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ikolai Leskov, a younger contemporary of Dostoevsky and Tolstoy and one of the great masters of Russian fiction, is a writer who keeps being discovered. The first to discover him was Leskov himself. He was in his late twenties and working as a business agent for his uncle, a Russianized Scotsman named Alexander Scott, whose firm managed the vast estates of two noble Russian families. Leskov later described those years, from 1857 to 1859, as the best period of his life. He traveled all over Russia, “from the Black Sea to the White and from Brod to Krasny Yar,” and sent back reports in the form of letters to his uncle. “I had no need to clear myself a path to the people through books and ready-made ideas,” he later wrote. “I studied them in place. Books were a precious help to me, but I was the helmsman. Hence I’m not rooted in any school, because it was not in school that I learned, but on Scott’s barges.” These travels gave him a great store of impressions that he drew upon all his life. Scott was struck by the literary quality of Leskov’s reports and used to read them aloud to his neighbors, one of whom praised them so highly that it gave Leskov the idea of becoming a writer. As he commented rather drily in a third-person “Note on Himself” thirty years later: “His writing began by chance.”

He was born in the village of Gorokhovo, near the town of Orel (pronounced “Oryól”), in 1831. Orel, located in the Russian heartland, the so-called “wooden Russia,” some two hundred and twenty miles southwest of Moscow, is the setting of five of the seventeen stories in the present collection. Another is set in Mtsensk, which is in the Orel region, and five more take place in other provincial Russian towns. This preponderance of the provincial is typical of Leskov’s work as a whole, though, as the reader will see, he could also tell sophisticated and witty stories set in Petersburg, Moscow, Vienna …

On his father’s side, Leskov came from several generations of priests serving the village of Leski, which gave them their family name. His father, too, received a seminary education, but he broke with tradition and entered government service in the Orel courts, eventually attaining the rank of collegiate assessor, which conferred hereditary nobility. His mother was from an impoverished aristocratic family: her father, a Moscow nobleman who had lost everything during the French invasion in 1812, worked as an estate manager in Gorokhovo; her mother, of whom Leskov gives us a fine portrait in the last chapter of “Deathless Golovan,” was of Moscow merchant stock and, as Leskov says, “was taken in marriage into a noble family ‘not for her wealth, but for her beauty.’ ” Leskov thus combined in himself the three estates—noble, mercantile, and clerical—but in oddly mixed and attenuated forms.

He first came to know the fourth estate, the peasants (serfs at that time), in 1839, when his father gave up his position as a magistrate in Orel and bought the small country estate of Panino, in the Kromy district, twenty miles from Orel. This move and some of the experiences it led to are described in the opening chapters of his story “The Spook.” The knowledge of peasant life he acquired then, later enriched by his travels for Alexander Scott, differed greatly from the abstractions of radical social theory that were becoming fashionable in Moscow and Petersburg.

Leskov’s formal schooling was limited to the five years, from 1841 to 1846, he spent at the secondary school in Orel. He later wrote that he was “terribly bored but studied well,” but in fact he was a mediocre student, and at the age of fifteen he left school without finishing and went into civil service as a clerk in the Orel criminal court. In 1848 his father died during an outbreak of cholera, leaving his mother to manage the little estate at Panino and raise seven children, of whom he was the eldest. In 1849 his maternal uncle, Sergei Petrovich Alferiev, a doctor in Kiev and a professor at the university, invited him to visit. Leskov was greatly impressed by the city and decided to stay. He took a leave from his post in Orel and by February of 1850 had been accepted as a junior clerk in the Kiev military recruitment office. This close experience of the workings of Russian bureaucracy and of the fate of conscripts (the term of military service at that time was twenty-five years) would reappear again and again in his writing.

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Клюшников, Виктор Петрович (1841–1892) — беллетрист. Родом из дворян Гжатского уезда. В детстве находился под влиянием дяди своего, Ивана Петровича К. (см. соотв. статью). Учился в 4-й московской гимназии, где преподаватель русского языка, поэт В. И. Красов, развил в нем вкус к литературным занятиям, и на естественном факультете московского университета. Недолго послужив в сенате, К. обратил на себя внимание напечатанным в 1864 г. в "Русском Вестнике" романом "Марево". Это — одно из наиболее резких "антинигилистических" произведений того времени. Движение 60-х гг. казалось К. полным противоречий, дрянных и низменных деяний, а его герои — честолюбцами, ищущими лишь личной славы и выгоды. Роман вызвал ряд резких отзывов, из которых особенной едкостью отличалась статья Писарева, называвшего автора "с позволения сказать г-н Клюшников". Кроме "Русского Вестника", К. сотрудничал в "Московских Ведомостях", "Литературной Библиотеке" Богушевича и "Заре" Кашпирева. В 1870 г. он был приглашен в редакторы только что основанной "Нивы". В 1876 г. он оставил "Ниву" и затеял собственный иллюстрированный журнал "Кругозор", на издании которого разорился; позже заведовал одним из отделов "Московских Ведомостей", а затем перешел в "Русский Вестник", который и редактировал до 1887 г., когда снова стал редактором "Нивы". Из беллетристических его произведений выдаются еще "Немая", "Большие корабли", "Цыгане", "Немарево", "Барышни и барыни", "Danse macabre", a также повести для юношества "Другая жизнь" и "Государь Отрок". Он же редактировал трехтомный "Всенаучный (энциклопедический) словарь", составлявший приложение к "Кругозору" (СПб., 1876 г. и сл.).Роман В.П.Клюшникова "Марево" - одно из наиболее резких противонигилистических произведений 60-х годов XIX века. Его герои - честолюбцы, ищущие лишь личной славы и выгоды. Роман вызвал ряд резких отзывов, из которых особенной едкостью отличалась статья Писарева.

Виктор Петрович Клюшников

Русская классическая проза