Жертва вечерняя. Роман в четырех книгах (1867)

On a rainy November evening in 186* in St. Petersburg, Marya Mikhailovna, a twenty-three-year-old rich widow of a guards adjutant, begins to keep an intimate diary in order to understand the reasons for her constantly bad mood. It turns out that she never loved her husband, that with her son, three-year-old “sour” Volodka, she is bored, and the capital’s society does not provide any entertainment, except for trips to the Mikhailovsky Theater for performances with cancans. The melancholy is not dispelled either by the letter Marya Mikhailovna received from Paris from Styopa Labazin’s cousin, who during their separation became a “philosopher” and “physicist,” or by her visit to her married socialite friend Sophie. Having caught Sophie with her lover, the narrator gives her a severe reprimand, although she herself guesses that she is rather jealous of someone else’s happiness, albeit past, but still. However, a certain novelty in Marya Mikhailovna’s life is introduced by her acquaintance with the “clever” Plavikova, in whose salon various “writers” gather on Thursdays, including the forty-year-old (that is, very middle-aged) novelist Dombrovich. Succumbing to idle curiosity, the narrator also begins to read European magazines, tries to keep up conversations about the philosophy of B. Spinoza and in general about the “smart”, but her burning interest is only aroused by the lifestyle of kept French women, to whom, completely forgetting about society ladies, they are so drawn men. In order to get to know Clemence, the most brilliant of these courtesans, she travels to Christmas masquerades, meeting Dombrovich everywhere. Even Clemence, when their acquaintance finally took place, speaks mainly about Dombrovich, emphasizing that he is much higher than all the secular dandies. Dombrovich, whom the narrator sees more and more often, really does not disappoint expectations: he is charming, tactful, witty, capable of spending hours entertainingly talking about writers, people of the world, and himself. “After talking with him, you somehow calm down and make peace with life,” the narrator writes in her diary, noting that she begins to judge many things in the same way as her new acquaintance. The diary is filled with reflections about women - “blue stockings” and “nihilists”, stories about spiritualistic seances, social gossip, but with each new entry Dombrovich becomes more and more the central character. He recalls his meetings with Lermontov, harshly evaluates Turgenev and other modern fiction writers, proves how harmful the bonds of marriage are for intelligent women, and gradually teaches Marya Mikhailovna the art of “plucking flowers of pleasure” so that “the sheep are safe and the wolves are fed.”

Two months after they met, the inevitable happens: finding herself in Dombrovich’s apartment for the first time and allowing herself some champagne at breakfast, the narrator gives herself to her teacher. At first, of course, she feels dishonored and almost raped: “And this is done in broad daylight... A subtle, civilized man treats you as if he were a fallen woman,” but he quickly calms down, since “nothing can be turned back,” and a few days later he writes in his diary: “What’s there to simpering about? Let’s say right away: I can’t live without him! This was supposed to happen!" Without revealing their secret, Marya Mikhailovna and Dombrovich see each other almost every night in secular society, and, following the sensible advice of her mentor, our storyteller now enjoys incomparably greater success among both “young people” and dignitaries than before. Her life finally has meaning, and the week is now so packed with things to do that time flies like an emergency train: worries about spectacular outfits, visits, efforts to patronize an orphanage, the theater. But the most important thing: twice a week, meeting with her lover at home, on the remaining days Marya Mikhailovna, telling the servants that she needs to go to Gostiny Dvor for shopping, furtively hurries to Tolmazov Lane, where Dombrovich rents a room with furniture especially for intimate dates. Training “on the strawberry side,” as Dombrovich puts it, is in full swing: the experienced seducer first introduces his student to the novel by Sh. de Laclos "Dangerous Liaisons", "Confession" by J. G. Rousseau, other scandalous books, and then persuades her to take part in secret parties, where five dissolute aristocrats, reputed in the world to be prissy and the most unapproachable women in the capital, meet their lovers. Champagne, seductive toilets, cancan, writing acrostics on various indecent words, table stories about who lost their virginity how and when - this is the world of sweet vice into which Marya Mikhailovna began to plunge. And, probably, she would have plunged headlong if one evening, when the dinner of the capital’s satyrs and bacchantes turned into a real orgy, the virtuous Styopa Labazin had not suddenly appeared among the feasters. It turns out that he had just returned from travels abroad and, having learned from the maid Arisha that Marya Mikhailovna had found herself in the abyss of debauchery, he immediately rushed to save her. There is no limit to the awakened modesty and repentance of our narrator. In the presence of Styopa, she once and for all breaks off her relationship with Dombrovich - a man, without a doubt, bright, talented, but, like all people of the forties, lied to, corrupted and extremely selfish. Now Marya Mikhailovna, who spent several days in conversations with the reasoner Stepa, wants to gain a “whole worldview” and, forgetting that men exist in the world, take the path of asceticism and caring for others. On Styopa's advice, she meets a certain Lizaveta Petrovna, who gave away her entire fortune to the poor and devoted herself to the re-education of fallen girls. Together with her new mentor, the narrator visits hospitals, flophouses, soldiers' houses and, on the contrary, luxurious pleasure houses, arguing everywhere with brothel-keepers and with a word of love, trying to revive prostitutes to a new, honest life. Marya Mikhailovna’s eyes open to the unfortunate Russian girls, who, as it seems to her, were pushed onto the path of vice only by appalling poverty, and a whole gallery of French, German, and English women who came to St. Petersburg brothels specifically to earn a dowry or money for a prosperous old age. With a patriotic desire to save the lost Matryoshka, Annushka, and Palash, the narrator creates something like a correctional home, teaches the girls to read and write and the basics of virtue, but soon becomes convinced that her charges are either trying to go on a spree again, or are extorting money from her by hook or by crook. .

