no penetrating, when a man has such a character! What a mean tendency! I got frightened like a chicken. Getting frightened is what we do, so there! Mucking things up is what we always do: don’t even ask us about it. So I stand here like a block of wood, and that’s that! At home I’d be having a nice cup of tea now…How pleasant it would be to have a nice cup. If I get home late, Petrushka may grumble. Why don’t I go home? Devil take it all! I’m going, and that’s that!” Having thus resolved his situation, Mr. Goliadkin quickly moved forward, as if someone had touched a spring inside him; in two steps he was in the pantry, he threw off his overcoat, removed his hat, hastily shoved it all into a corner, straightened and smoothed himself out; then…then he moved to the morning room, from there he flitted to yet another room, slipping almost unnoticed among the passionately engrossed gamblers; then…then…here Mr. Goliadkin forgot everything that was going on around him and directly, like a bolt from the blue, appeared in the ballroom.

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Вацлав Вацлавович Воровский , Всеволод Михайлович Гаршин , Ефим Давидович Зозуля , Михаил Блехман , Михаил Евграфович Салтыков-Щедрин

Проза / Классическая проза / Юмор / Юмористическая проза / Прочий юмор
Ад
Ад

Анри Барбюс (1873–1935) — известный французский писатель, лауреат престижной французской литературной Гонкуровской премии.Роман «Ад», опубликованный в 1908 году, является его первым романом. Он до сих пор не был переведён на русский язык, хотя его перевели на многие языки.Выйдя в свет этот роман имел большой успех у читателей Франции, и до настоящего времени продолжает там регулярно переиздаваться.Роману более, чем сто лет, однако он включает в себя многие самые животрепещущие и злободневные человеческие проблемы, существующие и сейчас.В романе представлены все главные события и стороны человеческой жизни: рождение, смерть, любовь в её различных проявлениях, творчество, размышления научные и философские о сути жизни и мироздания, благородство и низость, слабости человеческие.Роман отличает предельный натурализм в описании многих эпизодов, прежде всего любовных.Главный герой считает, что вокруг человека — непостижимый безумный мир, полный противоречий на всех его уровнях: от самого простого житейского до возвышенного интеллектуального с размышлениями о вопросах мироздания.По его мнению, окружающий нас реальный мир есть мираж, галлюцинация. Человек в этом мире — Ничто. Это означает, что он должен быть сосредоточен только на самом себе, ибо всё существует только в нём самом.

Анри Барбюс

Классическая проза