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“Well, never mind, well, never mind, ladies and gentlemen! Well, what is it? Well, it could happen to anyone,” whispered Mr. Goliadkin, moving slightly from his place and trying to get out of the crowd surrounding him. They made way for him. Our hero somehow passed between the two rows of curious and perplexed observers. He was driven by fate. Mr. Goliadkin felt it himself, that it was fate he was driven by. Of course, he would have paid dearly for the possibility of now being, without any breach of etiquette, at his former station in the hallway, by the back stairs; but since that was decidedly impossible, he began trying to slip away somewhere into a corner and stand there just like that—modestly, decently, separately, disturbing nobody, drawing no exceptional attention to himself, but at the same time gaining the good graces of the guests and the host. However, Mr. Goliadkin felt as if something was undermining him, as if he was tottering, falling. Finally he made his way to a little corner and stood in it like a stranger, a rather indifferent observer, leaning with his hands on the backs of two chairs, thus taking them into his full possession, and trying his best to glance cheerfully at Olsufy Ivanovich’s guests who were grouped near him. Closest to him stood some officer, a tall and handsome fellow, before whom Mr. Goliadkin felt himself a regular little bug.

“These two chairs, Lieutenant, are reserved: one for Klara Olsufyevna and the other for Princess Chevchekhanov, who is dancing here; I am now holding them for them, Lieutenant,” Mr. Goliadkin said breathlessly, turning an imploring gaze on the lieutenant. The lieutenant, silently and with a devastating smile, turned away. Having misfired in one place, our hero attempted to try his luck somewhere else and turned directly to an important councillor with a significant decoration on his neck. But the councillor measured him with such a cold gaze that Mr. Goliadkin felt clearly that he had suddenly been showered with a whole bucket of cold water. Mr. Goliadkin quieted down. He decided that it was better to keep silent, not to speak, to show that he was just so, that he was also like everyone else, and that his position, as it seemed to him, was also proper at the very least. To that end, he fixed his gaze on the cuffs of his uniform coat, then raised his eyes and rested them on a gentleman of highly respectable appearance. “This gentleman is wearing a wig,” thought Mr. Goliadkin, “and if he takes the wig off, there will be a bare head, as bare as the palm of my hand.” Having made such an important discovery, Mr. Goliadkin remembered, too, about the Arab emirs who, if they took from their head the green turban they wear as a token of their relation to the prophet Mohammed, would leave nothing but a bare, hairless head. Then, probably by a particular collision of ideas about the Turks in his head, Mr. Goliadkin went on to Turkish slippers, and here incidentally recalled that Andrei Filippovich wore shoes that were more like slippers than shoes. It was noticeable that Mr. Goliadkin now felt partly at home in his situation. “Now, if that chandelier,” flitted through Mr. Goliadkin’s head, “if that chandelier tore loose and fell on this company, I would rush at once to save Klara Olsufyevna. Having saved her, I would tell her: ‘Don’t worry, miss; it’s nothing, and I am your savior.’ Then…” Here Mr. Goliadkin turned his gaze to the side, looking for Klara Olsufyevna, and saw Gerasimych, Olsufy Ivanovich’s old valet. Gerasimych, with a most solicitous and officially solemn air, was making his way straight towards him. Mr. Goliadkin shuddered and winced from some unaccountable and at the same time most disagreeable feeling. He looked around mechanically; it occurred to him to slip away from trouble somehow, underhandedly, sideways, quietly, just to up and—efface himself, that is, to make as though he could not care less, as though it had nothing to do with him. However, before our hero managed to resolve on anything, Gerasimych was standing before him.

“You see, Gerasimych,” said our hero, addressing Gerasimych with a little smile, “you ought to give orders. You see that candle there in the candelabra, Gerasimych—it’s about to fall; so, you know, order it to be straightened; really, it’s about to fall, Gerasimych…”

“The candle, sir? No, sir, the candle’s standing straight, sir; but there’s somebody asking for you out there, sir.”

“Who is asking for me, Gerasimych?”

“I really don’t know exactly who, sir. A man from thereabouts, sir. ‘Is Yakov Petrovich Goliadkin here?’ he says. ‘Then call him out,’ he says, ‘on very necessary and urgent business…’—that’s what, sir.”

“No, Gerasimych, you’re mistaken; you’re mistaken about that, Gerasimych.”

“Doubtful, sir…”

“No, Gerasimych, it’s not doubtful; there’s nothing doubtful about it, Gerasimych. Nobody’s asking for me, Gerasimych, there’s nobody to ask for me, and I’m quite at home here, that is, where I belong, Gerasimych.”

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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