Plans to leave St. Petersburg abroad are hampered by the unexpected illness of a child. Marya Mikhailovna, who did not even expect that she would fall in love with her “sour” Volodka so much, decides to spend the summer at the dacha near Oranienbaum, away from the capital’s “vanity fair.” Styopa settles with them under the same roof, continuing his work to educate his cousin in the spirit of positivism of the sixties. Marya Mikhailovna, who admits that she was always indifferent to nature, music and poetry, under the influence of conversations with Styopa, develops both emotionally and intellectually. She no longer reads French novels, but “On the Eve” by I. Turgenev, “Fables” by La Fontaine, “Hamlet” by W. Shakespeare, and other smart books. But she still suffers a little from the fact that there is no one around who could appreciate her as a woman. A change in a respectable and bland life is brought about by meeting Alexander Petrovich Krotkov. This twenty-six-year-old scientist, Styopa’s acquaintance from life abroad, also settled for the summer with his cousin near Oranienbaum. He despises women, which at first offends and then provokes our narrator. Her diary is filled with retellings of Krotkov’s thoughts about science, cosmopolitanism, women’s emancipation and other important things. Marya Mikhailovna loses her hard-won balance. She is in love again and is furious at the mere thought: “This man now walks around St. Petersburg, smokes his cigars, reads books and thinks as much about me as about the Chinese emperor.” However, Alexander Petrovich seems quite ready to unite his fate with the fate of the narrator, but... The result will be a marriage of convenience, at best, of heartfelt inclination, and not of passion, and this emotional condescension of the chosen one absolutely does not suit Marya Mikhailovna. She either dreams of a union of equals, or goes crazy with passion, and the diary turns into a series of feverish confessions, accusations and self-accusations, thoughts that the narrator’s whole life is “one wandering, one helpless and hopeless weakness of spirit,” and in all of her “actions, thoughts, words, hobbies are only instincts.” There is clearly no point in living anymore. Therefore, having decided to commit suicide, Marya Mikhailovna makes farewell visits, says goodbye to the saint in her self-deception Lizaveta Petrovna, finally tours all the St. Petersburg theaters, including the Alexandrinka, where A. Ostrovsky’s “The Thunderstorm” was shown, and... Once again turning away from Krotkov’s declarations of love, refusing to listen to all of Styopa’s usual reasons, Marya Mikhailovna kisses her son sleeping in the crib and re-reads the will, written down under her dictation by the faithful Styopa. Volodka's fate is entrusted in this will to Alexander Petrovich Krotkov. The diary should be handed over to the son, “when he is able to understand it. In it he will find an explanation and, perhaps, a good life lesson.” And the narrator herself takes poison, leaving this life with a smile on her lips and Shakespeare’s couplet from Hamlet: “How can one not long for such a denouement? To die, to fall asleep.”

