| “Only, of course that’s not nearly your worst action,” said the actress, with evident dislike in her face. |
But Lizabetha Prokofievna knew perfectly well how unnecessary was the last question. She set a high value on Alexandra Ivanovna’s judgment, and often consulted her in difficulties; but that she was a ‘wet hen’ she never for a moment doubted. “She is so calm; nothing rouses her--though wet hens are not always calm! Oh! I can’t understand it!” Her eldest daughter inspired Lizabetha with a kind of puzzled compassion. She did not feel this in Aglaya’s case, though the latter was her idol. It may be said that these outbursts and epithets, such as “wet hen” (in which the maternal solicitude usually showed itself), only made Alexandra laugh. Sometimes the most trivial thing annoyed Mrs. Epanchin, and drove her into a frenzy. For instance, Alexandra Ivanovna liked to sleep late, and was always dreaming, though her dreams had the peculiarity of being as innocent and naive as those of a child of seven; and the very innocence of her dreams annoyed her mother. Once she dreamt of nine hens, and this was the cause of quite a serious quarrel--no one knew why. Another time she had--it was most unusual--a dream with a spark of originality in it. She dreamt of a monk in a dark room, into which she was too frightened to go. Adelaida and Aglaya rushed off with shrieks of laughter to relate this to their mother, but she was quite angry, and said her daughters were all fools.
A torrent of voices greeted her appearance at the front door. The crowd whistled, clapped its hands, and laughed and shouted; but in a moment or two isolated voices were distinguishable.
| The prince listened, smiling. |
All this would have been perfectly sincere on his part. He had never for a moment entertained the idea of the possibility of this girl loving him, or even of such a thing as himself falling in love with her. The possibility of being loved himself, “a man like me,” as he put it, he ranked among ridiculous suppositions. It appeared to him that it was simply a joke on Aglaya’s part, if there really were anything in it at all; but that seemed to him quite natural. His preoccupation was caused by something different.
| “It seems to me, Mr. Colia, that you were very foolish to bring your young friend down--if he is the same consumptive boy who wept so profusely, and invited us all to his own funeral,” remarked Evgenie Pavlovitch. “He talked so eloquently about the blank wall outside his bedroom window, that I’m sure he will never support life here without it.” |
“I don’t _hate_, I despise him,” said Gania, grandly. “Well, I do hate him, if you like!” he added, with a sudden access of rage, “and I’ll tell him so to his face, even when he’s dying! If you had but read his confession--good Lord! what refinement of impudence! Oh, but I’d have liked to whip him then and there, like a schoolboy, just to see how surprised he would have been! Now he hates everybody because he--Oh, I say, what on earth are they doing there! Listen to that noise! I really can’t stand this any longer. Ptitsin!” he cried, as the latter entered the room, “what in the name of goodness are we coming to? Listen to that--”
“I think you disturb yourself too much.”
For some moments Gania stood as if stunned or struck by lightning, after his sister’s speech. But seeing that Nastasia Philipovna was really about to leave the room this time, he sprang at Varia and seized her by the arm like a madman.
“I carried you in my arms as a baby,” he observed.
“Because you are a humbug, sir; and thought fit to worry people for half an hour, and tried to frighten them into believing that you would shoot yourself with your little empty pistol, pirouetting about and playing at suicide! I gave you hospitality, you have fattened on it, your cough has left you, and you repay all this--” The prince went out deep in thought, and walked up and down the pavement for some time. The windows of all the rooms occupied by Rogojin were closed, those of his mother’s apartments were open. It was a hot, bright day. The prince crossed the road in order to have a good look at the windows again; not only were Rogojin’s closed, but the white blinds were all down as well.| The prince noticed the sweet, welcoming look on Vera Lebedeff’s face, as she made her way towards him through the crowd. He held out his hand to her. She took it, blushing with delight, and wished him “a happy life from that day forward.” Then she ran off to the kitchen, where her presence was necessary to help in the preparations for supper. Before the prince’s arrival she had spent some time on the terrace, listening eagerly to the conversation, though the visitors, mostly under the influence of wine, were discussing abstract subjects far beyond her comprehension. In the next room her younger sister lay on a wooden chest, sound asleep, with her mouth wide open; but the boy, Lebedeff’s son, had taken up his position close beside Colia and Hippolyte, his face lit up with interest in the conversation of his father and the rest, to which he would willingly have listened for ten hours at a stretch. |
Nastasia turned to him. Her eyes flashed; she rushed up to a young man standing near, whom she did not know in the least, but who happened to have in his hand a thin cane. Seizing this from him, she brought it with all her force across the face of her insulter.
“Oh, I heard that much, my dear fellow! But the thing is so impossibly absurd! A man of property like Evgenie to give IOU’s to a money-lender, and to be worried about them! It is ridiculous. Besides, he cannot possibly be on such intimate terms with Nastasia Philipovna as she gave us to understand; that’s the principal part of the mystery! He has given me his word that he knows nothing whatever about the matter, and of course I believe him. Well, the question is, my dear prince, do you know anything about it? Has any sort of suspicion of the meaning of it come across you?”
“Oh, he’s simply a fool,” said Gania.
III.| But, of late, Totski had observed many strange and original features and characteristics in Nastasia, which he had neither known nor reckoned upon in former times, and some of these fascinated him, even now, in spite of the fact that all his old calculations with regard to her were long ago cast to the winds. |
| “Oh, but I’m sorry you repudiate the confession, Hippolyte--it is sincere; and, do you know, even the absurd parts of it--and these are many” (here Hippolyte frowned savagely) “are, as it were, redeemed by suffering--for it must have cost you something to admit what you there say--great torture, perhaps, for all I know. Your motive must have been a very noble one all through. Whatever may have appeared to the contrary, I give you my word, I see this more plainly every day. I do not judge you; I merely say this to have it off my mind, and I am only sorry that I did not say it all _then_--” |
At this moment there was a furious ring at the bell, and a great knock at the door--exactly similar to the one which had startled the company at Gania’s house in the afternoon.
| The general spoke with considerable confidence, and dragged his words out with a conceited drawl. |
Muishkin, who was but a couple of steps away, had time to spring forward and seize the officer’s arms from behind.
| “And she is not guilty--oh God!--Every moment she bemoans and bewails herself, and cries out that she does not admit any guilt, that she is the victim of circumstances--the victim of a wicked libertine. |
| In inexpressible agitation, amounting almost to fear, the prince slipped quickly away from the window, away from the light, like a frightened thief, but as he did so he collided violently with some gentleman who seemed to spring from the earth at his feet. |
| “What do you mean? What are you convinced of?” they demanded angrily. |
“Oh, trust _him_ for that!” said Adelaida. “Evgenie Pavlovitch turns everything and everybody he can lay hold of to ridicule. You should hear the things he says sometimes, apparently in perfect seriousness.”
“When I arose to lock the door after him, I suddenly called to mind a picture I had noticed at Rogojin’s in one of his gloomiest rooms, over the door. He had pointed it out to me himself as we walked past it, and I believe I must have stood a good five minutes in front of it. There was nothing artistic about it, but the picture made me feel strangely uncomfortable. It represented Christ just taken down from the cross. It seems to me that painters as a rule represent the Saviour, both on the cross and taken down from it, with great beauty still upon His face. This marvellous beauty they strive to preserve even in His moments of deepest agony and passion. But there was no such beauty in Rogojin’s picture. This was the presentment of a poor mangled body which had evidently suffered unbearable anguish even before its crucifixion, full of wounds and bruises, marks of the violence of soldiers and people, and of the bitterness of the moment when He had fallen with the cross--all this combined with the anguish of the actual crucifixion.