China town. A Novel in Five Books (1881)

Trading and business life is in full swing in all the streets and lanes of Kitay-Gorod, when on a serene September morning, Andrei Dmitrievich Paltusov, a thirty-five-year-old nobleman of noticeable and peculiar appearance, who recently returned to Moscow, enters a bank on Ilyinka and meets there with the director - his old friend Evgraf Petrovich. After talking about how the Russian people are still lagging behind the Germans in financial matters, Andrei Dmitrievich transfers a hefty amount of money to his current account, and then goes to the tavern on Varvarka, where he has already scheduled breakfast with the construction contractor Sergei Stepanovich Kalakutsky. It turns out that Paltusov is eager to get rich, having set off to train with the Gostinodvor Tit Titych, and thus become one of the "pioneer" nobles in a business where foreigners and merchants still reign, but for success he needs an initiative. Having assumed the duties of "agent" Kalakutsky, he moves to Nikolskaya, to the restaurant "Slavyansky Bazaar", where he agrees to dine at the "Hermitage" with Ivan Alekseevich Pirozhkov, whom he remembers from his studies at the university. There is still time before lunch, and, fulfilling the instructions of Kalakutsky, Paltusov makes acquaintance with Osetrov, a "dealer from the university", who became rich in the river industry in the lower reaches of the Volga, and the action is transferred to the ranks of the old guest yard, where the barn owned by the company is located "Miron Stanitsyn's sons".

Anna Serafimovna appears - the twenty-seven-year-old wife of the senior co-owner - and, presenting her husband with bills issued by him to one of his mistresses, demands that Viktor Mironovich, having received a compensation, completely retire from business. He is forced to agree, and Anna Serafimovna, after chatting for a few minutes with Paltusov, who has looked into the light and is sincerely sympathetic to her, goes on business visits - first to her faithful friend, the banker Bezrukavkin, then to Aunt Marfa Nikolaevna. Having become the full-fledged mistress of a huge, albeit upset, firm this morning, Stanitsyna needs support and receives it. She feels especially nice in the circle of "youth", gathering in her aunt's house, where the emancipated daughter of Marfa Nikolaevna Lyubasha and their distant relative Senya Rubtsov, who recently completed a course in factory business in England and America, stand out.

A month later, on a rainy October morning, the reader finds himself in the luxurious mansion of commerce adviser Evlampy Grigorievich Netov, built by the most fashionable architect. This is a kind of museum of Moscow-Byzantine Rococo, where everything breathes with wealth and, despite the merchant origin of the owners, with an elegant, aristocratic style. One problem: Evlampy Grigorievich has been living “at odds” with his wife Maria Orestovna for a long time and is terribly afraid of her. And today, in anticipation of the next “emergency conversation” with his wayward life partner, Netov slips out of the house early in the morning and goes on visits. Having received useful instructions from his uncle, the “manufacturing king” Alexei Timofeevich Vzlomtsev, he goes to his other relative, Kapiton Feofilaktovich Krasnopery, famous among entrepreneurs for his rude arrogance and demonstrative Slavophilism. It is extremely unpleasant for Netov to have any dealings with the “boor” Krasnopery, but there is no way out: it is necessary to coordinate the interests of all potential heirs of the dying patriarch of the Moscow merchant class - Konstantin Glebovich Leshchov. Consequently, Evlampy Grigorievich’s last visit to Leshchov this morning. But here, too, bad luck: having learned that neither Vzlomtsev nor Netov, fearing scandalous consequences, want to become his executors, Leshchov kicks out Evlampy Grigorievich, quarrels with his wife, with his lawyer, rewrites his will again and again, establishing a special school in one of the points , which should bear his name. And the timid, repeatedly humiliated Evlampy Grigorievich hurries home to meet his adored but despising wife. And he learns that Maria Orestovna, it turns out, has already firmly decided to leave him for the winter, for a year, and maybe forever, going abroad alone. Moreover, she demands that her husband finally transfer part of his fortune into her name. Shocked to the depths of his soul by this news, Netov does not even dare to be jealous when he sees Paltusov going on a visit to Maria Orestovna. They have recently begun to see each other often, although the motives for their rapprochement are different: Netova is clearly driven by the inclination of her heart, and Paltusov - just by the passion of the hunt, since the feminine charms of Maria Orestovna do not bother him at all and, as he himself admits, he has no respect for either to the “noble bourgeois women”, or to any of the new Moscow bourgeois at all. Nevertheless, he readily accepts the duties of Maria Orestovna’s charge d’affaires. Netov, in turn, confidentially informs Paltusov that he intends to give his wife fifty thousand annual allowances and, clearly preparing himself for imminent loneliness, starts talking about the fact that he, too, is tired of being “on the ropes” all his life and it’s time to take his destiny in his own hands. own hands. The suddenly awakened courage prompts the usually embarrassed Evlampy Grigorievich to perform very successfully at Leshchov’s funeral. Maria Orestovna is told about this success by her brother Nikolai Orestovich Ledenshchikov, who is working in the diplomatic field without much brilliance, and this slightly reconciles her with her husband. In addition, Madame Netova understands that, having parted with Evlampy Grigorievich, she will immediately receive her “insignificant” brother as a parasite. Her resolve is shaken, and besides, the doctor who came to answer the call unexpectedly hints to Maria Orestovna that she may soon become a mother. Netov, having learned about this, goes crazy with joy, and Maria Orestovna...

Two more months later, during Christmas week, the action moves to a one-story house on Spiridonovka, where, under the leadership of eighty-year-old Katerina Petrovna, the vast noble family of the Dolgushins lives almost in poverty. Katerina Petrovna’s daughter lost her legs after her dissolute youth; the son-in-law, having retired as a general, squandered, indulging in more and more new scams, not only his own funds, but also those of his mother-in-law; grandchildren Petya and Nika did not work out... Our only hope is for our twenty-two-year-old granddaughter Tasya, who dreams of a theater stage, but, unfortunately, does not even have money for her studies. Having humiliatedly begged for a loan of seven hundred rubles from her brother Nika, who once again hit a good jackpot at cards, Tasya asks for advice and support, first from an old friend of the house, Ivan Alekseevich Pirozhkov, and then from her distant relative Andrei Dmitrievich Paltusov. They look with alarm at Tasya’s theatrical future, but understand that the young dowry probably won’t be able to escape from the family “dead life” in any other way. Therefore, in order for the girl to get an idea of ​​the acting life, Pirozhkov takes her to a theater club, and Paltusov promises to introduce her to the actress Grusheva, from whom Tasya could take lessons in the future.

Paltusov himself continues to travel around the "circles" of post-reform Moscow, with particular sadness visiting the "catacombs", as he calls the old noble Povarskaya, Prechistenka, Sivtsev Vrazhek, where the ruined and degenerated nobility lives out its days. Having met with the forty-year-old Princess Kuratova, he passionately proves to her that the nobility has already left the historical stage and the future belongs to businessmen, whose fathers crossed their foreheads with two fingers, but whose children, on the other hand, go out in Paris with the crown princes, start villas, museums, patronize people of art.

Feeling like a "pioneer" in the world of capital, Paltusov readily meets with a variety of people - for example, with an elderly landowner and admirer of Schopenhauer Kulomzov, who, almost the only one in the nobility, retained his fortune, but even then thanks to usury. The "Epicurean" Pirozhkov is especially sweet and pleasant to Andrey Dmitrievich. On January 12, Tatyana's day, they go to the university together for a celebration, have lunch at the Hermitage, have dinner at Strelna, and end the evening at Grachevka, famous for its brothels.

Having lost faith that Paltusov would ever fulfill his promise to bring her to the actress Grusheva, Tasya Dolgushina arrives at Madame Gougeot's furnished rooms, where Pirozhkov lives, and turns to him with the same request. Ivan Alekseevich would be glad to make friends, but he does not want, as he says, to take a sin on the soul, introducing a noble girl into an inappropriate society. The enraged Tasya independently finds out Grusheva's address and comes to her without any recommendations. Wanting to test the future student, Grusheva tells her to play a scene from A. N. Ostrovsky's "Jokers" in front of the artist Rogachev and playwright Smetankin. The spark of God seems to have been discovered in Tas, and the girl is left to listen to a new comedy composed by Smetankin. Tasha is happy.

And at this time Pirozhkov is already trying to help Madame Gougeau - the homeowner "from the merchants" Gordey Paramonovich decided to dismiss this respectable Frenchwoman from the position of manager of furnished rooms and sell the house. Nothing good comes of Ivan Alekseevich’s troubles, so he turns for support to Paltusov, who has recently moved from furnished rooms to his own apartment near Chistye Prudy. Halibutsov is happy to serve his friend. In addition, the case with Madame Gougeau once again confirms his theory that the “vahlak” merchant has his paw on everything in Moscow, and, therefore, “our brother” - a nobleman and intellectual must finally come to his senses so as not to be eaten . Having resorted to the mediation of Kalakutsky in negotiations with Gordey Paramonovich, Andrei Dmitrievich soon realizes that his “principal” has gone too far in financial speculation and that from now on it is more profitable for him not to serve as Kalakutsky’s “agents”, but to open his own business. Having made this decision, Paltusov goes to a benefit performance at the Maly Theater, where, having met Anna Serafimovna Stanitsyna, he comes to the conclusion that she is much more decent, smarter and “more thoroughbred” than Maria Orestovna Netova, who finally went abroad and, as they say, fell ill. Having entered into a conversation with Anna Serafimovna during the intermission, Andrei Dmitrievich is convinced that she is not indifferent to him. The conversation, among other things, turns to the fate of the Dolgushin family. It turns out that Tasya’s paralyzed mother has died, her general father has become an overseer at a tobacco factory, and Tasya herself, barely distracted from the dangerous society of actress Grusheva for a decent girl, is in dire need of income. Touched by this news, Anna Serafimovna volunteers to take Tasya as her reader until the time comes for her to enter the conservatory.

The next evening, Stanitsyna and Paltusov, as if by accident, meet again - already at a symphony concert in the hall of the Noble Assembly. Andrei Dmitrievich is not averse to getting even closer to the charming merchant's wife, but people's rumors stop him. They will probably say that he is nestling next to a straw widow - a “millionaire”, when in fact he does not need “woman’s money”; he, Paltusov, will make his own way. Increased scrupulousness and delicacy prevent Anna Serafimovna and Andrei Dmitrievich from expressing mutual cordial affection. They part, having agreed, however, to meet at the ball of the merchants Rogozhin. In the meantime, having learned that Kalakutsky is completely bankrupt, Paltusov goes to visit him. He is driven not only by a feeling of friendship, but, admittedly, also by the hope of intercepting the most profitable contracts from the former “principal.” These plans are not destined to come true, because in Kalakutsky’s house he finds a police officer: Sergei Stepanovich has just shot himself. Halibutsov is both saddened and excited by the dream, secretly using the money entrusted to him by Maria Orestovna, to take possession of the highly profitable house of his late employer. This dream is so persistent that, having met Stanitsyna at the Rogozhin ball, Paltusov barely notices her. His head is now spinning with the beautiful Countess Dallaire, and even more so with the thought that he is about to, having temporarily committed a dishonest act, become a full member of the “family” of the most wealthy people in Moscow. Anna Serafimovna, of course, mustering up desperate courage, invites Andrei Dmitrievich to her carriage and... rushes to his neck with kisses, but soon, however, ashamed, she comes to her senses. The lovers part: she with thoughts of her shame, he with the belief in quick enrichment.

The action of the fifth book of the novel begins with the emancipated daughter of Stanitsyn's aunt Lyubasha. Noticing that her “brother”, and in fact a distant relative Senya Rubtsov, is “breathing unevenly” in relation to Tasya, who plays the role of a reader under Anna Serafimovna, the young “Darwinian merchant” understands that she herself is in love. The "youth", flirting and picking, spends whole days in Stanitsina's house. But Anna Serafimovna has no time for them. Having learned that her dismissed husband has once again issued false bills, which, so as not to be disgraced, she will have to pay, she decides to divorce Viktor Mironovich, freeing herself for her dreamed and, it seems, such a possible marriage with Paltusov. Yes, and things require attention. Having hired the smart Senya as his director, Stanitsyn, along with him, Lyubasha and Tasya, goes to his own factory, where, according to the German manager, a strike is supposedly brewing. The visitors examine the spinning shops, the “barracks” where the workers live, the factory school and make sure that there is “no smell” of a strike, since the situation in Anna Serafimovna’s possessions is not at all bad. But things are very bad in the Netovs’ house. Maria Orestovna returned from a foreign voyage dying, struck by Antonov’s fire, but Evlampy Grigorievich no longer feels either the same love or the same fear towards her. However, Netova does not see any changes in her husband, whose consciousness is clearly clouded, since, as they say among them, he has long suffered from progressive paralysis. Distressed by the fact that Paltusov never loved her as he should, she dreams of impressing her chosen one with her own generosity, making him either her executor, or, who knows what the hell, heir. Maria Orestovna sends for him, but Andrei Dmitrievich cannot be found, and, out of frustration, without leaving a will, Maria Orestovna dies.

The entire inheritance according to the law goes, therefore, to her husband and her “insignificant” brother Ledenshchikov. And then Halibut finally appears. It turns out that he was ill, but who entered into the inheritance of Ledenshchikov, not wanting to get involved in any circumstances, demands that Andrei Dmitrievich immediately return the five hundred thousand, the management of which was entrusted to him by the late Maria Orestovna. Halibut, who secretly disposed of a large part of this amount at his own discretion, is struck to the heart: after all, “everything was calculated so well with him.” He flies to Osetrov for a loan - and receives a decisive refusal from the man whom he considers his ideal; he goes to Stanitsyna for help - and stops himself, because it is unbearable for him to be indebted to a woman; fantasizes about how he will strangle the old pawnbroker and Schopenhauerian Kulomzov for the sake of money - and is immediately ashamed; thinks about suicide - and does not find the strength to do it... All this ends, as one would expect, first with a written undertaking not to leave the place, and then with the arrest of Paltusov, who is trapped.

Having learned about this from Tasi, who was confused and did not know what to do, Anna Serafimovna immediately ordered a carriage and went to the prisoner’s room, where Andrei Dmitrievich had been kept for the third day. She is ready to pay the deposit, to get the entire amount required, but Paltusov nobly refuses, since he decided to “suffer.” He, according to lawyer Pakhomov, “looks at himself as a hero,” all of whose actions in competition with the merchant’s money are not only permissible, but also morally justified. Pirozhkov, visiting Andrei Dmitrievich in captivity, is not entirely sure that he is right, but Paltusov is insistent: “...I am a child of my age” - and the age, they say, requires a fairly “broad view of conscience.”

The investigation into the embezzlement case continues, and Stanitsyna and the “youth” celebrate Easter in the Kremlin. They are all concerned: Anna Serafimovna with the fate of Andrei Dmitrievich, Tasya with her failed theatrical career, Lyubasha with the fact that “the noblewoman took away from her the one whom she expected to be her husband.” To break the fast, Viktor Mironovich unexpectedly appears at Stanitsina’s house - he, having “bumped” into some touchy-feely person abroad, himself offers Anna Serafimovna a divorce, and at the mere memory of Paltusov languishing in the prison cell, she becomes “so cheerful that it even took her breath away. Freedom! When was it more needed if not now?" A happy ending awaits Tasya: during a visit to the Tretyakov Gallery, Senya Rubtsov offers her his hand and heart. Everything is slowly settling down to everyone’s satisfaction, and now Ivan Alekseevich Pirozhkov, walking along Prechistensky Boulevard, sees a stroller in which Andrei Dmitrievich, released by her efforts, is sitting next to Anna Serafimovna. It’s time to go to the “Moscow” tavern, where, as in other countless restaurants of the capital city, the “owners” of the leading businessmen in the country gather for their feast of winners and the musical machine deafeningly crackles the victorious chorus: “Glory, glory, Holy Rus'! "

Author of the retelling: S. I. Chuprinin

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